Edwyn Collins Albums (6)
What The Critics Say
Edwyn Collins sounds more relaxed and assured than ever on Doctor Syntax, his fifth solo album. Responsible for virtually every single sound on the album, other than some treatments and programming from Sebastian Lewsley and drums by Paul Cook, Collins focuses all of his energy into crafting fascinating postmodern tunes. Though there's a lo-fi feel to the beats and samples and only a modest amount of texture added to the guitars, it's a remarkably lush and layered-sounding album. Indeed, it even brings to mind the quasi-medieval rumblings of Momus and the mystical frivolity of Baby Bird, without those artists' trademark lunacy. Themes of Beatles adulation, condemned ex-lovers, and introspective questioning fit nicely with Collins' moody, quirky vibes. Gone is the rage and noise of I'm Not Following You, and in its place is a focus on sometimes gentle melodies and emotions. "Splitting Up" might be the most beautiful song Collins has ever recorded, as tender guitars paint tone poems over beckonings of "I'm feeling down/I'm splitting up"; just when the song appears to be over, three minutes of even more personal soul-revelations drive it into the stratosphere. There's certainly less studio processing, polish, and trickery on Doctor Syntax than on his previous albums, and that might be why Collins is so successful in conjuring moods here. Even when he indulges a bit on "20 Years Too Late" by mixing Pet Shop Boys neo-disco with witty rapping, it just sounds right. Confident, serene, and fitted with superb melodies and choruses, Doctor Syntax is a brilliant, consistently thrilling work of art and perhaps the high point of Edwyn Collins' solo career. ~ Tim DiGravina, All Music Guide
'I'm Not Following You'
Release Date 9/1/1997
Tracks 12
Label Setanta
See Album Tracklist and Review
What The Critics Say
Having found himself back in the commercial limelight with Gorgeous George, Collins followed it up with the equally -- possibly even more -- delightful I'm Not Following You. Trademark wit blended with passion intact and with key sideplayers drummer Paul Cook and bassist Clare Kenny helping out among many others -- including a wonderfully scabrous vocal cameo by Mark E. Smith on the very disco "Seventies Night" -- Collins tries all sorts of different things and more often than not comes up with the goods. "The Magic Piper (Of Love)" was the understandable lead single, catchy and with more than a little bite to it, drawing from finger-snapping hep-lounge Vegas sources and his own fun lyrics: "My girlfriend she got blotto/Half cut in Santa's grotto/It turns out he's a dirty old man." Add to that some just right flute and a clever brass sample that suddenly turns into an orchestrated sample from the Velvet Underground, and the man still has it. It's one of many joys throughout, with Collins showing a musical heterodoxy that would probably stupefy most other bands or acts. "Seventies Night," for example, is followed up by the sweet orchestration and quick acoustic fingerpicking of "No One Waved Goodbye," a regretful look at a relationship in pieces. There's full-on feedback and pounding drums, there's sly, compressed production touching quirky keyboards and Euro/cabaret arrangements, and even the self-explanatory Hammond-tinged "Country Rock." The hint of wistful nostalgia is often matched by the lyrics, with asides like "I'm going back to my old school/Cause to tell you the truth/All those songs of my youth/Move this old fool." Not many musicians so readily and easily allow for the hints of the passage of time. Leave it to Collins to find a number of ways to do just that. ~ Ned Raggett, All Music Guide
What The Critics Say
Edwyn Collins made a remarkable and unexpected comeback with Gorgeous George, and it's not hard to see why. The album represents a consolidation of Collins' skills as a songwriter, demonstrating both his vicious wit and his effortless melodicism. Working with former Sex Pistols drummer Paul Cook and bassist Claire Kenny, he develops the hardest-hitting musical attack of his career, but it's also surprisingly versatile, capable not only of glam rock, but also jangle pop, folk-rock and blue-eyed soul. And while Collins can occasionally be accused of lyrical sniping -- the attack on Guns N' Roses in "North of Heaven" is simply silly -- there's no denying that when his words and music hit the same target, such as on the darkly catchy Iggy Pop tribute "A Girl Like You," the results are wonderfully cerebral pop music. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Collins's post-Orange Juice debut album has the familiar trappings of one of Glasgow's most celebrated songwriters -- a man whose main fallbacks seem to be lovelorn pessimism and cynicism toward the entertainment industry. Still, when you prepare the same feast as lovingly as Collins does, you'll never be short of house guests. The songwriting craft here is as keenly evident as you'd expect, with reggae hero Dennis Bovell (previously a member of Orange Juice's inner circle) providing production help and bass. Aztec Camera's Roddy Frame also contributes guitar. Highlights include "The Beginning of the End," which is downcast even by Collins' world-weary standards, as the artist treads carefully through everything from blue-eyed pop to rustic country in his resolutely surefooted manner. ~ Alex Ogg, All Music Guide
