The Chameleons UK Albums (11)
'This Never Ending Now'
Release Date 2/18/2003
Tracks 12
Label Artful
See Album Tracklist and Review
What The Critics Say
Having started their reunion with a semi-acoustic revisiting of past songs, Strip, the Chameleons followed up Why Call It Anything with another such album in This Never Ending Now. Repeating none of the tracks reworked on Strip, it's another lovely alternate visit into some of the band's strongest songs old and new, with one key difference: the presence of drummer John Lever, who didn't make the Strip sessions due to other commitments -- on that album his absence led to meditative, exploratory reworkings of songs like "Soul in Isolation," while his presence here adds the brisk power he's so strong at providing, though in keeping with the album's approach it's understated here rather than slamming. Mark Burgess is still in fine voice, and the album's general emphasis on more direct recording for both instruments and vocals means his warm singing comes through in clear, crisp ways. The Dave Fielding/Reg Smithies guitar team is once again on fire, adding sharp new touches throughout -- the acoustic break on "Tears" in favor of the familiar electric overdrive is one example of many. Some of the most compelling takes come from the What Does Anything Mean? Basically material -- "Intrigue in Tangiers" keeps the same strong punch, but Burgess' singing is both more direct and wistful. Tackling slightly rarer material such as "The Fan and the Bellows" and "Is It Any Wonder?" is also a treat, but the majestic revisions of the band's eternal anthems "Second Skin" and "Swamp Thing," the roiling slow-burn power of the originals sublimated into graceful, keening calls are to die for. The kicker comes with a concluding cover, the second formal David Bowie remake of the band's existence -- the Ziggy Stardust standout "Moonage Daydream," still acoustic at heart but no less dramatic and entrancing for that. ~ Ned Raggett, All Music Guide
What The Critics Say
Having successfully reunited in 2000 for a series of shows that eventually turned into a new album in Why Call It Anything, it was perhaps inevitable that there would be a live album to follow. Given how many live albums had emerged throughout the '90s showcasing various performances during the group's initial '80s-era existence, it's a logical question to ask what the necessity of a new one is for, especially given that a good three-quarters of the tracks are from that earlier time. The answer is a simple one, though -- not only is the sound quality distinctly better here than on just about every other concert disc, but, aside from a surprisingly middling "Swamp Thing," the bandmembers sound both refreshed and experienced all at once. In his typically direct and winning style in the liner notes, Burgess noted that initial plans to present one of the earlier reunion gigs fell through, so the concert the show records was in many ways done precisely to produce a live album, but rather than feeling forced the overall performance is a winner. What helps to vary the results is the appearance not merely of a few Why Call It Anything tracks, but also regular live and studio guest Kwasi Asante, who turns up not only on "Miracles and Wonders" but songs like "Caution" and "Splitting in Two" (here spiked with snippets from bands like Joy Division and the Fall). The enthusiastic crowd cheers help to seal the overall atmosphere of the disc, while the inclusion of a few semi-acoustic cuts from a separate German show makes for a fine bonus -- especially considering Burgess' claim that the Academy version of "Soul in Isolation" was scrapped because Fielding's guitar "went flying into the audience" during the performance. The version here has its own dark power, not least because of Burgess' contextually chilling use of references from everything from David Bowie to the Taliban. ~ Ned Raggett, All Music Guide
What The Critics Say
After various live appearances and the engaging acoustic retrospective Strip, the Chameleons reunited with Strange Times producer Dave Allen to create the eagerly awaited Why Call It Anything, only the fourth real studio collection from the full band and the first such album in 15 years. Happily, Why Call It Anything continues the band's well-deserved reputation, the more so because for all the unmistakable marks of the Chameleons, the rich guitars, and powerful singing, it's not simply a recreation of any of the previous albums -- like those three, this one stands on its own. In ways, Why Call It Anything is the most traditional-sounding Chameleons album yet, one that bears clear evidence of the members' various solo and group pursuits throughout the 1990s, a new emphasis on almost folk-based song structures, acoustic guitars a more regular part of the arrangements. Consider "All Around," with its killer chorus, softly descending without sounding sad, or the melancholy chime of "Lufthansa," a haunting number worthy of comparison to "Tears" or "Seriocity." Then there's the reggae toasting guest vocal from Kwasi Asante on "Miracles and Wonders," definitely a first for the band. Those who expect the full electric thrill of hearing Burgess again backed by the Fielding/Smithies duo won't be disappointed either; there are plenty of new highlights throughout, Lever's underrated but always excellent drumming anchoring things down. There are the lush electric touches on "Anyone Alive?," the strung-out, mysterious conclusion of "Truth Isn't Truth Anymore," or the yearning, quietly epic surge of "Dangerous Land," arguably the album's most underrated song. While the huge crunch and cinematic scope along the lines of "Swamp Thing," "The Heale,r" and "Soul in Isolation" no doubt will be missed by some, the end results still have a worthy loveliness that grows with repeated listening. Through it all, Burgess' warm voice, singing lyrics dedicated to his favored subjects of personal connection in a cold world, constantly makes clear what band this is about and why it has inspired such devotion. ~ Ned Raggett, All Music Guide
What The Critics Say
When the Chameleons' reunion finally came about in 2000, the first recorded evidence was this exquisite visit into the past and hint at the future. According to Burgess' warm liner notes, Lever was still busy with some other commitments, so the other three members of the band initially did some acoustic rehearsals to re-familiarize themselves with older songs. It went so well that acoustic shows were first considered, then an acoustic-based album, thus, the title to Strip. With fine artwork by Smithies, always the band's designer, Strip is more than a snapshot to get the fan base excited again, but an honestly fascinating release on its own. Hearing such familiar songs as "Less Than Human," "Soul in Isolation," and "On the Beach" in acoustic fashion is lovely enough -- Burgess had played a number of acoustic shows over the years featuring a number of these tracks, while Fielding and Smithies' skills remained untarnished. But rather than simply performing the songs as originally recorded on different instruments, the three introduce any number of subtle changes and rearrangements, slowing down tempos, adding exploratory, gentle solo parts, and otherwise making the results more than a formal exercise. Burgess suitably avoids his fuller-bodied approach on the singing, favoring the close, tender side that makes his words so emotional in impact. As before, Smithies and Fielding form such a perfect team that it's impossible to imagine one without the other, trading off lines, supporting each other on lead and rhythm, and more. Smithies also provides subtle percussion here and there, while Fielding demonstrates hitherto-unknown talents for didgeridoo! Picking out one standout track is nearly impossible -- Strip is simply that compelling and thrilling a listen. The two new songs, the brief instrumental "Road to San Remo" and "Indian," merely confirm all the more that the Chameleons were back in a big way. ~ Ned Raggett, All Music Guide
'Live at the Gallery Club, Manchester, 1982'
Release Date 1/1/1996
Tracks 12
Label Visionary
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What The Critics Say
To say that Chameleons fans generally come across as obsessive completists is...actually quite correct, which explains the existence of this disc. Originally Gallery Club only came out on video, but the demand for a formal audio release of the gig resulted in a not-bad snapshot of a young band already making a distinct name for itself. Lever had by now joined on drums, stabilizing the classic line-up and bringing his near-perfect ability to play equally subtle, complex patterns and full on rock drive with him. The mix on this disc is unfortunately off, with Burgess' voice up high and much of the music far too low at points. Still, if you want to argue both the band's ability to pull off their amazing songs live and to do so with a grace and a power nearly unique to them, more evidence like this never hurts. The set selection itself offers one great song after another from the many early singles tracks and the following year's debut Script of the Bridge, along with the hard-to-find "Things I Wish I'd Said." Sure, it's for the completists mostly - in otherwards, pretty much anyone who loves the band to start with. ~ Ned Raggett, All Music Guide
'Free Trade Hall Rehearsal'
Release Date 1/1/1993
Tracks 13
Label Imaginary
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What The Critics Say
Originally released as Tripping Dogs on Burgess' post-breakup Glass Pyramid imprint, Free Trade Hall captures exactly that - a rehearsal the band did for a concert in between the releases of What and Strange Times. Even more so than the various contemporaneous radio sessions, though with unfortunately flatter sound all around, this collection captures the band's straight live takes on a fair chunk of the What material ("Singing Rule Britannia," "Return of the Roughnecks," "One Flesh," "Home is Where the Heart Is"), half of Script and various other tracks. "Bobby Moore's Wine" turns out to be the killer Strange Times song "Mad Jack" - the music is the familiar rip of the final version, but the lyrics prove radically different, being another Burgess reflection on past youth [Moore being one of the legendary members of the 1966 World Cup winning team]. "In Answer" turns up here as well, while one other track appears only on this edition of the album, a fine version of their cover of "Tomorrow Never Knows." As always, the playing is nothing less than sharp and driving, the singing impassioned, the disc another reminder of the Chameleons' marvelous abilities through and through. ~ Ned Raggett, All Music Guide
What The Critics Say
Thankfully captured by editor of the noted Big Takeover fanzine (and Chameleons diehard) Jack Rabid from a radio broadcast of a Canadian date in early 1987, Toronto remains the only official live document of the band from their final days, and the only one with a full mix of material from all three albums. Though the sound betrays the disc's origins a bit, this is still an essential release; while the Chameleons never seemed to fail live in general, on this night they shone and then some, sounding perfectly tight throughout. Burgess himself sounds quite content, offering various good natured wishes to the audience and other brief comments. Beginning with their ultimate track, "Swamp Thing," the 13-song set features such Strange Times highlights as "Caution" and "Soul in Isolation" standing up perfectly well with established set favorites as "Singing Rule Britannia" here given an even more fierce vocal punch by Burgess during the mid-song break - and "Second Skin." "In Shreds" even makes an appearance halfway through! The two song combination of "Paradiso" and "Home is Where the Heart Is" works wonderfully, especially how the second song stretches out and seems to take forever to fade away. It all ends with a live standby, a version of Alternative TV's "Splitting In Two," here imbued with a kick and power that makes the only other available version (from the Live in Berlin release) seem tame. ~ Ned Raggett, All Music Guide
What The Critics Say
If there was a should-have-been year in the Chameleons' history, 1986 would clearly be it, and Strange Times demonstrates that on every track, practically in every note. Signed to a huge label, with production help from the Dave Allen/Mark Saunders team who worked on the Cure's brilliant series of late-'80s records (here providing a more balanced sound between guitar effects and direct punch than appeared on What), the Chameleons delivered an album that should have been the step to a more above-board existence on radio and beyond. Right from the start, a stunning upward spiral of a guitar riff begins the unnerving character study "Mad Jack," the bandmembers mix their skills, experience, and songwriting ability perfectly and take everything to an even higher level. The first half continues with three more stunners: "Caution," a semi-waltz that moves well, pulls back, and then slams home, "Tears," a crushingly sad, acoustic ode to personal loss, and "Soul in Isolation," combining a huge majestic wallop with Mark Burgess' anguished study of alienation. And just when you think it couldn't get any better -- "Swamp Thing," the definitive Chameleons song, complex, building, tense, epic, perfectly played (John Lever's drumming is simply jaw-dropping, the Reg Smithies/Dave Fielding guitar pairing totally spot on), and with one of Burgess' most poetic, personal lyrics. It just keeps going from there, the second half covering everything from more sweeping tunes ("Time," "In Answer") to bare-bones melancholy ("In Answer," "I'll Remember"). Bonus tracks: an alternate and equally striking "Tears," the driving "Paradiso" and "Inside Out," and two covers. The take on Bowie's "John, I'm Only Dancing" is a quick fun goof, but the version of "Tomorrow Never Knows" (Burgess especially has been and remains a massive John Lennon fanatic, quoting songs by him liberally throughout his career) surges and soars, beating out by a mile all the times others have covered it. From back to front, Strange Times could never have enough praise. [British versions of Strange Times on CD and LP came with a second disc of bonus tracks; when the album was reissued on CD in the U.S. in 1995, the bonus tracks were simply added to the album proper, without adding an extra disc.] ~ Ned Raggett, All Music Guide
'What Does Anything Mean? Basically'
Release Date 1/1/1985
Tracks 12
Label Statik
See Album Tracklist and Review
What The Critics Say
Easily the high point of the Chameleons' fascination with digital delays, pedals, and making the studio an instrument, the band's second album still is seen by many a fan as being just a little too lost in the production to have the same impact as Script of the Bridge did, despite equally excellent songs. The decision must ultimately be the listener's, but in the end the production argument is much more a quibble than a condemnation -- no matter how you look at it, What Does Anything Mean? Basically proved to be that rarity of sophomore albums, something that at once made the band all the more unique in its sound while avoiding a repetition of earlier work. Ironically, the first track, "Silence, Sea and Sky," turned out to be the least Chameleons-like track ever, being only a two-minute synth intro piece played by Mark Burgess and Dave Fielding. But with the gentle intro to the absolutely wonderful "Perfumed Garden," lyrically one of Burgess' best nostalgic pieces, it rapidly becomes clear exactly which band is doing this. The empathetic fire that infused Burgess' words for songs like "Singing Rule Britannia (While the Walls Close In)," a poetic attack on the Thatcher government, finds itself matched as always by brilliant playing all around. John Lever's command of the drums continues to impress, and Fielding and Reg Smithies remain guitarists par excellence; the searing, sky-bound solo on "Return of the Roughnecks" alone is a treasure. The sublime combination of the rushing "Looking Inwardly" and the soaring, blasting rip "One Flesh," leading into a relaxed instrumental coda, anchors the second side, while "P.S. Goodbye" provides a lovely, melancholic conclusion to an astounding record. CD copies include the 1981 "In Shreds"/"Nostalgia" single as bonus tracks. ~ Ned Raggett, All Music Guide
What The Critics Say
With two years, numerous radio sessions, and incessant gigging under their belts since their debut single, "In Shreds," the Chameleons came to the studio determined to make a great first album with Script of the Bridge. To say they succeeded would be like saying Shakespeare did pretty well with that one Hamlet play of his. Script remains a high-water mark of what can generally be called post-punk music, an hour's worth of one amazing song after another, practically a greatest-hits record on its own: the John Lennon tribute "Here Today," "Monkeyland," "Pleasure and Pain," "Paper Tigers," "As High as You Can Go," the breathtaking closer, "View From a Hill." Starting with the passionate fire of "Don't Fall," Script showcases how truly inventive, unique, and distinctly modern rock & roll could exist, instead of relentlessly rehashing the past to little effect. The scalpel-sharp interplay between the musicians is a sheer wonder to behold, the Dave Fielding/Reg Smithies guitar team provoke nothing but superlatives throughout, and John Lever and Mark Burgess make a perfect rhythm section -- while the crisp production of Colin Richardson and the band adds delicate synth lines and shadings, courtesy of early touring keyboardist Alistair Lewthwaite, and just the right amount of reverb and effects on the guitars. Add to that the words of Burgess, one of the few lyricists out there who can tackle Big Issues while retaining a human, personal touch, and it all just adds up perfectly. The best one-two punch comes from "Second Skin," a complex, beautifully arranged and played reflection on the meaning of music and fandom, and "Up the Down Escalator," an at once harrowing and thrilling antinuclear/mainstream politics slam. [An important note: avoid at all costs the original U.S. vinyl issue on MCA, which not only switches the song order but removes a full third of the songs.] ~ Ned Raggett, All Music Guide
