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| Title: | |
| Notes: | Review of the "If You Can't Stand The Heat" album |
| Year: | |
| Country: | UK |
| Publication: | |
| Author: | Paul Morley |
STATUS QUO
If You Can't Stand The Heat (Vertigo)
What is beyond Status Quo, I often wonder? What is beyond tracks with titles such as "I'm Givin' Up Worryin'" (sic), "Gonna Teach You To Love Me", "Long Legged Linda" and "Like A Good Girl"? What is beyond the boogie, the grimace, the superstition, the stagnation, and the gaps between their legs? What is beyond the mere myth...?
Maybe a lot. Status Quo 'play', and how far removed this is from orthodox creativity is interesting. Passing go and collecting £200 for the 1470th time or composing the opening moments to Beethoven's 7th - is the thrill similar? Only Quo know.
Status Quo have all their survival problems under control, and have surplus nervous energy which requires an outlet. Status Quo play to discharge their energy. But if play is simply practising (as in toddlers or young monkeys gathering experience) then what are Quo practising for? Something transcendent - or have they already achieved this?
The opener here is "Again And Again"; it's crucial in a number of respects. Nostalgic and speculative, descriptive and ironic, sacred and exhaustively enthusiastic, it is as important within the Quo fairytale as Descartes reasoning 'I think, therefore I am' is for cigar smokers. But how much intent is there in the weighty words "again and again"? Are Quo being valid or is there a measure of detachment?
This album, their ninth and fourth best investigation into activity for activity's sake, has as ever no openly significant signs of intent, although it goes without saying that the implications are immense. Obligations to introduce variety and versatility into the musical scope are unhappily apparent (as on such as the slumbering ballad "Someone Show Me Home", which didn't make me cry) but - a good sign - also half-hearted.
When Quo attempt to be anxious, sensuous, ambiguous or even verbal, they evade the actual truth of their essence. Their role is ultimately an essentially tragic and even pessimistic understanding and acceptance of man, monotony, the world and futility. Despite this (because of this?) when they stick to their own flat, fiercely uninventive and intimately driving boogie, they provide for many the ultimate freedom.
But not for me.
Paul Morley