Driving to Damascus review

Driving to Damascus

Review by Thomas Kercheval

When I heard a lot of these songs live in Nashville, I was more excited about a new BC album than I'd been in years. Did the album deliver for me? Yes and no. Mostly yes, though. This is a great, creatively packaged and produced album, no doubt about it. But it's not without its flaws, in my opinion.

Track 1 "Driving to Damascus"

A great opener. The opening guitar line hooks you immediately, much like the opening of "You Dreamer" did. You immediately know you're listening to Big Country, and it definitely achieves the "shiver along the spine" effect we've all come to know and love. A great, creative idea for a song, offering a modern day retelling of the apostle Paul's vision of Christ on the road to Damascus (read ACTS from the Bible if you don't know what I'm talking about). The chorus is huge. I heard a reviewer compare it to Gary Glitter's "Rock n' Roll," and I think that's an accurate comparison. Interesting use of keyboards here; not too out front in the mix – just used for padding, which is how I like my keyboards. A strong, tough track. A definite favorite.

Track 2 "Dive Into Me"

I know I'm in the minority here, but this song just never really grabbed me. I don't know why, either, because it SOUNDS great on this album. I think I just never liked the chorus very much from a lyrical perspective. Anyway, if you liked the song on In the Scud, you'll love this version. Much heavier guitars, more effective arrangement, better production all-around. A definite quality song, just doesn't grab me like some others here do.

Track 3 "See You"

Ah, the object of controversy among BC fans everywhere. Some love it, some hate it. Initially, I have to say I was more in the camp of the latter group. I still don't love the song by any stretch, and never will, but it's definitely grown on me a bit since the first few listens. I mean, it's a great song by a lot of standards, but, to me, just not by Big Country standards. I'm not a huge fan of the lyrics, and I don't like the whole "See You" motif repeating itself over and over. I also really don't enjoy the strings; they sound way too much like muzak for my ears. Also grating to me is Stuart's "Bye bye" as the song ends; just sounds forced and stiff to me. All that being said, I do think the song is quite catchy in many areas. But for me, it's catchy like a cold. Give me "Hold the Heart" or even "Sleep There Till Dawn" over this one anyday. Those songs seem to pack a much more emotional punch.

Track 4 "Perfect World"

Okay, now we're back on track. I love this tune, possibly my favorite on the album. It's a great meeting between old and new Big Country. I love the mystical nature of the verse lyrics – remind me of something from The Seer. And the guitars sound really gritty and excellent in this. The chorus is amazingly memorable and catchy, and a big highlight is the bridge, where Stu offers us a lyrical crash course in the rise and fall of humanity. I love it! So creative! If there's any justice in the world, this should be a huge single somewhere.

Track 5 "Somebody Else"

Didn't like this song much at all on first listen. Lines like "Keep that crew-neck sweater I wore to the Talking Heads gig" just aren't the lines I really want from my BC listening experience. Is that fair of me? Of course not. Is it honest? Yes. Anyway, though, the song has definitely grown on me quite a bit now that I've gotten used to it. Despite some lines that sound like they're trying a bit too hard to be "cute" and "clever," I think most of the lyrics do work, and the song moves along at a lively, infectious pace. Making a bit of humor out of a relationship ending is a nice idea. I can definitely hear the Ray Davies influence on this one.

Track 6 "Fragile Thing"

A great single, a good, moody song. So many nice touches on this track, from the minimal piano flourishes to the soft vocals of Eddi Reader. A very moving song. Should've been a huge single, too. Great performances from all involved on this one, creating a new sound for the band while remaining true to their old one.

Track 7 "The President Slipped and Fell"

This one's taken a lot of flak, but I rather enjoy it. It's nothing stellar for BC, but it's a nice, short, potent little number. It really smokes live, too, I can tell you that. I don't quite understand the significance of a lot of the references made here lyrically, but that's okay. I do get the overall feeling of the song, which seems to show a general disgust for a constant bombardment of trivial news items. I also like the "Give me 1-2-3-4 for the money" bridge. A more bluesy, hard rock sound on this one, but I think it works.

Track 8 "Devil in the Eye"

Really didn't like this one at first, then I realized it was about alcohol abuse, and I began to come around. I think I was put off initially by how vastly different this song sound than anything I've ever heard by BC, including the way Stuart sings. Also, you can REALLY detect the Ray Davies influence on this one; the KINKS could've made a smash out of this one, probably. It's a straight-ahead rock number with some really nice drumming by Mark and a very catchy feel all-around. It is NOT what one might expect from BC, but, once you get over that (and I know it's admittedly hard), the song may be much more appreciated for the interesting piece of work that it is.

Track 9 "Trouble the Waters"

This is really a stellar track. Stu does a masterful job weaving a number of true tales of hate crimes committed in the USA recently into these powerful, moving lyrics. Another new sound for BC: much more acoustic, almost a bit like a Scottish Dave Matthews Band, without all the annoying gyrating. The chorus instantly burns itself into your head and is hard to forget. Great singing from Stu on this one, too. His phrasing reminds me of the older BC albums. This could be a hit over here in the US, I think. Very timely material, and this type of music is very popular here at the moment. Something to consider.

Track 10 "Bella"

Blecka. Another controversial song for BC fans. Some think it's sweet and harmless, others think it's the antichrist. I just don't like it much, so I guess I'm more in the middle yet agayne. Sounds like the band's stint with the Stones has really rubbed off on them. Is that Keith and Ron playing the song's opening chords? Again, this is a fine song for most bands, but, as admittedly close-minded as it might sound, I just don't enjoy the results when BC goes the R&B route. The lyrics in this song are actually pretty good, but the music? I think the real culprit here for me is that cheesy keyboard part that slithers its way through the choruses. Sounds so lightweight to me. I guess the band was just having a bit of fun with this one, but I sure wish they'd have relegated it to a b-side in favor of some better material.

Track 11 "Your Spirit to Me"

Okay, now we're back on track again. I was blown away by this song when I saw it live in Nashville. They've pretty much recaptured that glory here. The only thing lacking for me is that, live, Mark really kicked in with the drums "Eiledon"-style during the last chorus, and it really took the song to a new level. That doesn't happen here. The drums (sounds like he's playing with brushes) continue along a the same level of intensity throughout. Otherwise, though, the lyrics to this are great, and I love the guitar parts. A very classic BC sound and song. Reminds me a lot of "Over the Border" in the introspective nature of the lyrics and the music. Great piece.

Track 12 "Grace"

This was never a big favorite of mine, but I do like it. Again, the chorus just never really grabbed me, although I enjoyed the music of the verses. I do like what they've done here, though, especially the addition of what I think is a sitar (although I'm not sure) during certain parts of the song. The opening guitar riff is basically a rehash of the melody line for the opening of "God's Great Mistake." Cool instrumentation here, great drums, great production. My only complaint about the guitars, though, is that the lead part is very low in the mix when it kicks in, which I think lessens its effectiveness considerably. A strong closer, though.

A great album. BC's best? I don't think so, at least not based on my very set-in-my-ways BC tastes. I think the album is better than "Why the Long Face" and "No Place Like Home," but the rest of the band's output is still superior in my opinion. Now, that shouldn't for a second discourage anyone. Like I said, this is a GREAT album. It may even grow on me more with repeated listenings and rise even further in the BC charts as time goes on, but I know, for me, it will never approach the Holy BC Trinity (the first three albums), which sit high upon their special golden altar high atop BC hill. I think this album ranks a bit lower for me because it's one of the few BC albums with a couple songs that I just don't like much at all, and there's less of a "spine-tingling" feel for me this time than there has been on previous efforts. No band's music has ever moved me as much as Big Country's, so I long for a new fix of that special feeling everytime a new album is released. I get it here, definitely, but not as much as I'd like to.
If it was up to me (and of course it wasn't), this would be MY choice for the DTD track listing (sticking with twelve songs).

"Driving to Damascus"
"Birmingham"
"Dive Into Me"
"Perfect World"
"Dust on the Road"
"Fragile Thing"
"Devil in the Eye"
"President Slipped and Fell"
"Trouble the Waters"
"Loserville"
"Your Spirit to Me"
"Grace"

Anyway, just a thought. One thing remains clear: Big Country is by no means a spent creative force. I sure hope there are more albums to come, and long for a U.S. tour?

To check out Tom Kercheval's band, The Dissidents, click here.

Review		by Thomas Kercheval

		When I heard a lot of these songs live in Nashville, I was more excited about a new BC album than I'd been in years. Did the album deliver for me? Yes and no. Mostly yes, though. This is a great, creatively packaged and produced album, no doubt about it. But it's not without its flaws, in my opinion.

Track 1		"Driving to Damascus"

		A great opener. The opening guitar line hooks you immediately, much like the opening of "You Dreamer" did. You immediately know you're listening to Big Country, and it definitely achieves the "shiver along the spine" effect we've all come to know and love. A great, creative idea for a song, offering a modern day retelling of the apostle Paul's vision of Christ on the road to Damascus (read ACTS from the Bible if you don't know what I'm talking about). The chorus is huge. I heard a reviewer compare it to Gary Glitter's "Rock n' Roll," and I think that's an accurate comparison. Interesting use of keyboards here; not too out front in the mix – just used for padding, which is how I like my keyboards. A strong, tough track. A definite favorite.

Track 2		"Dive Into Me"

		I know I'm in the minority here, but this song just never really grabbed me. I don't know why, either, because it SOUNDS great on this album. I think I just never liked the chorus very much from a lyrical perspective. Anyway, if you liked the song on In the Scud, you'll love this version. Much heavier guitars, more effective arrangement, better production all-around. A definite quality song, just doesn't grab me like some others here do.

Track 3		"See You"

		Ah, the object of controversy among BC fans everywhere. Some love it, some hate it. Initially, I have to say I was more in the camp of the latter group. I still don't love the song by any stretch, and never will, but it's definitely grown on me a bit since the first few listens. I mean, it's a great song by a lot of standards, but, to me, just not by Big Country standards. I'm not a huge fan of the lyrics, and I don't like the whole "See You" motif repeating itself over and over. I also really don't enjoy the strings; they sound way too much like muzak for my ears. Also grating to me is Stuart's "Bye bye" as the song ends; just sounds forced and stiff to me. All that being said, I do think the song is quite catchy in many areas. But for me, it's catchy like a cold. Give me "Hold the Heart" or even "Sleep There Till Dawn" over this one anyday. Those songs seem to pack a much more emotional punch.

Track 4		"Perfect World"

		Okay, now we're back on track. I love this tune, possibly my favorite on the album. It's a great meeting between old and new Big Country. I love the mystical nature of the verse lyrics – remind me of something from The Seer. And the guitars sound really gritty and excellent in this. The chorus is amazingly memorable and catchy, and a big highlight is the bridge, where Stu offers us a lyrical crash course in the rise and fall of humanity. I love it! So creative! If there's any justice in the world, this should be a huge single somewhere.

Track 5		"Somebody Else"

		Didn't like this song much at all on first listen. Lines like "Keep that crew-neck sweater I wore to the Talking Heads gig" just aren't the lines I really want from my BC listening experience. Is that fair of me? Of course not. Is it honest? Yes. Anyway, though, the song has definitely grown on me quite a bit now that I've gotten used to it. Despite some lines that sound like they're trying a bit too hard to be "cute" and "clever," I think most of the lyrics do work, and the song moves along at a lively, infectious pace. Making a bit of humor out of a relationship ending is a nice idea. I can definitely hear the Ray Davies influence on this one.

Track 6		"Fragile Thing"

		A great single, a good, moody song. So many nice touches on this track, from the minimal piano flourishes to the soft vocals of Eddi Reader. A very moving song. Should've been a huge single, too. Great performances from all involved on this one, creating a new sound for the band while remaining true to their old one.

Track 7		"The President Slipped and Fell"

		This one's taken a lot of flak, but I rather enjoy it. It's nothing stellar for BC, but it's a nice, short, potent little number. It really smokes live, too, I can tell you that. I don't quite understand the significance of a lot of the references made here lyrically, but that's okay. I do get the overall feeling of the song, which seems to show a general disgust for a constant bombardment of trivial news items. I also like the "Give me 1-2-3-4 for the money" bridge. A more bluesy, hard rock sound on this one, but I think it works.

Track 8		"Devil in the Eye"

		Really didn't like this one at first, then I realized it was about alcohol abuse, and I began to come around. I think I was put off initially by how vastly different this song sound than anything I've ever heard by BC, including the way Stuart sings. Also, you can REALLY detect the Ray Davies influence on this one; the KINKS could've made a smash out of this one, probably. It's a straight-ahead rock number with some really nice drumming by Mark and a very catchy feel all-around. It is NOT what one might expect from BC, but, once you get over that (and I know it's admittedly hard), the song may be much more appreciated for the interesting piece of work that it is.

Track 9		"Trouble the Waters"

		This is really a stellar track. Stu does a masterful job weaving a number of true tales of hate crimes committed in the USA recently into these powerful, moving lyrics. Another new sound for BC: much more acoustic, almost a bit like a Scottish Dave Matthews Band, without all the annoying gyrating. The chorus instantly burns itself into your head and is hard to forget. Great singing from Stu on this one, too. His phrasing reminds me of the older BC albums. This could be a hit over here in the US, I think. Very timely material, and this type of music is very popular here at the moment. Something to consider.

Track 10		"Bella"

		Blecka. Another controversial song for BC fans. Some think it's sweet and harmless, others think it's the antichrist. I just don't like it much, so I guess I'm more in the middle yet agayne. Sounds like the band's stint with the Stones has really rubbed off on them. Is that Keith and Ron playing the song's opening chords? Again, this is a fine song for most bands, but, as admittedly close-minded as it might sound, I just don't enjoy the results when BC goes the R&B route. The lyrics in this song are actually pretty good, but the music? I think the real culprit here for me is that cheesy keyboard part that slithers its way through the choruses. Sounds so lightweight to me. I guess the band was just having a bit of fun with this one, but I sure wish they'd have relegated it to a b-side in favor of some better material.

Track 11		"Your Spirit to Me"

		Okay, now we're back on track again. I was blown away by this song when I saw it live in Nashville. They've pretty much recaptured that glory here. The only thing lacking for me is that, live, Mark really kicked in with the drums "Eiledon"-style during the last chorus, and it really took the song to a new level. That doesn't happen here. The drums (sounds like he's playing with brushes) continue along a the same level of intensity throughout. Otherwise, though, the lyrics to this are great, and I love the guitar parts. A very classic BC sound and song. Reminds me a lot of "Over the Border" in the introspective nature of the lyrics and the music. Great piece.

Track 12		"Grace"

		This was never a big favorite of mine, but I do like it. Again, the chorus just never really grabbed me, although I enjoyed the music of the verses. I do like what they've done here, though, especially the addition of what I think is a sitar (although I'm not sure) during certain parts of the song. The opening guitar riff is basically a rehash of the melody line for the opening of "God's Great Mistake." Cool instrumentation here, great drums, great production. My only complaint about the guitars, though, is that the lead part is very low in the mix when it kicks in, which I think lessens its effectiveness considerably. A strong closer, though.