Retro Reviews: The Call: The Call

     I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is a lesser-known album.

The Call – The Call (1982)

*** 3/4

Producer: Hugh Padgham

Musicians: Michael Been, Tom Ferrier, Greg Freeman, Scott Musick, Garth Hudson

Songs: War Weary World, There’s a Heart Here, Doubt, This is Life, Fulham Blues, Who’s That Man, Upperbirth, Bandits, Flesh and Steel, Unbearable, Waiting For the End

Reviewed by Matthew Anthony Allair

    In the Pantheon of what is considered new wave, the band The Call has managed to find a new sound that connects to the traditions of the past, while offering up something fresh. But it’s a little deceptive with how to get there – it’s a slow burn, based on one’s initial impression. Producer Hugh Padgham has given the band an impressive sonic sheen to offer with this material. There’s a simplicity and directness on certain tracks and a complexity with other tracks, and a lot of nuance. Lead singer Michael Been has a passion that is equal to U2s Bono, but a dramatic edge that might even rival Bono – it’s hard to say. Tom Ferrier’s work runs the gambit as a lead player and seems to serve the material well. One of the most notable aspects in the inclusion of guest keyboardist Garth Hudson from The Band – it is a testament to the quality of this new band that Hudson would even be involved. But make no mistake, this is a guitar driven band.

    The opening track “War Weary World” sets up the tone after a Segway of ominous tones, Been’s vocals are passionate, desperate,  while the chorus is complacent, jaded. We have seen this all before. At the start of the new decade and we are no closer to ending the cold war. The next track opens with the line: “I’m at Odds with this World” as Been delivers “There’s A Heart Here”, a conflicting relationship number with an interesting middle section break. With “Doubt” there’s a moody, simple groove as Been excoriates everything in front of him. There’s a hint of Nihilism, but a fight to not give into it.  The gradual build-up of keyboards really keep this compelling. The clever waltz shuffle of “This Is Life” feels like an Irish folk number in spirit. “Fullham Blues” is the closest to feeling like a punk number, but with far more contrast and drama. “Who’s That Man” has a reggae feel with a heightened paranoia lyrically, before switching towards a bolero, all is which is refreshing to see such risks. 

    The side two opener “Upperbirth” keeps up the energy with some great drama from Been, as much as it isn’t the strongest track. On “Bandits” there’s a real rhythmic drive between the bass and drums and interplay between the guitars, and a real disgust for ‘collateral damage’. With “Flesh and Steel” Garth really is showcased and offers some fascinating flavors. The fast tempo of “Unbearable” again connects to the punk ethos, but Been sounds tormented, with a push and pull between the guitars . The ominous closer heightens an apocalyptic sense of  dread  from the character if a vagabond who confronts a passer- by, but the track distills that sense of fragmentation that is looming in society. Some guitar trade- offs and keyboards bring the track, and there’s a kind of venomous agonist from Been closes out the proceedings. 

    One might be tempted to compare this to the pop leanings of The Cars, or the experimental adventures of Talking Heads, but that would be erroneous, they are their own band. I don’t know if this will find enough of an audience, but it distils social conscience and spiritual justice in the best sense of what new wave should represent. All is not right in the world and this is a plea for figure it out. Recommended.