Album title: I am the Phoenix
Artiste: Judie Tzuke
Genre: Pop
Year: 1981
Label: Rocket Records
Producer: Paul Muggleton
Chronological position: Third album
Notes:
Album chart position: 17 (UK)
Singles: n/a
Lineup: As previously
Review begins
Judie's third album sees her as some sort of avatar on the cover, a stylised goddess rising from the flames (I am the phoenix), and kicks off with a good rocker. “Black furs” seems to relate the tale of a singer who is now as successful as her idol (male or female, this is not mentioned), but I must admit I'm not too much on the song's wavelength, and I could be wrong about the subject matter. It's a good stomper though, and has proved a crowd-pleaser over the years. “Higher and higher” on the other hand returns to familiar Tzuke territory, with a nice, waltzy type love song, which seems to relate the tale of a woman in love, and being drowned in wonder at it all. The electric piano and swirling synth in particular are nice touches, and I have to admit at times this song reminds me of Genesis at their best.
Anyway, on to track three, “Fate's wheels”, which fades in with a menacing bass, sidekicked by Mike Paxman's chuddering guitar, as Judie laments the position of being manipulated by events outside her control. There's a nice chorus line:
"Hold on to me if you need me, I'll be holding on to you. We'll take our fate as they deal it: only the strong survive". There's a sweet electric piano solo in the song, while the bass and guitar keep watch. For this album Judie has drafted in outside help, with another keyboard player (Andy Clark) backing up Bob Noble, and Charlie Morgan taking over some drum duties from Jeff Rich. There are also two new guitarists, acoustic men proceeding under Paxman's watchful eye, to help fill out the sound of the album, which works well.
“Come hell or waters high” is the “Stay with me till dawn” of this album, a beautiful, simple ballad where Judie professes her undying love for her man. This song had the dubious distinction of being covered by the pop/soul singer, Dee Cee Lee, some years ago, but her version wasn't a patch on the original, I feel. This song is mostly driven by piano and acoustic guitars, and really is a beautiful composition. One of the two most touching ballads on the record, and easily for me the best track overall. Following it is another ballad, but a more jaunty, upbeat-ish one. “You were the place” is the lament of one who must leave the one they love, and never see them again:
"It's the last time I can call you friend, my friend." There's a lovely piano backing to Mike's guitar here, with the drums not obtrusive, but keeping the beat nicely. This is in fact Jeff Rich, making his appearance on only four out of the nine tracks on the album.
The next track is very weird! It's great musically, but lyric wise I have to admit I remained lost as to what it was about until I spoke to Judie and asked her, and the mystery was solved. “City of swimming pools” is an atmospheric, swirling, mysterious song, with sweeping synthesisers and ominous piano. It's quite a long song, and very well crafted, as can be said about pretty much every track here. If there's a title track then the next one is it, but it's in fact called “You are the phoenix”. Hey, it's FUNKY! The first of Judie's songs I've heard with this sort of beat, up to now. A sort of jazzy guitar against a solid bassline and synthesiser backing, this track has Judie wondering what it takes for a love affair to stay together, or to be remembered after it is over:
"If we pass by on some avenue will we walk by like we never knew what love can do?"
“The flesh is weak” is an unashamedly brazen admission that everyone at some time gives in to temptation. It's a fast, bouncy song, and has a nice, goodtime feel about it, with the chorus coming across heavier than the rest, almost shouted. Paul Muggleton complements Judie well on the backing vocals here, as elsewhere. Mike has obviously decided at this point to leave the vocals to the two of them and concentrate on his superb guitar playing. Echoes of “Chinatown” surface, interestingly enough, halfway through the track, and were Judie to start singing
"Ah-ah-ah-ah-ah", as in that track, I wouldn't have been surprised. There's a nice piano outro to the whole thing, courtesy of Mr. Noble. Very tasty.
And so we come to the closing track, another ballad, and almost as good as “Come hell or waters high”. “I never know where my heart is” sees Judie in the position many women (and men) often find themselves in, unsure whether to trust, unsure if something is going to last, unsure if she is doing the right thing:
"Fall in love, fall apart... I've never known where my heart is". In this song her lover seems to be cheating on her, but she is not sure, and afraid to ask in case she is wrong, and loses him through the accusation. It's a lonely, sad, sympathetic song, and driven nicely by the keyboards of Noble and the gently understated guitar of Paxman, along with the string arrangement which sees the return of Gavin Wright and Paul Buckmaster, and all in all, a lovely way to close the album. There are even reminders of the utterly beautiful backing vocals used by Judie on
Welcome to the Cruise's “For you”. Stupendous.
Track listing and ratings
Black furs
Higher and higher
Fate's wheels
Come hell or waters high
You were the place
City of swimming pools
You are the phoenix
The flesh is weak
I never know where my heart is
Afterword:
Musical maturity is evident in this, Judie's third album, with songs like “City of swimming pools” and “Come hell or waters high”. The production duties have by now been taken over by Paul Muggleton, and the backing vocals by Bob Noble. The return of Wright and Buckmaster adds something that perhaps
Sportscar was lacking: string arrangements always seem to work well for Judie, giving her songs a fuller, more haunting quality. It's interesting also that when the aforementioned Dee Cee Lee looked for a JT number to cover, it was to this album that she came. Perhaps seen as a turning point in Judie's career? Yeah, well hardly, but still, a step up from her previous albums. The one word that describes this album best is, I think, mature.
Rating: 