Friday, 12 October 2018

Mink De Ville - Where Angels Fear To Tread (1983)


Released November 1983

All the Mink De Ville albums were good, for me. I have discussed Willy De Ville’s overall sound and image on my other reviews of his work, so will not do so again here for fear of repeating myself.
By 1983, when this album was released, Mink De Ville’s flame was starting to dim somewhat. They had put out four excellent albums between 1987 and 1981, full of their trademark Latin-tinged Rolling Stones meets Van Morrison meets Lou Reed style new wave rock. In my opinion, this is one more in the same vein, just as good. However, it didn’t really pull up any trees and De Ville was getting put in the shadow by the New Romantics and post-punks either preening, pouting or looking miserable all around him. It was a shame as the music was always really good, but it didn’t change too much and the old street-suss, hard-as-nails but tender lover thing was beginning to wear a bit thin. Even I had to reluctantly admit that, even though I still loved the image, and the music.

Anyway, on to the album. It starts with a De Ville corker, the piano-driven “Each Word’s A Beat Of My Heart” with that great nasally voice of his on top form. “River Of Tears” is a Latin-influenced, castanet-injected typical De Ville number and “Demasiado Corazon” (Too Much Heart)” has an infectious upbeat Salsa-style Latin rhythm. “Lily’s Daddy’s Cadillac” is one of those chugging, bassy blues rockers De Ville did so well, full of down 'n' dirty rhythm, and “Around The Corner” is an archetypal De Ville heartbreaker with another sensual vocal.

“Pick Up The Pieces” and “Love’s Got A Hold On Me” are both muscular but soulful workouts, full of punchy and Motown-ish backing vocals. The blues rock returns with “Keep Your Monkey Away From My Door”. All good stuff.

“Are You Lonely Tonight” is an upbeat, singalong rocker, while the plaintive fifties-influenced ballad, “The Moonlight Let Me Down” ends proceedings with a wonderful saxophone solo at the end. It was still a good album as far as I was concerned. I would always stick with Willy De Ville, whatever else was trendy at the time.


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