Grant-Lee Phillips - 'Virginia Creeper' (Cooking Vinyl)
3/5
By: Kevin Molloy
Making the transition from frontman to solo artist has never been an easy road (just ask Gary Barlow) - but Grant-Lee Phillips seems to have done it effortlessly. Former head honcho of Grant-Lee Buffalo (so maybe he had a head-start, title-wise), who opened for the likes of Pearl Jam and REM to name but two; this is his second solo release since the band split under 'internal tensions'. Whilst the group mysteriously never broke into the mainstream, this album proves that Phillips should have no problem solo. And that could just be the only problem with it.
Throughout its entirety, 'Virginia Creeper' is flawlessly crafted; every song a gentle, gravel-throated remedy to the stress of the city, the woes of a blinkered love-life, or a hangover from last night. Slide guitars live up to their name as they slip unnoticed into the blend of mesmerising acoustics, understated snare and wistful strings. With a relaxed, yet utterly melodious vocal-line just ever so slightly forward in the mix to round it all off, this is a truly horizontal listen.
On top of all this - the man seems to be a competent poet. With references to 'the curse of Desdemona' and the 'apples of Pomona' easily filling the literary check-boxes in 'Lily-A-Passion', he also touches upon the guilt felt for historical atrocities in 'Susanna Little', and artistic vulnerability in 'Wish I Knew'. This does start to feel, however, a little like alt.country by numbers. Whilst his lyrics shine, his voice lacks the subtlety to deliver them, and even at his very most depressing moments ('time hangs like a noose', in standout track 'Far End Of The Night'), Phillips doesn't seem to be able to draw an empathy from his own vocal.
Unfavourably, there is also a number of disappointing throw-away tracks; the decidedly twee 'Always Friends', and the mediocre 'Calamity Jane'; need we say any more? - the clichés literally scream at you from the get-go.
The album can be neatly summarised by its closing track: a cover of Gram Parson's 'Hickory Wind'. Whilst faultless in his interpretation, the question remains, for what purpose was it covered? Both lyrically and instrumentally, it is audibly weak and out-of-context compared to his own self-penned greats, 'Wish I Knew' and 'Far End Of The Night'. One can only assume that Phillips wanted to pay homage to the country great, and homage is indeed done.
But whilst this album will prove inviting to fans of such a lo-fi genre, it will not, bar a few select gems, prove to be inspiring material to the rest of the world. And whilst that's quite enough for the toe-tapping masses, a little more inspiration and experimentation would prove very welcome - and rewarding - next time.
Artists in this article: Grant-Lee Phillips
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