When Blabber’n’Smoke reviewed the first EP from Bearpit Brothers we waxed about their kodachromed 50’s spangled pop. Two years on and their second EP is lined up for release and the brothers themselves say that they’ve moved onto the early sixties. Well, there’s a lot of folk who say that the sixties didn’t really start until 1964 when The Beatles hit global dominance while there does seem to have been a watershed with the advent of the Pill. As Philip Larkin famously wrote,
Sexual intercourse began/In nineteen sixty-three/ (which was rather late for me) /Between the end of the “Chatterley” ban/And the Beatles’ first LP.
We mention this because while the band might be dipping their toes into the rising tide of sixties pop they’re holding on to a lifebelt of innocence, a raft of teenage dreams with the hormones held in check, the songs limited to allusion and portrayed as melodrama. Musically they continue to inhabit a pre Beatles world, crooner vocals, old school married to a pop idiom, think of the Larry Barnes’ stable of brylcreemed balladeers such as Dickie Pride or Vince Eager. Next drop in a dollop of sumptuous guitar draped pop of the type purveyed by John Barry and Joe Meek, both influenced by Buddy Holly but able to add their own idiosyncratic touch. Cap this with Cliff and The Shadows and we’re somewhere near where Bearpit Brothers are at these days although a top notch production and some spectacular guitar playing rises the EP well beyond mere nostalgia.
On to the songs then. Say Goodbye is a pop confection of the first order, pizzicato type guitar underpins singer Robert Ruthven’s warm croon as he evokes tearful railway platform goodbyes. There’s a glorious melange of acoustic and electric guitar midway through which rings to the heavens. Love Born In The City is a paean to young love hit by Cupid’s arrows lifted aloft again by the deft guitar work which does recalls Hank Marvin strutting behind Cliff. Love And Hate moves into Roy Orbison territory, darkly dramatic with a flamenco flourish on the chorus with some low riding twang guitar to boot it sets the scene for the sour title song which follows. Something Cruel has an exotic touch, castanets clicking away as Ruthven realises he’s been taken for a fool, recognising clues too late. Here we’re reminded of Billy Liar, lured by his dolly bird, Liz, only to bottle out at the last moment. This kitchen sink cinematic touch continues on the closing song, Ruby Wine although here it’s the fatalistic element of Poor Cow that’s evoked as Byrne recognises the hopelessness entwined in the relationship.
It’s only 16 minutes long but Something Cruel grabs the listener and is a wonderful evocation of a more innocent time. The EP will be available at the launch gig at Glasgow’s Glad Cafe this Saturday, 22nd August.