Have You Fed the Fish

Badly Drawn Boy - Have You Fed the Fish

Have You Fed the Fish
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Music CD Cover

Artist: Badly Drawn Boy
Edition: Music CD
CD Release Date: 2002-11-05
Music Label: Reincarnate Music
Soundtracks:
  1. Coming In To Land
  2. Have You Fed the Fish?
  3. Born Again
  4. 40 Days, 40 Fights
  5. All Possibilities
  6. I Was Wrong
  7. You Were Right
  8. Centre Peace
  9. How
  10. The Further I Slide
  11. Imaginary Lines
  12. Using Our Feet
  13. Tickets to What You Need
  14. What Is It Now
  15. Bedside Story

Free Music Notes for Have You Fed the Fish

Free Music Review: Have *You* Fed The Fish?
Hit: 5 Stars

Badly Drawn Boy's sophomore (or his third album if you consider the soundtrack to the Hugh Grant movie of Nick Hornby's About A Boy) begins with a pilot announcing the arrival of a cloud that looks exactly like Badly Drawn Boy before kicking into an instrumental overdrive of the album's thematic sonic tone. This shouldn't be wholly unfamiliar to fans of Badly Drawn Boy, real name Damon Gough, who's mix of a certain quirkiness, charming sincerity, and aplomb of his own musical gifts netted him 2000's Mercury Music Prize for his debut, The Hour Of Bewilderbeast, with the then-unknown Doves as his backing band. Compared to Bewilderbeast, many critics dismissed Have You Fed The Fish? as a decent follow-up but not on par with his earlier material - apparently upgrading to Pro Tools means taking a step back somewhere. I contend that Fish? is a better album than Bewilderbeast, and is more solid from beginning to end with nary a clunker. While Bewilderbeast does have it's moments, "The Shining," "Once Around The Block," "This Song," and "Pissing In The Wind" (the most British title of them all), I am able to listen to Fish? from beginning to end. From the instrumental opening cut, "Coming In To Land," to the haunting closer, "Bedside Story." What Fish? has that Bewilderbeast does not is a certain buoyancy to its tracks. A horn section kicks off "All Possibilities" nearing it to a sound I could only call "acoustidisco" with its mix of guitars, pianos, and synth filling in for rollerskates and a twirling discoball, while "The Further I Slide" makes me get up and do some dance everytime that resembles a cross between the Electric Slide and bad adult R&B back-up singers - you know, the trio that stands stage right and moves side to side creating enough static electricity to light the joint for the evening. Don't let those two tracks fool you however, Fish? is hardly a dance album with the slower-paced "Imaginary Lines," and the simple "I Was Wrong" leading into "You Were Right" where BDB turns down the Queen and Madonna because "I was still in love with you ... and I'm calling it my best move" and anyone who compares the night Jeff Buckley died to the nights Frank Sinatra and John Lennon died and uses a whistling solo as a closing bridge can't be all bad, can he? "How?" is achingly beautiful, though the aforementioned Bewilderbeast tracks do a better job at beauty, but "Born Again" is the standout for me as it's Fish?'s most "rocking" (if you can call it that) number beginning with electric guitars before turning into a Phil Spector-esque wall of sound powerhouse with the pounding drums, additional guitars, and driving bassline. "Tickets To What You Need" sounds strangely similar to Aimee Mann's "Way Back When" with its chamberlin, slide guitar, and percussive bounce. Have You Fed The Fish? is what Badly Drawn Boy does best, self-deprecatory love songs that also praise the beloved's beauty (think a certain cycle of Shakespeare's sonnets), and though it might not have the resplendent gems of The Hour Of Bewilderbeast, it is a more consistent and focused release.

Have You Fed the Fish Poster

The second full-length album (not counting his superb soundtrack to About a Boy) by Damon Gough, a.k.a. Badly Drawn Boy, reveals the true depths of his songwriting and arranging talents. While his debut, The Hour of the Bewilderbeast, knocked us dead with his fey, indie-folk-rock sensibilities, Have You Fed the Fish shows a musician striving for top-shelf greatness in the pantheon of British pop, à la the Beatles, Oasis, and Radiohead. Lush arrangements with strings, horns, a very grand piano, and guitars abound, with a richness rarely found in pop and rock music these days. Gough's songwriting is topnotch and by turns catchy and clever, stinging and personal. But you've been warned: this album gives us less of the indie-pop hero you may want to love, and more of a classic rock idol in the making. Beck/Elliott Smith producer Tom Rothrock is at the helm, and the glossy sheen that results may offend some lo-fi "slacker pop" aficionados. --Lorry Fleming

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