Amplifier Review

REVIEW FROM ELSEWHERE BLOG 19th October 2015

Derek Lind: SOLO (Someone Up There) www.dereklind.com

For two decades from the mid Eighties, Derek Lind confirmed himself as among this country's finest singer-songwriters. He had a Herald entertainment cover for his exceptional '90 album Slippery Ground, an album of resonant songs which stand up today for their lyrical depth, insight and allusive breadth. There were further albums its equal, all of which were acclaimed by those who could hear the emotional resonances in his music.

Standing at the midpoint of the singer-songwriter tradition and classic American country-influenced writers like John Prine, Lind was a distinctive voice in New Zealand music. In his work he brought an intellectual Christian faith and through his travels for the Tear Fund had encounters denied other songwriters, and he brought those hard experiences to bear also.

Then he went quiet and when his wife Ra, the mother of their three adult children, died two years ago it seemed we might not hear from him again.

This handsomely presented double disc was supported by a Kickstarter appeal which raised the money in rapid time because friends and followers again just wanted to hear what he had to say. Of course now he has even more emotional experiences to bring to bear.

This album -- the title about his emotional state rather than the sound, he works with an excellent small band -- isn't just his return but has a rare emotional weight and lyrical depth.

An artist as much as a musician, his lyrics tap into different, diverse and broad imagery, pick up resonant references (Matisse, Alice Cooper, Don McLean's Vincent, Prine, Dylan's Blood on the Tracks and more are seamlessly slipped in) and explore matters of faith, doubt, travel, grace and, of course, loss.

In the opener Do As You're Told he references Don McLean's Vincent ("the night sky is starry like that song about Van Gogh") then extends the imagery as part of a larger story: "A grey-haired woman in a house coat holds the hand of her groom, a faded sunflower in a jam jar clings to life inside the room". It is about dying but also the acceptance: "He says, 'I have no fear of dying, forgive me my leaving you alone'. Through tears she thanks him for the years and says, 'Let go and go on home'."

That kind of compressed, clear and evocative lyricism only comes from the finest songwriters and thinkers.

Yes, there is a brooding quality here sometimes, meditations on death and so on, but there is also a joy in life, as one the outstanding Brunelleschi's Dome where he celebrates being in Florence. He is above the world and delighting in the moment and the promise of travel: "Gonna see the Duchamps in the Pompidou, gonna see the Degas in the d'Orsay too, but right now I'm walking on Brunelleschi's dome . . ."

Throughout he weaves in politics as on The Valley of Dry Bones: "They're selling our country, babe with the backhanders and handshakes, the captains of industry are still running this town, parliamentarians in their pockets . . ."

Even on This House ("is not for sale, we're not going anywhere") he may allude to politics but equally it is about being embedded in life despite what gets thrown at you.

Many of these songs are ambiguous so the personal becomes universal: Is that Ra or his God he's speaking to on the haunting Will You Rescue Me? And some lyrics (“I'm walking down a street named Tragedy on the outskirts of a town called Faith”) are emotionally naked.

Derek Lind's life and faith have been tested these past years and here he holds a prism up to his love and beliefs and sometimes finds emptiness and pain ("Every nerve is cut and cauterized, tears well up and burn my eyes, over you"), and sometimes hope, especially in the grandchildren ("In a world that seems cynical and mean . . . I'll keep you in my heart even when we are apart"). And sometimes solace in an affirmation of his faith (the beautiful closer Come to Me).

Solo is a powerful, intimate and moving cycle of songs as you are ever likely to hear.

It is also courageously cathartic and extraordinarily honest.

- By Graham Reid, www.elsewhere.co.nz posted Oct 19, 2015

A local review of SOLO (Sat 17th Oct 2015)

Congratulations on that 5 star review from the Herald. That guy probably knows good when he hears it!

BOOM! - Derek, I raise my cup of tea to you.

I received my copy of SOLO, from Albert, who had passed it to me via the front desk at Stephen Marr’s Ponsonby establishment. I drove the package home to Newstead-Upon-Tron with care. Then dug deep into the bowels of cupboards and drawers to find a dvd player. I then moved a stereo system to my room, sat and then cranked BOTH discs in sequential format for my pure selfish listening pleasure.

The labour was not in vain... yours and mine - lol...

...But then I had to stop and google ‘what is cordite?’, when I got halfway through 'Valley of dry bones'.

The songs for the grandkids is so beautiful, with the line "leave some space inside your heart for me". Overwhelmingly lovely, vulnerable. They will forever have that song in their hearts too now. Whatta poppa!

"Come to me", - such a simple messiah like phrase for the chorus - just brilliant. It’s as if you are Jesus - ka pai brilliant - just love that song.

“No easy love”; What a set of lyrics? Honest/Corinth. Don’t know how you came up with that rhyme - top shelf. Gospel-radio-quota - ticked. Nah, just kidding - love that song. Easy and epic.

The Florence Dome song... dammit, I’m gonna have to agree with Graham Reid (NZ Herald) that it's an instantly rewarding tune. A stand out, in fact so lovely to think of Ra and your interchange that day in the city of Florence. Beautiful memory you've allowed us to all be a part of.

Well I teared up on ‘This house is not for sale’. A friggen gem. Love the instruments on this one - and the tempo and the sentiment best of all - so beautiful.

Anyways... the album would have been a lot better with AJ/White/Wilsy et al. AND with that kid’s toy piano, it would def have put it in ‘Pet Sounds’ territory. Anyway, your loss - lol jokes.

I just loved the spared instrumentation. Reminiscent of ‘Hiatt’s Bring the Family’, so when I'm listening, I add my own Ry Cooder notes in there. Its like a phantom sonic limb.

Anyways, congratulations again Derek. You'll always be the musical Ghandi of Titirangi …and your songs of loss for Ra make me continue to treasure the Mrs that I am lucky enough to be sharing my life with now.

So anyways… I cranked the album up again this morning . Man, it made a big change from the Mai FM s**t that i normally have to deal with from the other unsophisticated beings that loiter around this Waikato house in the morning.

...and I’m so looking forward to finding plenty of other riches on the album with multiple listens... so when I receive the vinyl version, will be looking forward to finding the subliminal-back-masking.

ALL SO GOOD - and I got it FREE (very generous) after forgetting to get into your Kickstarter on time - sorry - I owe you one!

- we love you Derek

*****

(D)