The Proclaimers Albums (7)
What The Critics Say
The Proclaimers, who will forever have fans who only show up to shows to hear the inevitable "I'm Gonna Be (500 Miles)" encore, have quietly amassed an impressive canon of material since their 1987 debut. Some may have (unfairly) tossed the duo into the "one-hit wonder" pile after the success of its signature hit, but brothers Craig and Charlie Reid have managed to outlive their initial burst of fame and settle into a sustainable career that consistently produces album after album of the kind of amiable adult alternative pop/rock that brings lesser acts riches. Released in 2009, Notes & Rhymes is textbook Proclaimers, utilizing the template of two or three rockers, a couple of covers, and a whole lot of heartfelt balladry. The brothers' signature blend of R&B, country, soul, and folk filtered through two of the thickest Scottish brogues in modern music is just as charming (or grating, depending on which camp you reside in) as it was in the late '80s, and songs like "Love Can Move Mountains," "Just Look Now," and "On Causewayside" prove that the siblings have lost none of their wit and warmth. While 2003's Born Innocent remains the outfit's best (and most diverse) late-period release to date, Notes & Rhymes chimes in at a not so distant second. ~ James Christopher Monger, All Music Guide
What The Critics Say
The Proclaimers are nothing if not consistent. Since their 1987 debut, Scotland's Reid brothers released six records that were consistently inconsistent, relying on two to three brilliant cuts per album amid a veritable sea of good-natured filler. On their second release for their own Persevere imprint, Craig and Charlie have crafted another lopsided collection of willfully earnest tunes about love, sex, God, and whiskey. Recorded in London, Restless Soul doesn't retain the snap, crackle, and pop of 2003's Born Innocent; rather, it's awash in surprisingly deep Brill Building reverb. This could have been a good thing, but the dated keyboard patches and over-reliance on mid-tempo balladry drags the whole affair into the Thames. As always, there are a few bright spots. The spirited opener, "When Love Struck You Down," with its infectious melody and biting refrain of "When love struck you down/Oh, how hard you prayed/But God didn't come to your aid" is a highlight, "I'm Gone" is as simple a drinking song as anything the Pogues ever raised a glass to, the jazzy sex romp "That's Better Now" proves that the brothers must need extra-large kilts, and the fiery closer, "One More Down," revels in the frantic, overdriven, and ballsy delivery that won the boys from Leith a devoted following in the first place. Come to think of it, that about sums up every Proclaimers record. Their utter lack of pretension always trumps the negative, and while they may be inconsistent, they're still the best Buddy Holly-kissed honky tonk/R&B/roots rock sibling duo to ever come out of the U.K. ~ James Christopher Monger, All Music Guide
What The Critics Say
Not the most prolific of performers, the Proclaimers' debut for their own label (named after 2001's Persevere disc) is only the Scottish twins' fifth release in 17 years. It finds them in fine soulful fettle, harmonizing like only identical twins can. They even take a harder rocking route for the opening title track (also reprised in an album-closing live version) that practically demands audience participation in shouting out the chorus of "born innocent, found guilty." "Blood on Your Hands" is also a pounding, angry politically slanted anthem in the manner of some of Midnight Oil's more potent work. But the duo's forte is on the more soulful tunes such as the sad "Should Have Been Loved" and the upbeat "You Meant It Then" that exude the classic sound of '60s American R&B/pop. "Unguarded Moments," an unabashed love song, is this album's most dramatic turn. Here the brothers' voices combine to produce near Everly Brothers-styled cohesion on a beautiful melody that is one of their most affecting performances. The song is repeated in a bonus live version. The easy-rolling, foot-tapping melodies of tracks like "Unredeemed," "Role Model," and the accordion-pumped, Cajun-inspired "Dear Deidre" often obscure the songs' sad and sometimes biting lyrics. Edwyn Collins' production occasionally borrows from '80s Springsteen with the instruments rising to dramatic crescendos as on the propulsive "Hate My Love." But the subtlety of gracefully brushed drums, softly strummed acoustic guitar, and electric piano that open the tender "There's No Doubt" show he understands when restraint works best. The pair successfully revives the Vogues' '60s chestnut "Five O'Clock World" in a rousing, rollicking version that is the album's only cover. The album will appeal to longtime fans as well as newcomers first experiencing the Proclaimers' ringing harmonies and sparkling Scottish soul/pop. Emotional and energetic with a full but not slick sound, Born Innocent is far more than a guilty pleasure. ~ Hal Horowitz, All Music Guide
What The Critics Say
More than eight years after the Proclaimers had a surprise hit with "I'm Gonna Be (500 Miles)," the Scottish duo released Persevere in 2001. The album's first single, "There's a Touch," has the same goofy charm of "I'm Gonna Be (500 Miles)," as do other tracks on the album such as "Land Fit for Zeros." Casual fans of the group may have forgotten or never known of the group's political edge, but that edge is present on "Scotland's Story" and "Everybody's a Victim." While the album is not likely to achieve the kind of success of their previous work, there is enough interesting material in Persevere to prevent the Proclaimers from being placed in the "Where Are They Now?" file just yet. ~ Jon Azpiri, All Music Guide
What The Critics Say
Barely causing a ripple upon its 1988 release, Sunshine on Leith, the second album by Edinburgh's the Proclaimers, received new life five years down the road when the infectious "I'm Gonna Be (500 Miles)" became a fluke hit following its inclusion on the soundtrack to Benny & Joon. Although nothing else on the album quite matches that Top Ten's energy or quirky charm, the duo's (twin brothers Charlie and Craig Reid) sophomore effort still manages to be a highly listenable and thoroughly engaging blend of folk and pop with several nods to their Scottish heritage. Many of the lyrics touch upon the subject of domestic and familial bliss as on "Then I Met You"; the jaunty, wide-eyed wonder of "Sean"; and the lovely, waltz-like title track (featuring some gorgeous harmonies). There's a thread of optimism that runs through most of the album only broken on the few occasions when the two stray from the comforts of home and hearth (as on "What Do You Do"). Other standout tracks include the upbeat swagger of "I'm On My Way" and the steel-guitar twang of their cover of Steve Earle's "My Old Friend the Blues." ~ Tom Demalon, All Music Guide
