The Turn

by

Alison Moyet

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This revision of my initial review would be accompanied by at least another half a star, if Amazon allowed it, as my enjoyment of THE TURN deepened the more I listened to it:

As with Alison Moyet's last release, VOICE, this one requires a little time and patience. The set could have used a few more beats and more variety; it's a bit slow going. What's different is that it's all original material, and after a few listens, these songs began to get under my skin. This is the kind of album that rewards repeat visits, and is most effective in the still of the night. Mostly ballads, with real strings backing them up, rather than synthesizers, Moyet has managed to create something at once eccentric and subtle (it looks to me, after reading notes on three of the songs, created for a play entitled SMALLER, like Alison's bizarre makeup and feathers worn in the photographs were part of her costume, as she also played a character in the drama. The rest of the collection has a cohesive feel with relation to those songs). With regard to the music itself, there is some minimal percussion and keyboard work, occasional horns and plenty of acoustic and electric guitars, but the main attraction, as usual with Moyet, is her incredible voice, grown deeper and more expressive with time. My personal favorite, which emerged quickly, is the "The Man In The Wings," with it's low, vibrating guitar backing, reminiscent of the theme from TWIN PEAKS. "It's Not The Thing, Henry" is an odd but energetic and uptempo song that is more like the Alison Moyet of old, and it is another standout track. The three "show tunes" are saved for last, and it's easy to see why: they are really gorgeous; Alison stretched herself on VOICE, and these last few tunes on THE TURN reveal a mature artist at once more relaxed and in full possession of her talent. As heavily produced as this record is, it doesn't really come off that way, due to the tastefulness of the arrangements and the up-front recording of Moyet's vocals. Although I kind of miss the electric, beat-backed singer I've loved all of these years, I'm really impressed with the artistic risks Moyet has taken with VOICE and THE TURN. She may have lost some of her old fan base as a result, but I, for one, am staying with her ... I can't wait to hear what she comes up with next. Ever since HOMETIME, the CD that preceded VOICE, I have been grateful that Moyet, one of the U.K.'s most compelling singers, is still creating and singing.

I bought this CD as an import as soon as I learned it was available, and it was expensive. Perhaps a domestic release will find it more affordable in the future, but this CD is good enough to not feel cheated. My copy is a "Special Edition" which has one bonus track tacked onto the end, an uptempo rouser that seems to say, "never fear, my old friends, the Alison Moyet you once knew is still here." The song is "A Guy Like You," and it almost sounds like it belongs on another album, but I'm glad I have it, and if you are an Alison Moyet fan like me, you will want to add this version of THE TURN to your collection. Oh hell, you should get it with or without the bonus track.

Dark and moody album that actually sounds better with each listening, "The Turn" finds Alison Moyet in excellent voice - as ever - and stretching into different directions music-wise if not lyrically (she sings about relationships and though lyrics are grown-up,interesting and introspective,one wishes pop singers would find different subject from time to time).

Closing of the album has several songs with slightly theatrical feeling and they are all like jewels,hopefully hinting at future musical work.

Personal favorite - "The Man in the wings" that sounds like theme for David Lynch movie.

Come to think of it,Moyet should collaborate with Angelo Badamenti.