One of the most oft-repeated music industry clichés is surely the “difficult third album syndrome” one, allegedly the point in a band’s career when they’re supposed to make both a major creative step forward and pull off a commercial coup to boot (or, usually, get dropped). No bother, eh?
Well, at least in creative terms THE CHAMELEONS annihilated this myth, by producing arguably their best album in “Strange Times” – though since reformation it’s now starting to get a run for its’ money!
Having hooked up with American giants David Geffen by this time, the stage looked set for THE CHAMELEONS and, certainly they grabbed the opportunity with both hands, fashioning an album that moved the NEW YORK TIMES to compare it favourably with THE BEATLES’ “Revolver” and, in contemporary 1980s terms, was (and is) right up there with “The Joshua Tree” or “Life’s Rich Pageant.”
That “Strange Times” didn’t actually elevate THE CHAMELEONS to a far higher commercial plateau and only inadvertently sowed the seeds for their initial demise is both criminal and harrowing, especially as it captures a band at the height of their intuitive and compositional powers and – with former CURE collaborator David Allen’s guiding hand at the tiller – sounding absolutely ginormous.
Fascinating opener “Mad Jack” pitches us into the eye of the hurricane, the riffs razor sharp and Mark’s vocal more commanding than ever before. As calling cards go, it takes some beating and ushers in an album of numerous creative peaks, not least the twin killer punches of “Caution” and the absorbing, passionate “Soul In Isolation”. Both of these significantly push the envelope and showcase ultra-dynamic performances from the whole band, John especially benefiting from the larger canvas and turning in some skin-hammering prowess worthy of Keith Moon himself.
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Additionally, ”Strange Times” is an album unafraid to throw a few curves, finding room to house a lovely, vulnerable acoustic take on the already haunting single “Tears” and the unimpeachably elegant “Seriocity”; this last a notable departure with organ, rippling piano and Reg’s human beatbox rhythm framing a terrific, naked vocal from Mark that celebrates life’s joys and fears in roughly equal proportions.
The album’s second half features the superb single, “Swamp Thing”, full of mystery and intrigue before letting loose a valedictory guitar coda. Then, of course, there’s “In Answer”- the one that really should have broken the commercial ice like a pile driver if there was any justice in the world – and, of course “Childhood”, of which – as someone who once struggled with a Barclays loan – I can only say I heartily concur.
Ridiculously ignored in far too many corners at the time (especially in a sluggish UK too busy celebrating Punk’s Tenth Summer, if memory serves), “Strange Times” contains all the hallmarks of a truly classic guitar rock album even in the uber-cynical early 21st century and one that (on re-evaluation) demonstrates comprehensively that it’s possible to make a big, glorious noise without resorting to blustering Stadium pillockry or chucking your integrity away to the four winds. It’s an absolute essential and no mistake.
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