Sha la la la la la la. Yes, What Do You Want from Me? is an extremely good song. Peter Hook is on great form, the lyrics are better than many of New Order‘s and singer and guitarist David Potts was on fine vocal form too.
Music for Pleasure, released twenty years ago this week, was Peter Hook‘s second attempt at a solo project after 1990’s largely forgotten Revenge project. Monaco, though, were pretty successful for a while, and of course What Do You Want from Me? is the single you remember, with its enormous bass guitar part and all the sha la la-ing.
The album followed reasonably quickly after the single though, and third single Shine comes next, still sounding a lot like New Order, or even Electronic during this period. It’s a bit more rocky, and Potts can’t quite reach the high notes, but it’s still a great song.
Getting the singles out of the way right at the start, we then jump to Sweet Lips, which came out just before the album, and was also a pretty sizeable hit. It’s much more dancey than either of the other singles, and it’s another fantastically catchy song. The album version is a slightly extended mix, which works well too.
1997 was, of course, just a couple of years after Oasis had turned up and persuaded everyone to dig out their 1960s record collections, so it shouldn’t come as too much of a surprise that Monaco wanted some of the action as well. Buzz Gum is a pretty respectable imitation of all the other indie stuff that was going on in the mid-1990s.
It’s tempting to wonder whether loading all the singles at the front of the album was the best idea – it started off so promisingly, but Blue is pretty dreary, although it’s also mercifully short. Then comes Junk, a nine minute dance piece, which actually sounds as dated as the indie tracks now, but it’s pretty good.
Billy Bones is a slightly trippy slow-rock piece, which is pretty pleasant, then Happy Jack is another low-grade indie track, this time with a particularly average vocal as well. Tender is better – if you’ve forgotten the album, this is the one with the catchy “in my mind I live in California” line.
Sedona (which is in Arizona, not California) is the last track, and is the best thing we’ve had on here since the singles at the start. It’s a huge, and epic piece, bobbing along at a fairly leisurely tempo, and with some slightly naff synth reed sounds, but it’s a clever exploration of sounds, and makes for a great instrumental closing piece. After a minute of silence at the end, someone turns up to add “Oi! You can turn it off now!”
Strictly speaking, I could have done that three quarters of an hour ago, but I didn’t. Music for Pleasure is a mixed bag, but when it’s good, it is very good indeed. And it clearly must have had some kind of impact on me – I would never have suspected it when the album came out twenty years ago, but now I do live in California. Thanks, Monaco!
You should still be able to find copies of Music for Pleasure floating around, but I’m not sure I would pay that much for them…