Driving to Damascus review

Driving to Damascus

Review by Lewis Crow

This is not your father's Big Country. The sound has changed—edgier, more angular, modern and layered than The Buffalo Skinners or Why the Long Face. Only the occasional hint of the Big Country of old. Much better overall than Why the Long Face. The most consistent album since The Seer. Only criticism: the keyboards and strings are too prominent in the mix. It's often startling when they make their appearances.

Track 1 "Driving to Damascus"

A full-tilt rocker. Welcome back to the land of loud guitars. One of the signs that Stu's songwriting has improved: the lyrics on The Buffalo Skinners and Why the Long Face weren't very hard to figure out at all. In parts of this song and a few others, I don't know what he's getting at, which is a great throwback to the days of porrohmen, maps on the back of one's hands and scouts in the stairwell. But I digress....

Track 2 "Dive Into Me"

Fleshed out much more from the In the Scud demo. Has great little background guitar fills in the old style, like "Troubled Man" and some others I can't think of at the moment. I actually preferred the original lyrics and don't think the change is an improvement. Still a great track

Track 3 "See You"

Definitely different, but not bad. Not as big a musical departure as "Fragile Thing." I think it will be a better single, but I wouldn't pick either one as singles if it were up to me. The strings are an interesting touch. I still like the twist ending to the lyrics and the melody is nice and hooky.

Track 4 "Perfect World"

Another good rocker, but with a rougher, off-kilter sound. Sort of reminds me of Living Color, or Lenny Kravitz's recent guitar sound. Lyrically a bit ho-hum. Would definitely fit on a couple of my local radio stations, though.

Track 5 "Somebody Else"

Even more wry and funny than "Post Nuclear Talking Blues." Actually made me laugh out loud. The lyrics must be from Ray Davies, 'cause I don't think even Stu could be this acerbic. About a couple breaking up and going through their stuff. Rhythm recalls the Stones Tumbling Dice.

Track 6 "Fragile Thing"

The single version was tighter and better, although I do like the inclusion of the much-discussed "hero gets the girl" stanza. Definitely the track that sounds the least like the rest.

Track 7 "The President Slipped and Fell"

A long-lost The Buffalo Skinners track? Sound is very reminiscent of that era. Lyrically, I have no idea where Stu is going. Is this a recitation of his channel surfing? What he saw in the tabloids? Good rocker, pretty much as performed live.

Track 8 "Devil in the Eye"

I like the shuffling, slinky groove. Some different guitar sounds from what we're used to. Loses a couple of points for being lyrically unoriginal—another song that personifies alcohol or drugs. A bit reminiscent of Big Country's own "Dead On Arrival." We also get a new naughty word in the Big Country lexicon. Please tell me Davies wrote the words....

Track 9 "Trouble the Waters"

The most jarring track of all, because it's the lightest musically and the heaviest lyrically. Stu gets his brogue back and reminds me of some Peace In Our Time tracks. It startled me the first time, beginning to grow on me.

Track 10 "Bella"

I'm in agreement that this is the weakest track (but it beats the lamer tracks on Why the Long Face or No Place Like Home). My guess is that it's a love song for Melanie, and that's why it made the cut. Would've preferred a finished version of "John Wayne's Dream."

Track 11 "Your Spirit to Me"

Been a loooong time since a BC track stunned me like this. Simply beautiful and haunting in its power. Didn't know that Eno/Lanois had changed their names to Rafe McKenna! Atmospheric U2-ish guitars. Echoes of "MLK" and the intro to "Where the Streets Have No Name." Awesome.

Track 12 "Grace"

Beefed up from the live version, with definite echoes of Eastworld/Message of Love in the guitars. Mark's drumming really stands out. The only other track to really remind me of a previous album. Stu's definitely found religion.

The Blue Heeler tracks [on the limited edition version of Driving to Damascus] are nice, although quite a switch in sound from the previous twelve tracks. Of the two, I prefer "Shattered Cross."
In summary, the boys are back with an album that doesn't stick to the tried-and-true and is willing to take chances.

Review		by Lewis Crow

		This is not your father's Big Country. The sound has changed—edgier, more angular, modern and layered than The Buffalo Skinners or Why the Long Face. Only the occasional hint of the Big Country of old. Much better overall than Why the Long Face. The most consistent album since The Seer. Only criticism: the keyboards and strings are too prominent in the mix. It's often startling when they make their appearances.

Track 1		"Driving to Damascus"

		A full-tilt rocker. Welcome back to the land of loud guitars. One of the signs that Stu's songwriting has improved: the lyrics on The Buffalo Skinners and Why the Long Face weren't very hard to figure out at all. In parts of this song and a few others, I don't know what he's getting at, which is a great throwback to the days of porrohmen, maps on the back of one's hands and scouts in the stairwell. But I digress....

Track 2		"Dive Into Me"

		Fleshed out much more from the In the Scud demo. Has great little background guitar fills in the old style, like "Troubled Man" and some others I can't think of at the moment. I actually preferred the original lyrics and don't think the change is an improvement. Still a great track

Track 3		"See You"

		Definitely different, but not bad. Not as big a musical departure as "Fragile Thing." I think it will be a better single, but I wouldn't pick either one as singles if it were up to me. The strings are an interesting touch. I still like the twist ending to the lyrics and the melody is nice and hooky.

Track 4		"Perfect World"

		Another good rocker, but with a rougher, off-kilter sound. Sort of reminds me of Living Color, or Lenny Kravitz's recent guitar sound. Lyrically a bit ho-hum. Would definitely fit on a couple of my local radio stations, though.

Track 5		"Somebody Else"

		Even more wry and funny than "Post Nuclear Talking Blues." Actually made me laugh out loud. The lyrics must be from Ray Davies, 'cause I don't think even Stu could be this acerbic. About a couple breaking up and going through their stuff. Rhythm recalls the Stones Tumbling Dice.

Track 6		"Fragile Thing"

		The single version was tighter and better, although I do like the inclusion of the much-discussed "hero gets the girl" stanza. Definitely the track that sounds the least like the rest.

Track 7		"The President Slipped and Fell"

		A long-lost The Buffalo Skinners track? Sound is very reminiscent of that era. Lyrically, I have no idea where Stu is going. Is this a recitation of his channel surfing? What he saw in the tabloids? Good rocker, pretty much as performed live.

Track 8		"Devil in the Eye"

		I like the shuffling, slinky groove. Some different guitar sounds from what we're used to. Loses a couple of points for being lyrically unoriginal—another song that personifies alcohol or drugs. A bit reminiscent of Big Country's own "Dead On Arrival." We also get a new naughty word in the Big Country lexicon. Please tell me Davies wrote the words....

Track 9		"Trouble the Waters"

		The most jarring track of all, because it's the lightest musically and the heaviest lyrically. Stu gets his brogue back and reminds me of some Peace In Our Time tracks. It startled me the first time, beginning to grow on me.

Track 10		"Bella"

		I'm in agreement that this is the weakest track (but it beats the lamer tracks on Why the Long Face or No Place Like Home). My guess is that it's a love song for Melanie, and that's why it made the cut. Would've preferred a finished version of "John Wayne's Dream."

Track 11		"Your Spirit to Me"

		Been a loooong time since a BC track stunned me like this. Simply beautiful and haunting in its power. Didn't know that Eno/Lanois had changed their names to Rafe McKenna! Atmospheric U2-ish guitars. Echoes of "MLK" and the intro to "Where the Streets Have No Name." Awesome.

Track 12		"Grace"

		Beefed up from the live version, with definite echoes of Eastworld/Message of Love in the guitars. Mark's drumming really stands out. The only other track to really remind me of a previous album. Stu's definitely found religion.