The Lilac Time Albums (5)
What The Critics Say
The Lilac Time's sixth record, with its unimaginative title but perfectly descriptive subtitle ("Beautiful Despair and Other Folktales"), runs no risk of disappointing fans. It houses no less than six songs that rate favorably with the group's best material. The remainder isn't anything to thumb your nose at, either. What it lacks in surprises and growth is more than made up for in consistency and craft. And while a quick scan of the sleeve presents you with several "hastily placed" cultural curios, the record is hardly the reflective/nostalgic/"let's take stock of our lives" buggy wreck it sort of advertises itself to be. Chipper folk-rock tunes like "This Morning" (featuring great interplay between the vocals of Stephen Duffy and Claire Worrall) and "Jeans + Summer" (featuring -- oh drat -- at least one Barenaked Lady on background vocals) carry more than enough fresh-faced melody to knock off the less experienced ranks of adult alternative radio favorites. Stephen Duffy's songwriting remains studied, eloquent, and witty, and "Entourage" witnesses the gifted veteran at his most biting and sarcastic: "now that we're through with morality, can I sleep with your wife?" Throw in a couple jigs penned by Stephen's brother Nick, and you have another fine Sunday afternoon record. Aside from the misguided and interruptive foray into cyber beats during the otherwise lazy twang of "Come Home Everyone," hardly anything can deny lilac6's durable, out-of-time nature. ~ Andy Kellman, All Music Guide
'Looking for a Day in the Night'
Release Date 9/21/1999
Tracks 18
Label spinART
See Album Tracklist and Review
What The Critics Say
After eight years and several stunning solo CDs, Stephen Duffy resurrected the Lilac Time. And it is as if time stood still for them. Looking for a Day in the Night picks up where 1991's Astronauts stopped. This really is not a surprise, as Duffy has been flirting with folk music throughout his solo releases in the '90s. This is beautiful, quiet, acoustic focused contemporary folk music. Once again, Duffy has written some seemingly personal songs letting the world into his own struggles and confusion. The songs have several different layers, which are peeled away with each listening. The lyrics are pure poetry. A highlight is the wonderfully scathing "All Over Again," which addresses the music industry. Duffy does it in a style masking his bitterness with humor. Nick Duffy (brother to Stephen) contributes a great deal to this CD, writing the instrumental songs, with the achingly beautiful song "The Spirit Moves" a highlight. The CD is perfectly produced, and the musicianship is flawless. As usual, the vocals, with the tight harmonies, are always a highlight, and this CD is no exception. Duffy's voice is soft, gentle, and yet very emotional. This CD is a must for any fan of folk-rock (in the Simon & Garfunkel vein) and any Stephen Duffy or Lilac Time fan. This CD is just more evidence of Duffy's indescribable talent, which has been somewhat overlooked due to the immense success of "Kiss Me" which has had him labeled as an '80s "dance" artist. ~ Aaron Badgley, All Music Guide
What The Critics Say
Abandoning entirely the folk-pop sound of the Lilac Time's first two albums, & Love for All is a worthwhile stylistic detour that results in the first genuinely excellent album of Stephen Duffy's career, including his earlier solo incarnation as Tin Tin. Just over half the album (seven of 12 songs) was produced by XTC's Andy Partridge, with John Leckie covering the others, and the overall sound is akin to Partridge and Leckie's collaboration on the Dukes of Stratosphear records, minus the more obvious '60s pop rip-offs. (Well, discounting "All for Love and Love for All," which cops subtle riffs from the Magical Mystery Tour era and name checks the Quarrymen in the first verse.) Duffy has never before acknowledged much of an interest in either psychedelia or '60s pop, yet his songs fit Partridge and Leckie's atmospheric production touches nicely. Adding a greater reliance on electric guitars and keyboards (mostly piano played by Cara Tivey) to the Lilac Time's formerly acoustic sound, & Love for All manages not only to not overwhelm Duffy's thoughtful lyrics, graceful melodies, or thin but effective vocals, but to enhance them. ~ Stewart Mason, All Music Guide
What The Critics Say
With bolder instrumentation, a brighter overall atmosphere, and a perfect glistening pop polish, Paradise Circus expands on the glorious promise of the Lilac Time's debut. Stephen Duffy might have later decried that the album was a more commercial affair than he would have liked, but its stunning melodies and sweet acoustic nature make for addictive listening. Duffy claims that studio execs forced the band back into the studio to cut singles and to Americanize their songs. Of course, such corporate tinkering stifles the creative process, but the insistence on catchy choruses does wonders for the band. Duffy and company seem to have looked to their peers for inspiration. Perhaps more here than on any other Lilac Time album, the band's influences are readily apparent. Channeling the Smiths, Nick Drake, and the Byrds, they package the mix into their own radio-friendly folk-pop style and create perhaps their most accessible album. Other than two brief instrumentals and the somber "She Still Loves You" and "Father Mother Wife and Child," the songs of Paradise Circus are happy etchings that immediately embed themselves in the catchy-tune section of a listener's brain. "The Beauty in Your Body" is musically about as close to Nick Drake as a song can be, though its melodramatic premise adds a chamber pop element. Throughout the album, Duffy's lyrics are as poetic and bittersweet as ever, but he delivers them with a bouncy step. Occasionally, horns and background vocals feel overly forced, for which one can blame the execs, but the album absolutely overflows with Johnny Marr-like jangling acoustic guitars and bluesy harmonica, pristine mandolins, and mesmerizing tempos that mingle to perfection with Duffy's elliptical, wry vocals. Ardent fans know that Duffy frequently crafts songs that suggest chugging trains, and Paradise Circus contains a plethora of selections that fit this bill: "The Lost Girl in the Midnight Sun," "The Days of the Week," "The Girl Who Waves at Trains," and "The Rollercoaster Song." Though its fine singles may not have become the hits they deserved to become, Paradise Circus as a whole is even stronger than its shiny, catchy highlights. As they would do throughout their career, the Lilac Time prove here that a great singles band can be simultaneously heady and masterful at crafting marvelous albums. ~ Tim DiGravina, All Music Guide
What The Critics Say
The Lilac Time's self-titled debut is the start of a perfect career. Right off the bat, Stephen Duffy and company mix poetry, pop melodies, and folk instrumentation to create songs of endless charm, mesmerizing passion, and tantalizing atmosphere. Accordions, acoustic guitars, woodwinds, exotic percussion, and Duffy's pensive voice all work toward an uplifting sadness rarely heard this side of Nick Drake. That's not to say that The Lilac Time is a depressing album; how could it be with Duffy's impeccable grasp on a pop chorus and the band's dedication to rolling folk revelries? While much of the album leans toward nature imagery, expressed mostly through metaphor, there's an equal dose of traveling songs to boot. One imagines a vintage 1800s steam train roaring through green pastures and lush vineyards during "Return to Yesterday," an upbeat song that reminisces about England's past and wonders about its future. There's ample bounce as well in "You've Got to Love," "Together," and "Too Sooner Late Than Better." The album makes clear that Duffy had a plan from day one as to the band's distinctive sound. Dark and moody songs like "And the Ship Sails On" and "Love Becomes a Savage" are as fully formed and evocative as similar songs that would appear on the band's late-era masterpiece Looking for a Day in the Night. Drawing favorable and justified comparisons to both the Smiths and Drake is quite an achievement in itself. That the Lilac Time would continue to reach such lofty heights is a testament to the songwriting prowess and subtle musical mastery of Duffy and his band of folk popsters. This fascinating debut is certainly a minimasterpiece, and it's the first step in a remarkable career that would bear additional masterpieces over multiple decades to follow. ~ Tim DiGravina, All Music Guide
