Review Summary: The Janice Long Session for BBC Radio 1
By the mid 1980s Danielle Dax had become hugely popular on the underground scene. Her first two albums, 'Pop Eyes' (1983) and 'Jesus Egg That Wept' (1984) were largely experimental affairs that led many critics to describe her as "arty". Through word of mouth, Dax was making a lot of waves, garnering the attention of the "serious" music press, leading to her guest-performing on the Channel 4 music series 'The Tube', a television show that showcased cutting-edge, innovative music. Her concerts became a big underground attraction and in 1985 one of her concerts at London's Camden Palace was televised late at night by ITV. Around this time she began making music that was slightly more accessible in a bid to reach a wider audience. By the way, groups such as Goldfrapp, Scissor Sisters and even Fuzzbox have cited Danielle Dax as a major influence in their careers. Such a shame Dax was to never crack the mainstream herself!
It's a strange thing because all those that supported Dax didn't just like her - they absolutely ADORED her, and she became an artist many tried to emulate. However, despite wide critical acclaim from the music press and many of her singles topping the Indie and Dance charts, she struggled to get significant airplay on mainstream commercial radio stations, many viewing her as too "arty" and avant-garde for the pop world. It's all the more surprising, perhaps, that in late 1985 she was invited to record a session for the Janice Long show on BBC's Radio 1, although this was aired late at night, thus hampering any real opportunity for her to widespread exposure.
It's an understatement, to say the least, when I say that this CD of 'The Janice Long Session' is absolutely fantastic and totally stunning. All four of these tracks were totally captivating before, but are amazingly even bettered for this session. 'Fizzing Human Bomb', on this CD version, is one of my all-time favourite tracks by Ms Dax. I love the intensity of the instrumental, which incorporates Middle-Eastern sounds into its eclectic arrangement that lands somewhere between new-wave, electronica and art-pop. Dax's intense, sombre vocals are brought front and centre of the music, all working to startling effect.
Equally stirring and utterly beguiling is the extraordinary 'Pariah' (originally recorded for her second solo album 'Jesus Egg That Wept'), coming complete with swirling ethereal sound effects (the case with all tracks here) and awash with tinkling keyboards. Dax is really able to show off just what a wide vocal range she possesses here and the song itself is both hard-hitting and disturbing.
The song speaking of ecology 'Ostrich (also originally recorded for 'Jesus Egg That Wept')', is wrapped in a compelling rock arrangement, with a scathing performance from Dax. Rounding things out is the folk-like hymn 'Numb Companion', (from her solo debut 'Pop Eyes') where she gets to show off her impressive vocal range by singing in a more operatic style through the beautifully sparse production.
Although only containing only four tracks, this is, quite simply, ESSENTIAL Danielle Dax, and, perhaps, would serve as the perfect introduction to her music for first-time listeners. A masterpiece all-round, for sure!!!
Ian Phillips
