Paul Young
No Parlez

THE REVIEW

In my insatiable hunger for new music, as I ventured out to find raw material at my favorite store, I couldn't help but take home an album that had already piqued my curiosity some time ago. Until that moment, of Paul Young, the appreciated English singer very popular in the 80s (especially in Italy), I only knew "Love of the common people" (cute but a bit tedious after a while) and "Wherever I lay my heart (that's my home)" (which captivated me). I had the chance to discover the album through iTunes (blessed be it and Apple) and enjoyed substantial 30-second samples of each track and... what can I say? Curious, eccentric, grotesque... these are the first adjectives I think I blurted out in comment. I knew I would eventually bring that record to my temple to listen to it in full; it was just a matter of time. It happened. And it lasted for a beautiful 5 months.

If at this point someone, like a blinkered rock fanatic for example, doubts its appeal (let me note, not epochal, but it certainly holds its own quite well) by dismissing it as a "common pop-plastic/commercial product of the 80s," I would suggest putting aside the prejudice and diving headfirst into an alternative work in many ways. Paul Young’s taste for black music and R&B shines perfectly in this work that features 12 tracks, each more intriguing than the last. Moreover, the album boasts suggestive arrangements, a breathtaking groove, surprising and innovative bass lines (this album is famous for its fretless bass), genuinely substantial vocal parts, electronic elements and synths used tastefully and not replacing real instruments (except for the rhythmic section). The album starts with "Come back and stay," one of four singles. It's what you could call the ideal opening track. The whole sound and rhythm that characterize the album are summed up in a pleasant and not at all trivial pop song. It is followed by a cover (in fact, the album is almost entirely made up of covers, but this does not affect its quality) of a lesser-known but very impactful Joy Division song, "Love Will Tear Us Apart," the second single extracted. The best one follows, "Wherever I Lay My Hat (That's My Home)," a cover of a Marvin Gaye soul track (the legend), where the use of the bass in the flanger and the assist of one of the first Roland tr-808 drum machines become very noticeable (of this machine, a lot of use is made in the album, especially for the "mechanical" nature of its sounds, which have never gone out of style even today).

The visit continues with "Ku Ku Kurama," a somewhat underrated piece but overall unique and stimulating. There are two tracks in this album, in particular, that have caught my attention for their "diversity" or "eccentricity." The title track, "No Parlez" is one of these. After an engaging intro based on bass and synth at full throttle and a short and bizarre verse, follows an equally non-sensical chorus, which is towards the end repeated ad nauseam, only to be slowly drowned under the electronic beats of the Roland 808, protagonist alongside Young's voice in the next track, "Behind your smile" (even if it proves slightly weaker than what has been heard so far). Following this is the anthem of the album, a very successful single in America and the UK, the Christmas-like (by atmosphere) and cheerful "Love of the common people." After having a good rhythmic moment (with an incredibly hyped-up bass) with "Oh Women" it goes on to "Iron out the rough spots," a track that in my opinion is a bit useless, destined to remain in the background compared to the generally high quality of the album. There's next a ballad, "Broken man," with synthetic string ensemble and a bit pathetic for a song you can easily do without. But as always, Young's voice saves the day. Next is "Tender trap," which follows somewhat the vibe of "Iron out the rough spots," but at least does so with more flair and expressivity. A pleasant addition, which however does not add or take away from the overall value of the album.

What elevates it to an almost avant-garde album is the crazy closing track (which essentially is not a track and I will tell you why). "Sex" is the title and it says it all: 7 minutes of sex, sweat, heat, and excess. The song is actually not a track but a collection of many small parts, almost a suite (but shorter). Amidst the multiplied percussion by the myriad of present delays, a hyped-up drum, and a bass that doesn't let go for a second, Young’s voice moves sinuously, made of deep tones and very high falsettos among the background singers, who keep on chanting "Sex! Sex! Sex!" Not to mention all the overlapping synths (and that darn flanger on the bass that doesn't duplicate it; it quadruples it!!!) creating a viscous and sweaty atmosphere, suitable for describing the situation and the sampled voices and effects repeated ad infinitum. And then, towards the end, an obsessive guitar loop, as everything dissolves like after an orgasm, leaves room for a phrase from "Sex machine" by James Brown, before stopping suddenly and closing the album not beautifully, but more than that! In essence, what do you have at hand at the end of the listen? Certainly not oblivion! Many tracks I've listened to over and over again precisely because I had grasped and liked what was grotesque and indecipherable in this album.

It's a commercial album, there's no doubt about it, but I don't find that a good reason to look down on it. Since it proved strong not just with the singles but throughout, never lacking coherence and always remaining at very high levels for a pop album (despite a few minor missteps along the way). A product recommended for those who love R&B, the 80s, pop music, or just good music. And why not? Even a hardcore metalhead might appreciate it, who knows...