Bright Light Bright Light - Choreography

Buy Choreography here (Amazon UK)

Bright Light Bright Light is one of the most creative, dedicated and pop-loving pop stars of our generation. The latter is possibly one of the reasons I adore his music so much - I like singers where it feels like they are enjoying what they sing, that the fruits of their labours are something they would go out and buy if it were by someone else. His latest album, Choreography, is attracting (much deserved) critical plaudits and fervent internet support for those very reasons. The entire album feels like a love letter to the forgotten art of quality pop music - where melodies, lyrics, refrains are accompanied by the heart and soul of the performer (rather than the fads and trends of studio wizardry). That's not to say Rod's music isn't infused with contemporary flourish - it is. This is a timely and timeless collection of songs that showcase an artist at the very top of their game - an opus to be loved and adored in the here and now, yet cherished as the soundtrack to your memories (and experiences yet to happen) for many years ahead. Finding the words to do this album justice has been rather difficult - but here is my love letter to Rod's love letter to pop...

• All In The Name ~ Rod says (OMH link) that the opening track is inspired by the grandiose opening numbers of Hollywood musics. It surely is - it is as much Downtown from Little Shop of Horrors as it is (a different) Downtown from Priscilla, Queen Of The Desert - the musical. It is an audio and visual feast that is as intricate and satisfying as any jubilant first moments of a West End smash. It's presented against a backdrop of effusive horns, a percussive groove that Stock, Aitken and Waterman would kill for, and cascading synths that drip around Rod (and fellow vocalist Elton John)'s vocals like honey to the bee. A glorious introduction to Choreography that sets a standard that is hit time after time over the next eleven tracks...
• Symmetry of Two Hearts ~ Inspired by the Kim Cattrell dance scene in Mannequin (that surely Rod must be tasked with making a stage musical of any minute now), this is a euphoric reminder that - even when love is hard to come by - our hope and faith in getting two people to fall in love will often conquer all. Possibly because of the title, or possibly because of thouse buoyant bouncing keyboard riffs, it also feels inspired by the amazing Two of Hearts by Stacey Q. It is easily just as edifying, particularly with the textured choir like harmonies that boost Rod's vocals to cloud nine and beyond. Forget anti-depressants - this song will surely lift you out of any funk and have your hands raised sky bound in testimonial agreement.
• How Does It Feel? ~ In the most complimentary way possible, this reminds me of those near-perfect mid-tempo moments that Erasure gave us on songs like You Surround Me and Am I Right. Rod has always excelled at the shimmering majesty required by ballads and here it is his yearning vocal that breathes tangible sentiment into every word. A finger click beat and elegant strings highlight the melancholy and achingly sad reminiscence that is within the lyrics. The entire performance is captivating - the type that slows the world around you and you end up lost within the music. Stunning.
• Running Back To You ~ Think of Red Box's Lean On Me, Rod's own Disco Moment and a little bit of Lion King and even that doesn't begin to do justice to the phenomenal track that is Running Back To You. A big percussion drives the song forward through the sombre verses right into a chorus that juxtaposes the sorrowful realisation of what is happening in the narrative with a sing along refrain so heavenly that it surely must be a gift from the angels up above. Check out those soaring backing vocals in the final minute of the song and immerse yourself in musical genius so fine that you may just shiver with ecstasy.
• Kiss For Kiss ~ As with all BLBL songs, the music is as integral to the story as the lyrics and the nuanced nature of his expressive singing. He teams up with Jake Shears on this dark, brooding number that conjures up images of those stolen moments, fueled by the frisson of danger and excitement, in the shadowy corners of nightclubs. The song feels as forbidden as those moments - like a quickened pulse and rapidly beating heart. "We make love a little too hard" may well be the most seductively enticing lyric of the year. Like Madonna once said, I'm breathless...
• I Only Want To Please You ~ it's the dramatic Cathy Dennis track that she wished she'd recorded to follow up the under-rated You Lied To Me. If this had been put out on PWL label in 1990, it would have been a top ten hit for weeks - and performed with vitality and vigor on The Hitman and Her. It is a song that is fueled by obsession, an emotion that is palpable in Rod's voice. Cleverly, too avoid it become too much of a stalker anthem, the female backing vocals amp up the intensity and dancify the song to the nth degree. A middle 8 rap from Ana Matronic is filled with Elvira realness and sparkles as much as the ebullient house piano. Everything cascades and coalesces to make this another hands to the sky, play at midnight in the club anthem of epic proportions.
• Into The Night ~ at this stage, it is evidently clear that BLBL just wants to dance (with somebody who loves him) and it is making me so emotional. It just feels like a big summer song, the type that provides the music to our montage of our carefree moments inspired by the balmy heat and beauty of the setting sun - when it feels like anything is possible. And that's exactly what the choral refrain of this shimmering extravaganza makes the listener feel. It's the motivation you need to follow your dreams, confess your feelings and chase what you formerly thought was unobtainable. Wear your heart on your sleeve and follow Rod into the eye of the storm. Even if all you get out of it is this song, it is something you won't regret.
• Home ~ Co-written with Babydaddy and featuring the vocals of only blooming Alan Cummings, this is perhaps the most sparse yet exquisitely delivered song on the album. Somehow, the stripped back nature of the song accentuates the instrumental even more and takes Rod's voice to exciting new places. When he sings "if only you knew how much I'd do to make you stay" in the middle 8, it's both devastating and a chilling warning all at once. If this album is a soundtrack to the musical and Into The Night was the exhilarating close to Act One, this lays out the scene for a haunting Act Two. Play next to classics like Live To Tell and Where Is The Feeling.
• Little Bit ~ this takes us into up tempo ballad territory and is a standout track in an album packed with delicious highlights. Even though I'm sure it's not, I think that the piano is grossly underrated in pop music yet the crashing, resonant chords are a key (despite being subtle) feature of this song. Add in some sax that feels one part Debbie Gibson's Should've Been The One and one part Lady Gaga's Edge of Glory and the classic nature of these instruments is surprisingly as refreshing as a cool lemonade on a hot summer day. When it is just the piano and sax for a few elongated moments in the middle 8 before the thrilling wall of sound crashes back in, I could cry with happiness. Impossible to love this just a little bit... Ooh ah.
• Careful Whisper ~ This really is an exploration of emotions in the second act of Rod The Musical. It is a song about finding power in closure, and being able to manage your feelings in a way that protects your heart, allows you to heal and move on with your life. The careful whisper is exactly that - telling ourselves what can never be and keeping it eternally secret. Anyone who has been through any such experience will instantly relate and find memories stirred that you thought long buried. It's entirely cathartic though - BLBL sings not because singing will heal the hurt, but because it's too painful not to sing, and the careful whisper is the beginning of that process of becoming whole again. Absolutely captivating.
• Won't Do ~ I'm always a sucker for a male-male duet, particularly when they are themed around the reality of relationships that just simply happen to be about two men. BLBL teams up with Mykal Kilgore and their voices suit the shuffling r'n'b groove perfectly. There is definitely a sense of raw, open honesty in their vocals where they open themselves up for the betterment of the song. It's like a peek into their respective diaries and feels a little intrusive, but also like the sharing of their thoughts will enable them to put the matter to bed. Again, sterling piano work and beautifully textured backing vocals that wrap around the leads like the tender hug they obviously need.
• Where Is The Heartache ~ and so Act Two needs a triumphant closing number. It finds it in unexpected ways in the stupendous Where Is The Heartache. It is actually refreshing to have the story end not with two people falling in love, not with a happily ever after but an epiphany that through dealing with your own emotions and learning to love who you are you can actually be OK just as you are. It's not shutting off future possibilities for love and adventure, just being satisfied with what you have in the here and now. It brings the album full circle in the sense that All In The Name is all about the validation we seek in every aspect of daily life - here Rod opines that letting that go will lead to higher levels of happiness than an obsession with the chase ever could. Musically, it's an endorphin rush of epic proportions. Think the third season finale of Sex and the City where the four gals are all loving life, dancing on the roof surrounded by drag queens and friends. Majestic. A brilliant album closer - a brilliant musical closing number. Rapturous applause and standing ovation.