Red Brick Spleen

1989 “Red Brick Spleen” Vinyl LP - ‘Diving For Pearls’ (DFP 001)

Luc Havan ‘Yesterday’s Confetti’ September 1989
“I’m in a panic. Totally calm.” An aptly paradoxical lyric which kind of sums up this Jekyll & Hyde of an album. The strength and quality of Burdett’s songs being in mighty contrast to the frankly appalling production (or, should I say, lack of same!) From the delicate beauty of “Better Smile” and “Nature Love” to the anarchic joy of “Sheet Metal Cubicle 3” it’s evident that Phil knows how to pen a quality song or 14. , Here, unfortunately, they come across sounding like bad demo's. Admittedly “Elm Park Postcard” has its own lo-fi charm, and the closing “Epilogue” could break a heart at a hundred paces. “Susquehanna Babies” and “Laughter” had me singing along after only one listen but, sadly, the wonderfully catchy “Undertown” is yet another let down by its amateur execution (‘Your band’s playing here next week mate!’) Apparently, the whole album was recorded on a shoestring in just a few hours and my how it shows. Above all, however, the songs remain tuneful and full of promise; they, and he, surely deserve better! Let’s hope Phil drops the more overt Van Morrisonisms and gets himself in a decent studio with a sympathetic producer. The results should be spectacular.

Diesel Poems

1993 “Diesel Poems” CD - ‘F.Beat’ (XXCD 24)

1993 “Dreamworld’s Taking Over” Promo CD Single - ‘F.Beat’ (Burdett 1)

“More Songs about Benches and Busking”
review by Paulo Buckley (he stole my woman!!)

Mention Phil Burdett’s name and I start thinking of an old John Martyn album. Not “Glorious Fool”, strangely enough, but the even more apposite “Well Kept Secret”. For reasons way beyond my comprehension Burdett resolutely remains one of the music businesses best kept secrets. In recent years I’ve looked on, perplexed and aghast, as the niche he could occupy with consummate ease gets hi-jacked by the likes of bloody David Gray. Previous attempts at gripping the greasy Record Company pole, initially with “F.Beat” and then “Prestige”, engendered a general disillusionment with the whole corporate process and culminated in a 7 year recording absence. Thankfully, this ended with the completion of his latest project, the defiantly un-commercial, gorgeously downbeat, “See You Later, Forever”. As an expectant nation holds its breath and wonders whether this magnum opus will ever be commercially available, the time seems appropriate to cast a retrospective eye over Burdett’s earlier musical escapades.

Even with the advantage of an absorbing BBC TV documentary preceding its release, 1993’s “Diesel Poems” still managed to smash its way into a “Take That” obsessed music scene with all the impact of a Spurs striker on crutches. Quite inexplicable as, ten years on, it sounds as fresh and inspired as ever. “Change the Meaning”, a highlight of both documentary and album, is proof positive that great songs are still being written: nowadays you just have to search a lot harder to find them. Fear not, however, as “Diesel Poems” has plenty awaiting discovery. From the confined optimism of the opening “Dreamworld’s Taking Over” to the closing track “They Watered My Whiskey Down” (the weary pessimism of which would bring a tear to a glass eye) the standard of Burdett’s song-writing is exemplary.

“Closer To God (Like The Moon)”, a song which ‘Goes out in code’, contains the wonderful lines...“You get a little pub-corner wizardry. Laughing for joy while your faces ache at pain. All the tears you’re saving are dying on the wind like sweet young flowers on a gravestone by the church....” Throughout the album, Burdett’s literate lyrics by turn fascinate, perplex, and impress. “Rizla Hoodlum” veers from the bizarrely inane (but no doubt truthful) “this saveloy is all I ate today” to the sublime “Flat-picking proletariat caught in a Tory subway. It’s your smiling silver sends me home.” Put it all together, however, and somehow it works beautifully! His lyrical prowess coupled with an obvious talent for melody, reveal Phil as a songwriter of rare and genuine ability. The “New World Troubadours” prove a more than able supporting cast and particular mention should be made of Grev Parker’s lovely fretless bass playing. The live favourite “Angel” comes replete with Ian Stewart’s (now almost legendary) guitar solo while Bias Boshell’s improvised piano adds immeasurably to the charm of “Lovelight”. Unfortunately, sales of “Diesel Poems” never actually threatened the likes of Mariah Carey or Simply Red. Thus, Phil’s sojourn with ‘Demon Records’ proved short and, sadly, not so sweet.

At the time he recorded “Diesel Poems”, one of Burdett’s main champions was that doyen of discernment and good taste Mary Costello. In fact his many appearances on her much missed GLR Radio show proved instrumental in actually securing Phil a record deal. Mary, blessed with an uncanny ear for a great song, always peppered her show with previously undiscovered gems and a cornucopia of live sessions. Quite simply, essential listening. Should anyone in Radio controller land be reading this, maybe they could explain to me why Mary Costello is now absent from the airways just when all true music fans really need her most. Better still, rectify this situation immediately!

Patchouli Electric

1996 “Patchouli Electric” CD - ‘Prestige’ (CDSGP 0291)

1996 “Radio Anywhere” CD Single - ‘Prestige’ (CDSSGP 1007)

Patchouli Electric