Written by: Don Ciccone
Those familiar with singer-songwriter Edward Rogers know that he hails from Birmingham, England but has spent most of his life in New York City. On Astor Place, his ninth solo album, Rogers bounces around from his Brummie youth through his coming of age in the Big Apple to his current home in the East Village…which is where we begin.
The title track sets the scene nicely in a place that has changed so much over the years to the point where it’s now a “fantasy world for the rich” yet still a haven for bohemians in Cooper Square, where you can “wear what you dare.” A two chord motif on the verse leads to a nice descent on the chorus. The track eerily ends abruptly and we’re suddenly transported to an “Olde Church” somewhere in England for a wedding ceremony. Rogers poignantly reflects on the fact that, religious or not, we make visits to churches on at least three occasions: baptisms, weddings and funerals. A perfect atmosphere is created by a nice string chamber arrangement; it feels like we’re right there at an English country church.
A catchy, piano-driven number comes next in “Lies, Cries and Alibis” which is followed by some searing lead guitar in the Phil Lynott inspired, “Romeo,” a portrait of a bored playboy done over a classic descending chord progression (Ventures’ “Walk Don’t Run” intro). “Magical Drum,” inspired by the loss of an old friend, includes more great lead guitar work from Don Piper.
Now comes the true gem (pun unintended) of the collection: “Diamonds Hidden in the Pearls,” which is beautifully arranged with finger-picked acoustic guitar by Matt Sweeney. This one feels like a cross between Lou Reed and Mickey Newbury.
The Link Wray-ish “Tears In Your Martini” is another portrait of a lost soul, this time featuring some great tremolo guitar over a shuffling beat. The Bowie-influenced “I Walk Behind Your Shadow” with its plucked violins, is certainly a highlight in this batch. Elsewhere, “13 Eldon Road” takes us back to the artist’s childhood home in Birmingham, England where everyday was like summertime (“at least in my mind”). Finally, via some nice trumpet (Steve Bernstein), piano (Joe McGinty) and light drums (Steve Shelley), we arrive at “The Other Side of the Rainbow” where we find “the fantasy now over” and “no talk left to say.”
This thoughtful collection of songs, masterfully produced by Don Fleming (who also produced Teenage Fanclub and many other fine acts) finds Rogers looking inward and coming out with some truly heartfelt and sincere realizations.
We’re lucky he decided to share them. – Don Ciccone
