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Tanita Tikaram: Ancient Heart

 A l b u m   D e t a i l s


Label: WEA Records
Released: 1988
Time:
 43:20
Category: Pop/Rock
Producer(s): See Artists ...
Rating: *********. (9/10)
Media type: CD
Web address: www.tanitatikaram.com
Appears with:
Purchase date: 2001.09.10
Price in €: 6,99



 S o n g s ,   T r a c k s


[1] Good Tradition (T.Tikaram) - 2:49
[2] Cathedral Song (T.Tikaram) - 2:51
[3] Sighing Innocents (T.Tikaram) - 3:31
[4] I Love You (T.Tikaram) - 2:45
[5] World Outside Your Window (T.Tikaram) - 4:52
[6] For All These Years (T.Tikaram) - 5:13
[7] Twist in My Sobriety (T.Tikaram) - 4:50
[8] Poor Cow (T.Tikaram) - 1:56
[9] He Likes the Sun (T.Tikaram) - 5:26
[10] Valentine Heart (T.Tikaram) - 4:04
[11] Preyed Upon (T.Tikaram) - 5:03

 A r t i s t s ,   P e r s o n n e l


TANITA TIKARAM - Guitar, Vocals

ROD ARGENT - Keyboards, Producer, Mixing
PETER VAN HOOKE - Drums, Producer, Mixing
MARK ISHAM - Trumpet, Flugelhorn
PAUL BRADY - Mandolin
DAVID LINDLEY - Violin
MARC RIBOT - Guitar, Horn
BRENDAN CROKER - Guitar
PETE BEACHILL - Trombone
MITCH DALTON - Guitar
MARTIN DITCHAM - Percussion
JOHN GEORGIADIS - Violin
KEITH HARVEY - Cello
NOEL LANGLEY - Trumpet
MALCOLM MESSITER - Oboe
HELEN O'HARA - Violin
BRENDON O'REILLY - Violin
PHILIP TODD - Saxophone
CLEM CLEMSON - Guitar
MARK CRESWELL - Guitar
IAN JEWELL - Viola
RORY MCFARLANE - Bass Guitar
MO FOSTER - Fretless Bass

SIMON HURRELL - Engineer, Mixing
PETER MOSS - Photography

 C o m m e n t s ,   N o t e s


1988 CD Reprise 2-25839
1988 CD Warner Brothers 38226
1988 LP WEA 210
1988 CS Reprise 4-25839



Hailing from Basingstoke, England, and barely 19 years old, Tanita Tikaram has a startling voice that immediately suggests wisdom beyond her years-like Leonard Cohen she croons with dark passion; like Van Morrison she incants soulful truths; like Joni Mitchell she's unpredictable and entrancing. At the hands of co-producers Rod Argent (displaying a lighter touch than his years with Argent and the Zombies would suggest) and Peter Van Hooke (who has played drums with Morrison), Ancient Heart subtly mixes traditional instrumentation with soulful touches of horns and Argent's beautiful, textured keyboards. In her more upbeat moments, Tikaram grasps at the same offbeat mix of tuneful grace and lyrical acuity that Lloyd Cole seeks so successfully, and more often than not she hits the mark. "Twist In My Sobriety" and "Good Question" best reflect that style, but it's the more somber tracks that give Ancient Heart its soul. There's an overriding feeling of recent heartbreak here which gives the album a mournful overtone that's particularly reminiscent of Cohen; "He Likes The Sun" would not be out of place on his most recent (and horribly overlooked) album, and "Valentine Heart" is downright painful. It's a rare artist that can capture that sort of emotional power, and Tanita Tikaram delivers it throughout Ancient Heart.

CMJ New Music Report Issue: 159 - Dec 02, 1988
© 1978-1999 College Media Inc. All Rights Reserved.



Als die 1988 gerade mal 18jährige Londonerin Tanita Tikaram ihr Debütalbum Ancient Heart vorlegte, schuf sie damit einen Meilenstein in der Pop-Historie -- sie trat konsequent in die Fußstapfen der weiblichen Singer/Songwriter-Ikone Joni Mitchell, passte die eigenen Songs allerdings den Umständen der Zeit an. Klar, die Bittersüße und das Verloren-Melancholische in den Liedern hatte sich auch die Tikaram erhalten, doch zum einen klang ihr Gesang noch spröder und rauher als der ihres Idols, zum anderen sang sie über die Nöte und den Beziehungsstress eines soeben halbwegs erwachsen gewordenen Teenagers. Das kam an, Ancient Heart war eines der bestverkauften Alben von 1988 überhaupt. Denn die Tikaram hatte nicht nur einen geschärften Blick für ihr destruktives Innenleben, sondern sie verfügte darüber hinaus für schlichte Melodien im Spannungsfeld zwischen Folk, Pop und Kontemplativem. Das Interesse an der schlaksigen Dame mit den herben Gesichtszügen ließ allerdings Album für Album nach, da sich absolut nichts in ihrer Kreativentwicklung tat, sie die introspektive Nabelschau einfach fernab irgendwelcher Trends weiterzelebrierte. Wie auch immer -- Klassiker wie "Twist In My Sobriety", "Good Tradition" oder "Cathedral Song" gehören nach wie vor zum besten, was das Genre "weibliche Pop-Musik mit Anspruch" je hervorgebracht hat.

Michael Fuchs-Gamböck - Amazon.de



Die 19jährige Britin, Tochter von Fidschianern, in Münster geboren, gewann fürs Debüt David Lindley, Paul Brady und Mark Isham - Rod Argent und Peter Van Hooke zudem als Produzenten. Lässig und leicht unterkühlt singt die Songwriterin ausgereiften kammermusikalischen Folk-Pop, makellos aufgenom- men.

© Audio



Mit 16 hörte sie auf dem College zum ersten Mal flüchtig eine Platte von Joni Mitchell. Drei Jahre später entdeckt Tanita Tikaram im Plattenstudio ihr Herz für die renommierte amerikanische Songschreiberin. Wie Suzanne Vega ist die 19jährige eine Anhängerin der leisen Laute, Folk-Tradition und Pop-Feeling verarbeitet sie zu unerhört spannenden Songs. "Valentine Heart" ist ein Musterbeispiel für Tanitas Talente: ein vornehmes Strei- cherensemble, dazu sparsam dosierte Klavier-Tupfer und die dunkle Stimme der Engländerin - wem da nicht das Herz aufgeht, der kann sich gleich in Hartwachs gießen lassen. ** Interpret.: 7-10

© Stereoplay



It's probably safe to assert that the late 1980s weren't the best of times for talented young female singers. Those who followed the pop charts in those frightening times might remember that the "powers that be" in the music industry were hedging their financial bets on such terrifying marketplace phenomena as Debbie Gibson, Tiffany and Whitney Houston. The chances of an intelligent and talented young female musician breaking into the market, accordingly, were limited. Tracy Chapman made it, as did Sinead O'Connor (though she didn't score well on the singles charts until her second album). But many more promising careers were undoubtedly destroyed by the conditions of the marketplace at the time.

I would hazard the opinion that this situation has improved over the last ten years, in that "female singer-songwriter-musicians" are now a common feature within the industry. This suggests that Tanita Tikaram emerged at exactly the wrong time.

Tikaram's debut album, Ancient Heart was released in 1988, when she was still in her teens. It reveals high levels of intelligence, maturity, and musical sensibility, far removed from the frivolous efforts of her more famous partners-in-demography. And it languished commercially.

The album is almost forgotten in 1998, which is a shame. Tikaram reveals herself as a substantial songwriter and vocalist in AH, providing sultry vocal accompaniment to intelligent, jazz-infected pop numbers. The album isn't quite a masterpiece, but is an extremely impressive "first step" within the musical industry. This isn't for all progressive fans, but those with an open mind to this genre may find much to appreciate here.

Progressive fans might also note the appearance of Rod Argent (of Argent) and Peter Van Hooke (of Mike + The Mechanics) on the album. This is not necessarily a good thing. While contributing memorable performances on certain tracks, Argent and Van Hooke (who produced the album) also provide an annoying commercial ethos of the "textures" of some tracks. Although the presence to two relatively established individuals within the industry may have been necessary to get Tikaram's career off the ground, one might suspect that two other individuals could have done the job better. Still, their presence is far from terrible, and they generally pull off their parts without too many hitches.

The album begins with "Good Tradition", a jazz-folk-pop number featuring a violin lead. Tikaram's voice sounds extremely mature despite her limited years, adding a strong level of vocal authority to the track. This type of music (featuring a narrative of a dysfunctional family's history) would become much more common in subsequent years; Tikaram may accordingly be regarded as somewhat of a trailblazer in this field. Although there is some over-arranging on Argent's part, the track is nonetheless an excellent opener.

"Cathedral Song" is a keyboard-driven track featuring acoustic guitar flourishes by Dalton. This is a more sedate number than the first, featuring Tikaram's recitation of a doomed relationship; the cathedral is the only constant throughout the various aspects of the story. Not quite as good as the first track, this is still a worthwhile piece.

"Sighing Innocents" brings the jazz-pop influences to the foreground, featuring romantic lyrics that actually work rather well (as well as revealing further maturity -- as regards both subject matter and presentation). Van Hooke's drum line is actually fairly interesting, with some notable high-hat inflections. (On the down side, this track -- like many others on the album -- is cut off immediately after the final verse, without any further instrumental performances.)

"I Love You" is much better than the title might imply. Featuring only Tikaram, McFarlane and Dalton, the track features an interesting mix of vocal jazz and acoustic folk stylings, entirely removed from the overproduction which hinders other aspects of the album. Attention should also be give to the extremely musical acoustic guitar passage in mid-song.

"World Outside Your Window" is another narrative number, with Tikaram's vocals guiding the song fairly well throughout its course. The keyboards and drums are rather prominent in the mix and, accordingly, the track is made somewhat more "poppish" than the artist may have originally intended. Still, the pop sensibilities are incorporated into the song fairly well, and do not merit too much blame.

"For All These Years" features an introductory solo from Mark Isham, which not surprisingly acts as the introduction to the most jazz-inspired song on the album. The track has a dark, sultry mood about it (much moreso than the rest of the album), once again featuring lyrics of a most intelligent variety. The jazz performances may seem a bit too "safe" on occasion, but the structure and performance of the work leave little else to be desired.

The best track on the album is "Twist In My Sobriety", which was also its first single. After a hauntingly repetitive acoustic part (in which Van Hooke provides an impressive accompanying section), Tikaram reveals a narrative which combines personal and general references in equal degrees (featuring also a perspective which combines resignation and strength in a seemless whole). This is a very mysterious work -- the title has never been explained to my satisfaction -- and a very effective one. The addition of an oboe during the chorus only adds to the high quality of this track.

"Poor Cow" (the second single) is a more sparse and rhythmic work, with fairly sophisticated pop stylings. The lyrics have a obvious vegetarian connotation, but a more careful reading of the track will indicate that other meanings exist as well. Not a highlight, this is still a fairly good track.

"He Likes The Sun" is another narrative number, featuring a return to folk influences and a vocal inflection oddly similar to that of John Cale. The track itself seems a bit staid until about halfway through, wherein Tikaram suddenly switches to a keyboard-heavy jazz-rock performance for slightly under a minute (before returning to the original motif). A partial success, but certainly worthwhile.

"Valentine Heart" is the second best track on the album, with a piano lead-in and an absolutely beautiful vocal performance (melodic and cutting at the same time). The appearance of a string quartet confirms that this is not a "pop" number so much as a "song" in the proper sense of the term. The arrangement doesn't really change after this, but the track is capable of sustaining audience interest with what it does have.

Finally, the album ends with "Preyed Upon", a mature number which nevertheless is "pop" despite the string quartet's return. Mo Foster's fretless bass is primarily notable for its textural role, rather than for Foster's performance per se. The track focuses on isolation, and seems an appropriate end to this underrated gem.

Ancient Heart isn't for everyone, but is recommended to those who are interested in intelligent jazz-pop. Those curious in finding quality music from the late 1980s may wish to search here as well.

The Christopher Currie review
originally posted to alt.music.yes on 2 January 1998
 

 L y r i c s


GOOD TRADITION

There's a good tradition of love and hate staying by the fireside
There's a good tradition of love and hate staying by the fireside

And though the rain may fall - your father's calling you
You still feel safe inside
And though your ma's too proud - your brother's ignoring you
You still feel safe inside

Oh, was this solo?
Was this yesterday?
Was this true for you?
'Cos while all the rest have taken time
This didn't do a lot for you

And the corners laced with memories
Tell you how it used to be
Your mother smiles, the children play, and all the bad things happen miles away

And strong feelings never bother you
You hold your head up while the rest of us try to

Oh, call the stations
Call the people
We all want to know
'Cos while all the rest have taken time
You don't wanna know

Well, there's a good tradition of love and hate staying by the fireside
There's a good tradition of love and hate staying by the fireside

And though the rain may fall - your father's calling you
You still feel safe inside
And though your ma's too proud - your brother's ignoring you
You still feel safe inside

Oh, was this solo?
Was this yesterday?
Was this true for you?
'Cos of all the choices you have made
This didn't do a lot for you


CATHEDRAL SONG

I saw you from the cathdral
You were watching me
And I saw from the cathedral
What I should be

So take my lies
And take my time
'Cos all the others want to take my life

And I watch you with an intent, basic
It's the same for you
You hold your hand
And it's all fine - laced and
What would you make me do?

So take my lies
And take my time
'Cos all the others want to take my life

Serious for the winter time
To wrench my soul
whole cotton, whole cotton ears
But I know there must be
There must be, yes, I know there must be a place to go

You saw me from the cathedral
Well I'm an ancient heart
Yes, you saw me from the cathedral
Well here we are just falling apart

You catch me
I am tired
I want all that you are

I saw you from the cathedral
You were leaving me
And I saw from the cathedral
You could not see to see

So take my lies
And take my time
'Cos all the others want to take my life


SIGHING INNOCENTS

Give me a stand
A standing ovation, baby
Give me a road
Which I can tail
You don't know nothing, baby
So don't pretend
Or you might pay
Cost
It's costing me nothing, baby
I might feel some shame
But I don't care

And if you won't mind
Just moving the fireside, baby
I'd rather be cold
Than lying over there

No, this ain't sighing innocents
This ain't sighing innocents
No this ain't sighing innocents
I'm just trying to follow you

And if you walk
I might just tag along
It only be shop talk, some
Well that's something to do

Or I might take a walk down
By the river, baby
But no I won't
No I won't be waiting for you

No, this ain't sighing innocents
This ain't sighing innocents
No this ain't sighing innocents
I'm just trying to follow you

Sorry but sense
That (no one will miss you)
That no one will miss you
If you die

They might send a wreath
They might send a reason
They might send a reason
But us, we know

Join in the sus
It's always the same man
He's taking a stroll
And then they tie him to his ghost
I know it's sad

But you never listen
No, you never listen
You just drive home


I LOVE YOU

Johnny was a peculiar guy
Brough up on love and the reasons why
but the reasons why ought not to be said
and so I'm left hands held to my head

I love you
I love you
I love you

It's a beautiful, beautiful, beautiful thing
It's a beautiful, beautiful thing

Chances, changes are all that you have
As you take the hard stuff and lie on your back
The smoothness, strangeness
Fits like a glove
But the comfort of tease
Still rises above

I love you
I love you
I love you

But is it possible, possible, possible babe?
Is it possible for you and me?

Gold and waves and Betty Blue
Are the images that lead to the clues of why
I can't love you
I can't love you
I can't love you
It isn't possible


WORLD OUTSIDE YOUR WINDOW

Everyone has said that I might go
'Cos my red suitcase and my ray-bans
Weren't quite so
I'd bear the heavy wind and rain that falls
I'll never come back again
'Cos you know I laugh when winter shows her hand
Well, that picture framed the saddest thing you'll see
But it bought me time and a place that love could be
And since I'm going now please rearrange
'Cos I'd like to think that things have changed
I don't believe you'll be open anymore

Tell me if, you want to see
A world outside your window
A world outside your window isn't free
And tell me if you wanna catch that feeling of redemption
That feeling of redemption doesn't do much for me

Well, everyone was hoping you would stay a while
Tell us 'bout that great land in the south
I see that man - now ain't he under offer?
I tell you child you go wash out your mouth

Tell me if, you want to see
A world outside your window
A world outside your window isn't free
And tell me if you wanna catch that feeling of redemption
That feeling of redemption doesn't do much for me

What can you say
I'm hiding in the belfry
What can you say - I want to catch time
How can you say you know anything about me
Well I knew about you - but I won't care about you

Everyone has come to see. Well somethings have to do
Flowers out for this photographic haunt, but they all pass me by
But the age is not a funny game, it don't give such a buzz
And when I winced with ignorance
I had to kiss this dust


FOR ALL THESE YEARS

I got a scent on you. I got something here to show
(It's) somebody's slice of life
I had it tailor made, I had it soaken, shaken and shown around the world
And for all these things you tell me, well
I can't quite believe
You are still there and trying to be somebody

Always on the upkeep, always trying to reach the rest of us
We don't have anything to say, nothing to give
Well, it blows away
I have another chance, I may have two lives
But both my lives will be brief lives
And then, you all will wonder why

I was nearly 16 years old
You were only 17, life isn't so complicated
But then life isn't 'sposed to be
For all these years
For all these years

Could somebody tell them
To hurry on, hurry on down
Wouls somebody tell them to hurry on, hurry on down

Every censor, everybody loses their way
I have a wealth of material, I have a well of people to share with you

Every lover
Well they all tell lies
Yes, I have his wife in the background
But I have more than this, I have more than this
And if Mr Chaste, he has a past
Give it to me

I was nearly 16 years old
You were only 17, life isn't so complicated
But then life isn't 'sposed to be
For all these years
For all these years


TWIST IN MY SOBRIETY

All God's children need travelling shoes
Drive your problems from here
All good people read good books
Now your conscience is clear
I hear you talk girl
Now your conscience is clear

In the morning I wipe my brow
Wipe the miles away
I like to think I can be so willed
And never do what you say
I'll never hear you
And never do what you say

Look my eyes are just holograms
Look your love has drawn red from my hands
From my hands you know you'll never be
More than twist in my sobriety
More than twist in my sobriety
More than twist in my sobriety

We just poked a little pie
For the fun people had at night
Late at night don't need hostility
The timid smile and pause to free

I don't care about their different thoughts
Different thoughts are good for me
Up in arms and chaste and whole
All God's children took their toll

Look my eyes are just holograms
Look your love has drawn red from my hands
From my hands you know you'll never be
More than twist in my sobriety
More than twist in my sobriety
More than twist in my sobriety

Cup of tea, take time to think, yea
Time to risk a life, a life, a life
Sweet and handsome
Soft and porky
You pig out 'til you've seen the light
Pig out 'til you've seen the light

Half the people read the papers
Read them good and well
Pretty people, nervous people
People have got to sell
News you have to sell

Look my eyes are just holograms
Look your love has drawn red from my hands
From my hands you know you'll never be
More than twist in my sobriety
More than twist in my sobriety
More than twist in my sobriety


POOR COW

Today is my birthday
I stay outside the hall
Inside sit the butterflies
For the butterfly ball

All the boys are graded now
They come in their white socks, flat tops
And somehow they find a placr
All the boys are winning now
They play all the tricks with smiles
And a sorry past
For poor caw

Their own room
And winter tales
Never touched these girls before
They hear the car stereo
And know what life is for

All the boys are weary now
listening to the family sing song
Family say so

Must carve, must carve poor cow
Slice her, slice her up, poor cow
Slice her, slice her up, poor cow
Slice her, slice her up, poor cow

Today is my birthday
I stay outside the hall
Inside sit the butterflies
For the butterfly ball


HE LIKES THE SUN

Some say the world goes crazy
It's summertime
I say I'm feeling lazy
Hammocks in mind

And I can't change a thing
So I won't stay around
If you can still feel so hot
Why don't you feel for me?
If you can feel so much
Why don't you let it out
And let me be alone again

I keep watch. That's alright
'Cos it comes in this real night

He likes the sun
See the cornered clown
He likes the sun
Let us waste this town
And when it rains
You feel the click in his heart
And that's when the pain in mine will start
And that's when the pain in mine will start

I'm used to growing older
and feeling down inside
But yes, I know, well someone told
You should have seen him cry

Well that's not my life
I'm tired of chip inside and playing bronze for cool
Y'know that sometimes light
And sometimes you can just be that fool
Who can really say?

If I'm cross - it's a joke
if I'm lost - let it go up in smoke

He likes the sun
See the cornered clown
He likes the sun
Let us waste this town
And when it rains
You feel the click in his heart
And that's when the pain in mine will start
And that's when the pain in mine will start

Jump right out of your grass colours
And make like you were easy prey
and cheer us solemn of a possible
Is it possible?
I could really play could really play
All these things I say
Though not torn inside, though not torn
You just lie, lie low - lie low for me

I'm not in deeper waters - where everyone will claim
We used to know the daughter - throw it away it's such a shame
If you're feeling blue
And like icy looks and great command

He likes the way I'm true
But I know inside
This is a real life sham - but that's okay
And this song can't be sued
I assume - you get up and renew yourself

He likes the sun
See the cornered clown
He likes the sun
Let us waste this town
And when it rains
You feel the click in his heart
And that's when the pain in mine will start
And that's when the pain in mine will start


VALENTINE HEART

If I was a Londoner, rich with complaint
Would you take me back to your house
Which is sainted with lust and the listless shade
If I could have held you once more with that light
It's nothing to you, but it keeps me alive
Like a Valentine's Day, it's a Valentine's heart, anyway

The king and the ages, they fall by the plan
It's always the tired and the ordinary man
(It's the) challenge it's funny and such
I want to see you again
I want to see you again
It's so simple and plain
But I'll come back and see you again

The lie is the angel, it doesn't exist
I tell you it's funny but you like just to twist all my words
It's a shame you're so young
My word, it's a shame I'm so dumb
I figure a house with the smoke and the fence
The people round here would be pleased
Take my word on this

I would believe just in you, just believe in you
And five days to catch me around with my ring
As I visit the friendships which meant everything to the girl
With the clown's face, to the girl with the clowns face, round here


PREYED UPON

When your life has all been token
And your stance is akin to broken hearts
You've grown weary - I'm not weary
I can take your part

It's eye-open time, sailor
When they want you to pretend
You were inside that playground
You may be old - but not so old
That I can't see
See your old freinds and it's as fresh as dew
But see what's new and it's all the same to you
Now I'm not choosy and I'm just half grown
I took the old man - I gave the old man
I took the old man back home

Safe with us to serenade
To hang around your black scarf and black ways
I have "no idea" he said, "no idea of what I'll do"

And talking less - it chases home
It chases dreams - but I have really no reason, no goal and so
If you "wanna" play real basic
If you "wanna" help us make it
Don't forget you're alone
Unless it's all alone
Don't forget you're alone
Unless it's all alone

You get preyed upon
Ohh oh

I need to complicate you
To make you hate the things you might have done
And come out into the morning
It's the sun you want
Not the foreign time

 M P 3   S a m p l e s


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