Blue Eyed Boy '80-'84
The name of Neil Davidge is more familiar for his seminal work with Massive Attack, the link with the dance grooves and adjustments of DNA and for film and TV music credits. By contrast the first half of the 1980âs Bristol band Big Outdoor Type was an earlier pop-tinged project with a planet of rhythm thrown in.
Neil and his writing partner, vocalist Tracey Fuller, had managed to come up with something a little more sophisticated than much of the local fare usually on offer. Music journalist Dave Massey picked up on the band and reviewed them to a national readership for Sounds. After that, well nothing much happened. Fast forward some four decades and Massey was able to compile the Blue Eyed Boy album for Bristol Archive Records, saying:
âI was hearing terrific tracks Iâd not come across before. The overall quality was so high it was too good not to see the light of day. These tracks, along with a whole mass of home, four-track and Bristol demo studio produced works, have come together in a rather wonderful collection that was a delight to compile.â
Opening track âDonât be a Strangerâ is a beautiful blast of summery warmth that easily breezes into the ears from the off. Itâs a song and arrangement that can keep you guessing as it rolls along sweetly into a place thatâs a bit more dramatic but still uplifting.
The next tracks are a blissful cross between Swing Out Sisterâs âBreakoutâ and the woozy sway of Associates in âSulkâ mode on âWinters Coldâ, the jive swing of âThe Spellâ, while the haunting âIncredible Shrinking Girlâ and the later âFollow Loveâ are songs that echo the classic Postcard era of Sound of Young Scotland with some southern sweetening.
The cameraâs lens is never out of focus and the image can always be altered. That comes into view in The Secret, a magical merging of 1967 era romanticism and explorations with that sorry for laughing sensibility from our Caledonian cousins.
Fun is on the agenda too. The frisky detour that is âCasseybottom Stompâ is followed by the wildness of âGiantsâ. The band tune right into the early 80âs jazz-punk-funk heritage that came through via the likes of Bristol favourites, Pigbag, Animal Magic and Maximum Joy.
The more jangly angles of âCity of Hellâ and spacious, sub psychedelic Latin lusciousness of âOur Last Man in Brazilâ â the latter to be found on the digital release - take that process several dance steps further. There is also a hint of the filmic element that would later inform Neil Davidgeâs future career.
The spread of options is tribute to the core band during the 80âs of Tracey, Neil (swapping between guitar and bass), drummer Steve Dew and guitarist Phil Willmott. At differing stages, the group was refreshed by a second backing singer and live keyboard player Dianne Woodward; brass and, on demos, the keyboard contributions of Phil Andrews and Dave Patterson.
Steve would go on to play with the later Davey Woodward (Brilliant Corners) band The Winter Orphans, as well as contributing to albums by several other local acts. Bassist, Reg Shaw, is in the leading The Clash tribute band, London Calling!
This album collection was for so long a lost possible classic that never was. Thatâs not the case any longer. Dive right in, breathe the refreshing air, enjoy the view and feel the benefit of the great outdoors.
Blue Eyed Boy '80-'84
The name of Neil Davidge is more familiar for his seminal work with Massive Attack, the link with the dance grooves and adjustments of DNA and for film and TV music credits. By contrast the first half of the 1980âs Bristol band Big Outdoor Type was an earlier pop-tinged project with a planet of rhythm thrown in.
Neil and his writing partner, vocalist Tracey Fuller, had managed to come up with something a little more sophisticated than much of the local fare usually on offer. Music journalist Dave Massey picked up on the band and reviewed them to a national readership for Sounds. After that, well nothing much happened. Fast forward some four decades and Massey was able to compile the Blue Eyed Boy album for Bristol Archive Records, saying:
âI was hearing terrific tracks Iâd not come across before. The overall quality was so high it was too good not to see the light of day. These tracks, along with a whole mass of home, four-track and Bristol demo studio produced works, have come together in a rather wonderful collection that was a delight to compile.â
Opening track âDonât be a Strangerâ is a beautiful blast of summery warmth that easily breezes into the ears from the off. Itâs a song and arrangement that can keep you guessing as it rolls along sweetly into a place thatâs a bit more dramatic but still uplifting.
The next tracks are a blissful cross between Swing Out Sisterâs âBreakoutâ and the woozy sway of Associates in âSulkâ mode on âWinters Coldâ, the jive swing of âThe Spellâ, while the haunting âIncredible Shrinking Girlâ and the later âFollow Loveâ are songs that echo the classic Postcard era of Sound of Young Scotland with some southern sweetening.
The cameraâs lens is never out of focus and the image can always be altered. That comes into view in The Secret, a magical merging of 1967 era romanticism and explorations with that sorry for laughing sensibility from our Caledonian cousins.
Fun is on the agenda too. The frisky detour that is âCasseybottom Stompâ is followed by the wildness of âGiantsâ. The band tune right into the early 80âs jazz-punk-funk heritage that came through via the likes of Bristol favourites, Pigbag, Animal Magic and Maximum Joy.
The more jangly angles of âCity of Hellâ and spacious, sub psychedelic Latin lusciousness of âOur Last Man in Brazilâ â the latter to be found on the digital release - take that process several dance steps further. There is also a hint of the filmic element that would later inform Neil Davidgeâs future career.
The spread of options is tribute to the core band during the 80âs of Tracey, Neil (swapping between guitar and bass), drummer Steve Dew and guitarist Phil Willmott. At differing stages, the group was refreshed by a second backing singer and live keyboard player Dianne Woodward; brass and, on demos, the keyboard contributions of Phil Andrews and Dave Patterson.
Steve would go on to play with the later Davey Woodward (Brilliant Corners) band The Winter Orphans, as well as contributing to albums by several other local acts. Bassist, Reg Shaw, is in the leading The Clash tribute band, London Calling!
This album collection was for so long a lost possible classic that never was. Thatâs not the case any longer. Dive right in, breathe the refreshing air, enjoy the view and feel the benefit of the great outdoors.
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The name of Neil Davidge is more familiar for his seminal work with Massive Attack, the link with the dance grooves and adjustments of DNA and for film and TV music credits. By contrast the first half of the 1980âs Bristol band Big Outdoor Type was an earlier pop-tinged project with a planet of rhythm thrown in.
Neil and his writing partner, vocalist Tracey Fuller, had managed to come up with something a little more sophisticated than much of the local fare usually on offer. Music journalist Dave Massey picked up on the band and reviewed them to a national readership for Sounds. After that, well nothing much happened. Fast forward some four decades and Massey was able to compile the Blue Eyed Boy album for Bristol Archive Records, saying:
âI was hearing terrific tracks Iâd not come across before. The overall quality was so high it was too good not to see the light of day. These tracks, along with a whole mass of home, four-track and Bristol demo studio produced works, have come together in a rather wonderful collection that was a delight to compile.â
Opening track âDonât be a Strangerâ is a beautiful blast of summery warmth that easily breezes into the ears from the off. Itâs a song and arrangement that can keep you guessing as it rolls along sweetly into a place thatâs a bit more dramatic but still uplifting.
The next tracks are a blissful cross between Swing Out Sisterâs âBreakoutâ and the woozy sway of Associates in âSulkâ mode on âWinters Coldâ, the jive swing of âThe Spellâ, while the haunting âIncredible Shrinking Girlâ and the later âFollow Loveâ are songs that echo the classic Postcard era of Sound of Young Scotland with some southern sweetening.
The cameraâs lens is never out of focus and the image can always be altered. That comes into view in The Secret, a magical merging of 1967 era romanticism and explorations with that sorry for laughing sensibility from our Caledonian cousins.
Fun is on the agenda too. The frisky detour that is âCasseybottom Stompâ is followed by the wildness of âGiantsâ. The band tune right into the early 80âs jazz-punk-funk heritage that came through via the likes of Bristol favourites, Pigbag, Animal Magic and Maximum Joy.
The more jangly angles of âCity of Hellâ and spacious, sub psychedelic Latin lusciousness of âOur Last Man in Brazilâ â the latter to be found on the digital release - take that process several dance steps further. There is also a hint of the filmic element that would later inform Neil Davidgeâs future career.
The spread of options is tribute to the core band during the 80âs of Tracey, Neil (swapping between guitar and bass), drummer Steve Dew and guitarist Phil Willmott. At differing stages, the group was refreshed by a second backing singer and live keyboard player Dianne Woodward; brass and, on demos, the keyboard contributions of Phil Andrews and Dave Patterson.
Steve would go on to play with the later Davey Woodward (Brilliant Corners) band The Winter Orphans, as well as contributing to albums by several other local acts. Bassist, Reg Shaw, is in the leading The Clash tribute band, London Calling!
This album collection was for so long a lost possible classic that never was. Thatâs not the case any longer. Dive right in, breathe the refreshing air, enjoy the view and feel the benefit of the great outdoors.
