Del Amitri - Del Amitri Superfecta

Re-Released: June 3, 2003
Original Release: 1985

Reviewed by Russell Bartholomee

Chances are that if I asked you what you thought of Del Amitri’s debut album, you’d think I was talking about 1989’s Waking Hours.  And even that’s assuming you are a pretty big fan of the Scottish band, because here in the red and blue states of the US, most people have only really heard “Roll to Me,“ from the band’s fourth album Twisted.  There’s nothing wrong with that song, but it’s a safe bet you might not be aware that the band had a self-titled debut album in 1985 that is one of the best modern rock records of the 1980s—scratch that—one of the best modern rock records, period. 

Part of the reason it’s such a well-kept secret is that this record sounds almost nothing like the rest of Del Amitri’s career.  I like their later work, particularly songs like “This Side of the Morning,” “Kiss This Thing Goodbye” and “The Last to Know.”  But I love every single second of the debut album, and I think you would too, especially if you’re a fan of Elvis Costello, Orange Juice, The Housemartins, or Aztec Camera—great pop music made before that was a dirty term.  And while it used to be hard to get your hands on a copy of this criminally under-appreciated gem, it was reissued last year—with bonus tracks, no less.  The four extra tracks, B-sides from the album’s singles, are a welcome addition on the reissue.  Three of the four are originals, and they’re quite good.  The fourth is a tongue-in-cheek cover of Van Morrison’s “Brown Eyed Girl,” and it’s…included as well.

I actually bought the original release in the early 90s; I found it in a Sam Goody’s bargain bin (next to Elvis Costello’s Blood & Chocolate.  It was a good day).  I had owned Waking Hours for about a year and figured this would be similar, but I was utterly blown away by how totally different (and how much better) it was from their later, AOR-oriented material.  From the frantic-but-melodic guitar riff that begins “Heard through a Wall,” I was instantly hooked.  Every song was much more sophisticated, both musically and lyrically.  There are two guitarists, both of whom play without distortion, without rhythmic chords and without ever failing to provide complicated counterpoint to each other and to the tuneful bass lines played by lead singer Justin Currie.  All of the instruments are expertly played, with clarity and rhythmic precision that perfectly complements the superb and tasteful drumming.

Currie’s vocals are glorious; the melodies and harmonies are splendid throughout (that he was 20 at the time is astounding).  His voice is full of emotion, but blissfully free of affectation.  His uncanny knack for delivering a host of words in a short space of time recalls Elvis Costello in his prime, as does the cleverness of his lyrics.  In “Former Owner,” Currie laments that the girl he loves is still pining for the man he replaced, singing, “Just as the early bird catches the worm / the early cat catches the bird.”  In “Hammering Heart,” he take a swipe at his own lack of success with the fairer sex: “I suppose love’s like a hunt, really / The hounds have fun until the fox gets bagged / And not one girl in this town will ever fall in love with me; They'll get dragged.”  In song after song, Currie proves himself quite a wordsmith. 

Every number is brimming with activity.  Even on the slower tracks, the Dels’ hands are far from idle.  I suppose the busy-ness of the whole thing could be off-putting to fans of their later work.  Perhaps it would be best to think of the Del Amitri that recorded this little-known masterpiece as a different band altogether (appropriate since only two of the original members, Currie and guitarist Iain Harvey, stayed with the band beyond the debut).  If you come to the disc expecting Some Other Sucker’s Parade, you’ll be caught off guard.  That might be a good thing; I fully expect that this will become your new favorite, anyway.

It’s a real shame that Del Amitri didn’t achieve more critical and commercial success with this disc; I have often wished that they had continued in this direction.  I saw them live a few years (O.K., 10 years) ago in support of Change Everything.  They were really good, but they played exactly zero songs from their debut—even though fans were shouting for them by name.  It made me sad because, good as they were, I would have given my left pinky toe…well, maybe not, but some elbow skin or…um…I would have paid double to see them play any of the terrific tunes from Del Amitri.  I’ll have to content myself with what remains one of my top 20 favorite albums of all time.  I suggest you do the same.

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