If there’s ever going to be a film biopic of 70s Anglo-American outfit Carmen, the pitch can be: ‘flamenco tune and dancing meets revolutionary rock.’ Even supposing considered as a musical oddity, they have been befriended by way of David Bowie; and their first two albums, Fandangos In Area (1973) and Dancing On A Chilly Wind (1974) have been created with the services and products of manufacturer Tony Visconti.
Whilst blending other types and genres was once key to attaining their sound, Carmen don’t simply depend on founder David Clark Allen’s fearsomely actual guitar to do the task, but additionally import flamenco’s signature hand-clapping, the percussive foot-stomping and a large number of rousing cries of ‘Olé!’ into the combination.
Allen’s admiration for prog contemporaries together with Sure and Genesis is detectable within the writing as Mellotrons, Moogs and a penchant for dramatic contrasts make their presence felt. Whilst this provides his band many alternatives to show off their obtrusive instrumental prowess, the vocals frequently include an over-the-top macho swagger that feels quite anachronistic nowadays.
With the refrain ‘She’s a shady woman and she or he make you cry… she’ll let you know lies,’ it’s as lame because it sounds
Having parted corporate with Visconti, their 3rd album from 1975, The Gypsies, continues in a lot the similar vein; although there are some shifts towards a extra business mainstream course. Come Again wilts below the burden of tacky hooks whilst Shady Girl – with the refrain ‘She’s a shady woman and she or he make you cry… she’ll let you know lies’ – is as lame because it sounds.
In spite of high-profile give a boost to slots with the likes of Jethro Tull (whom Carmen bassist John Glasscock would pass on to sign up for), the band hung up their castanets because of dodgy control and public indifference.
Whilst there’s some respectable subject material on the ones 3 albums – all contained inside Esoteric’s conventional clamshell packaging – it’s frequently trampled by way of their insistence on shoehorning more than a few flamenco motifs and thunderously fancy footwork into the songs whether or not they want it or no longer, making such inclusions overbearing, gratuitous and, in the end, an excessive amount of of a gimmick.
The Albums 1973-1975 is on sale now vie Esoteric.
