The Call Albums (9)
'Live Under the Red Moon'
Release Date 10/10/2000
Tracks 13
Label Conspiracy
See Album Tracklist and Review
What The Critics Say
The Call's performance on Live Under the Red Moon can't be faulted. Vocalist Michael Been sings with the explosive passion Call fans are accustomed to, and the band sounds just as big outside of the studio. Then why is Live Under the Red Moon so unsatisfying? A rather lackluster set list is the culprit. With an epic title suspiciously like Under a Blood Red Sky, a classic live record from their heroes, U2, Live Under the Red Moon opens rather weakly with "Floating Back," certainly not one of the Call's high points. Unfortunately, the group meanders further with the generic swamp rock of "A Swim in the Ocean." Where are "The Walls Came Down" and "Everywhere I Go," two of the band's biggest -- and best -- alternative radio hits of the '80s? The exclusion of "The Walls Came Down" might have to do with the rights belonging to Mercury Records, but the absence of "Everywhere I Go," a pulse-pounding anthem with earth-shaking basslines, makes the album feel empty. "I Don't Wanna" is reminiscent of Joy Division's "Love Will Tear Us Apart" with its heartbroken keyboards and Been's anguished vocals; it's a powerful track that could've been the group's "With or Without You." It's the first song on the CD that shows why many critics consider the Call to be one of the most shamefully overlooked bands of the '80s. Sadly, six of the tracks were originally on 1990's disappointing Red Moon. Forgettable material can't be elevated by playing it live. Luckily, the group did choose to include "Even Now," a deeply moving song about unrequited love from 1986's superb Reconciled. Been doesn't seem as despondent as he did on the Reconciled version; however, Tom Ferrier's cathartic guitar solo still resonates. ~ Michael Sutton, All Music Guide
What The Critics Say
After losing some commercial ground with 1987's Into the Woods, the California quartet quickly regained it as the title track to the Call's 1989 release became the band's biggest crossover hit. With its insistent bassline and driving guitars, "Let the Day Begin" was a rousing track that was a memorable introduction to the band's fifth album. The album consists of some of The Call's strongest material and the undercurrent of optimism and big arena rock hooks results in it being their best bid for wider success. Unfortunately, nothing else clicked at radio like "Let the Day Begin." However, songs like keyboard-driven "Surrender," the vibrant "When," the blues stomp of "For Love" (with Harry Dean Stanton adding harmonica), and the moody vibe of "Jealousy" are just a few of the highlights of a consistently solid and enjoyable record. ~ Tom Demalon, All Music Guide
What The Critics Say
After the big sounding (even by their standards) Let the Day Begin, The Call returned three years later with Red Moon, an intimate-sounding, organic record, particularly the use of rich organ passages in many songs. Admirer Bono makes a guest appearance on the warm, gospel-tinged "What's Happened to You," which edges the group toward Band territory. The gentle, dreamy title song is one of the loveliest songs the band has ever done. As usual, songs like "You Were There" (driven by keyboardist Jim Goodwin's saxophone playing) and the chugging "What a Day" feature Michael Been's always literate, socially conscious lyrics. Other standout tracks include the twangy, shuffling "A Swim in the Ocean" and the punchy "Like You've Never Been Loved" (with T-Bone Burnett on backing vocals). With its lovely textures and melodic songs, Red Moon is start to finish the most fully realized and finest work. The group would disband following this album and not work together again for nearly a decade. ~ Tom Demalon, All Music Guide
'Into the Woods'
Release Date 6/16/1987
Tracks 9
Label Elektra Asylum
See Album Tracklist and Review
What The Critics Say
Coming off the success of the previous year's Reconciled, the Call returned in 1987 with Into the Woods. The slow-building "I Don't Wanna" is a bit ragged at moments but reaches an impressive sonic swell and Michael Been's vocals are passionate as always. "In the River"'s tone is forlorn, but backed by a solid, smoldering melody and gospel background vocals. A tumbling, percussive beat drives "It Could've Been Mean," a rumination on fate that is simple, yet effective. "Day or Night" probably comes the closest to best capturing the band's usual anthemic style. Much of In the Woods has a darker, more serious feel to it. The somber, introspective nature of the lyrics and the lack of a track with a hook as memorable as the radio hits from Reconciled undoubtedly doomed a further commercial breakthrough. However, Into the Woods is a worthy and challenging artistic follow-up. ~ Tom Demalon, All Music Guide
What The Critics Say
Though none of the singles from The Call's Reconciled made a dent on the pop charts, the anthemic march "I Still Believe" and the galloping "Everywhere I Go" (with backup vocals by Jim Kerr and Peter Gabriel) both received significant AOR and college radio airplay. It significantly raised the profile of the quartet and their earnest, U2-like brand of rock. It is easy to apply spiritual overtones to the socially conscious lyrics, but the words are malleable enough to be mainstream and only on occasion become heavy handed ("Blood Red (America)"). Robbie Robertson plays guitar on the thundering stomp "The Morning" and the song itself has the same vibe as the band's later hit "Let the Day Begin." Some of the keyboards sound a bit dated, but, overall, Reconciled is enjoyable and established the band as one of the better purveyors of '80s "big music." ~ Tom Demalon, All Music Guide
