Into Music Album Review: Alex Fergusson – Songbook
Artist: Alex Fergusson
Album: Songbook
Label: Glass Modern Records
When pub talk turns to Scotland’s greatest songwriters, names such as Gerry Rafferty, Roddy Frame, Jackie Leven, Matt McGinn and Edwyn Collins will often be noisily debated. In the throng of animated chatter, another name may sometimes be offered though, and if it is, it will inevitably be uttered from a quiet voice at a shadowy table somewhere at the back. Of course, this whispered name will inevitably be drowned out – possibly by a record executive, as innocuous there as an undercover policeman at a Hawkwind gig, and who’s paid to shout out “Bobby Gillespie! ‘Cos he wrote Country Girl.”
This is a shame as this unheard voice is correct. The songwriter they confidently offer is ‘Alex Fergusson‘ – and that’s always the right answer to who Scotland’s greatest songwriter is.
To be fair, a good proportion of the general public won’t even know who he is, far less be able to make a judgment on his writing capabilities.
After leaving Renfrew for the excitement of Punk London in 1977, Fergusson co-formed Alternative TV with Mark Perry and later, also co-formed Psychic TV with Genesis P-Orridge: two of the most respected and original groups of that era. In terms of songwriting, it’s easy to think of anything punk related as being simple and base Sex Pistols thrash; indeed, judging by Genesis P-Orridge’s previous band Throbbing Gristle, one might assume that PTV would be nothing more than industrial clangs and drones. But this could not be further from the truth.
The heart of both of these bands was their foundation in solid songwriting – with the musical aspect coming from Alex, leaving much of the words and overall image to the iconoclastic singers from each band. Anyone expecting something approximating Throbbing Gristle from the first two Psychic TV albums will be in for a great shock. While they clearly both contain uncomfortable sonic soundscapes, these are contrasted by gorgeously produced, performed and written Baroque pop-songs. Genesis P-Orridge was so in thrall to the songwriting and production craftsmanship he would refer to Fergusson as ‘My Brian Wilson’. And from listening to any of them, this comparison is very easy to understand. Likewise, the earlier Alternative TV at the very height of 1977 were not indulging in being Damned copyists; their records too were built upon beautifully crafted pop. Action Time Vision is undoubtedly one of the great punk songs. Musically (and lyrically, c/o Mark Parry) it stands out as being something very definably different from 99.9% of what else was happening at that time. Much like Lou Reed, Alex even had a job as staff songwriter, effortlessly knocking out dozens and dozens of wonderful pop songs for others on all manner of assorted labels in between working with both of these two bands; as well as being a noted session musician, producer (he produced Blue Boy for Orange Juice) and synth-pop innovator.
It’s this continual reference to pop which is the key to unearthing the songwriting quality. Underneath the attitude, and even the attuned production, all of these mentioned songs are rooted in high quality 60s pop-craft. Godstar by PTV oozes sheer pop at its best even when played stripped back on an acoustic guitar – as much as it does in all its proto Acid House finery on the 12” Hyperdelic mix.
This new album on the wonderful Glass Modern Records is full of paired back, rugged acoustic pop gems. It’s like a raw-er, punk/post-punk/industrial version of Nebraska. What is immediately apparent in the lo-fi approach to this album is the sheer diversity of songwriting and influences on display. There are nods to Bowie, Lou Reed, The Beatles; but all filtered through a twisted and original prism. Rather than any homage, influences appear here merely to add texture and timbre to an overall vision; likewise there are various counter-culture references in the lyrics. Marlon Brando and Françoise Hardy are given nods and even Brian Jones reappears on ‘Morocco‘ in a spiritual sequel to Godstar.
The stark production holds everything together and feels like a very clever move, which is ironic as it feels like there is no production. It’s as though you’re back at the bar – the very same one from the beginning where the ‘best songwriter’ argument was taking place – but this is now hours later, after everyone has gone home and the only person left is the ‘quiet voice’ and these songs are being played live. The seeming simplicity of the songs betray a deeper complicity on further listening – really unusual chord progressions and tuning. It’s all framed perfectly through the simple choice of guitar, voice and mic which may not have worked so well if each song was given a full-band arrangement. What I love about this most though is the other device which give the album life and joy – and it’s the humour throughout. It’s very wry and gives further tone and shade – such as an unexpected Bowie impression that pops up for a couple of lines. It’s impressive that so many dynamics are on display from 13 songs, a guitar and voice.
This is a very welcome release from a great talent that hopefully does not wait another twenty years to deliver another album.
Songbook by Alex Fergusson is released on the 11th of July by Glass Modern Records and is available via the link here.
Grant McPhee
@GrantMcPheeFilm
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