The line up for Capo Jr. are Dean Morley (bass guitar), Kit Baume (vocals), Matthew Phillips (rhythm guitar), Paul Willis (lead guitar) and Vinny Manser (drums). Classifying their music into a genre for me is very difficult, because while they have their base roots in rock in a style not dissimilar to Guns ‘n’ Roses or the Rolling Stones, in their album their music diversifies to cover what I would loosely term as Jazz and Blues and lyrics that would sit as well in punk as it would rock or metal.
Track 1: For Your own good.
The introduction to ‘For Your Own Good’ was a seemingly complex guitar solo played with such confidence one would think Paul were playing a nursery rhyme, underpinned by a repetitive baseline which was continued into the verse, shifting as the tone of the lyrics changed from positive to negative.
This served a musical cue to the change in tone that was more primal than the lyrics themselves which linked skilfully throughout the song. The drums are particularly noticeable on the offbeat where there is very little other sound in comparison, giving the audience a regular reminder of the pace of the piece. There were a few moments when the level of the percussion (cymbals) were a little loud for the piece in my opinion, but the overall sound quality was still leaps and bounds beyond the original E.P. and does not detract from the enjoyment of the piece.
During later verses the riff used by Matt and Dino morphed into what sounded like a more improvised melody revolving around the same chords so the original baseline could continue throughout without sounding out of place.
The lyrics of ‘For Your Own Good’ seem to be antiestablishment, in particular when it comes to the government response to large groups. At first it flatters a group, manipulating them to trust them (such as soldiers, the elderly etc...) which take up the first two lines of each verse. Then it turns tail and deserts them. I thought of putting an example of lyrics in, but the whole set of lyrics can be read here: http://www.geocities.com/capojrfans/Track1FYOG.html
It appears in its comparatively soft spoken way to be a protest against the two faced attitude of government and society towards groups where in the moment they react with passion and fervour to their aid and when they have outlived their usefulness toss them to the wayside.
I am glad to see that the band has not made the mistake of many to languish in their comfort zone after producing their first works. The lyrics to ‘For Your Own Good’ could as easily be punk but with a rock tune.
Track 2: You’re not Funny
The introductory riff to 'You're Not Funny' is light in comparison to the rest of the song with just the two (I believe) of the three guitars, no bass. No drums, Vinny delicately marks time with a metallic tinkle. This continues through the first part of the verse up until the last line before the chorus producing a platform for the vocalist to sing quieter during the first verse and create a sense of being closer to/confiding in the audience. It also gives the impression possibly of a slightly 'nervous' beginning as the child recounts the insults of his bullies, the last line being more defiant and the music reflects this by bringing in a strong, deep bass and drums as backup.
The vocal melody for 'You’re not Funny' takes advantage of the use of the downward inflection in tone when insults are hurled, but also maintains some of the energy of the spoken equivalent. The verses of this song use common schoolyard taunts sung in the first person with some personalised touches like the specific references to the vocalist's long hair and short stature.
The chorus picks up on their anger and defiance towards the bullies, that in the end they’re not big, clever or funny. I think this kind of song is not written honestly as often as it is penned. They are written with a wish to divorce themselves from the reality of their bullying even if they want to let the next generation know that they do not have to put up with it. In putting it into the third person or making it more general I do not feel they reach an audience as emotively as ‘You’re not Funny’ does. The lyrics can be read here: http://www.geocities.com/capojrfans/Track2FYOG.html
Track 3: Another Place
'Another Place’ is a step away from the norm for Capo Jr. with a more evangelical feel. The introduction to the song has a lone acoustic vibe with a very simplistic set of chords that I could easily imagine my local church band playing. The lyrics begin with an upbeat affirmation of the singer's faith that he has a friend in Jesus that will guide him through the hard times. Although the theme is religious and the music soft, there is still a distinct rock feel to the piece. The guitar line is relatively high in pitch and light with a similar accompaniment from the drums; in contrast to the depth of the vocal harmonies at the beginning of each verse.
The second verse is like peeling back the layers of an onion, a slightly mellower sadness touches his voice as he explains that he struggles with the fact that his family do not understand his faith. The music is kept low key and toned down in contrast to the mounting anger of the singer.
A single line of calm is placed in the centre of the piece, the familiar words - ‘Jesus loves me, this I know, for the bible tells me so’ are sung over the first lull in pace in the song from the start. It is beautifully done. The next breath returns to the more angry young man, crying out at the loneliness of this position and God’s choice to make it thus.
The lyrics are incredibly simple, no fuss, no use of religious slang, yet it somehow still speaks to me. The beginning of the last two lines of the first verse with the repetition of the word ‘lonely’ reiterates it in the mind of the listener as they bounce along to the music. The rhyming pattern in the song changes quite frequently, never giving the audience time to become comfortable or bored.
The lyrics can be read at: http://www.geocities.com/capojrfans/Track3FYOG.html
Track 4: Light My Fuse
'Light my Fuse' is about sex, or more accurately, the raw expression of lust between one person and their partner. I say that tentatively, whether or not they are actually in a relationship is not specified. It does mention love in the sense of 'lovin' in your eyes' and makes reference to not being able to get over them, wanting to show how they care, that this person makes them feel complete. These small notes of potential emotional familiarity are put against a backdrop of an overwhelming desire to be physically intimate with them.
The opening guitar riff is raunchy and it continues unrelenting through to the chorus.
The sound quality on this piece is right, all of the various layers at just the level to compliment one another. There is energy in a live performance (along with facial expressions) that cannot be captured onto CD, but this is the very next best thing. The guitars are tight; I cannot hear an instance where they fall out of synch with one another so as to jar. The drums similarly stick to the strict time that is set by the riff and marks time while adding a little something of its own.
The second verse has a cheeky quality to it that gives it something personal. The tone of voice changes, but it is something more than that. The suggestions seem to me to be something that someone might think to say while they were part way into the act with their blood up and their focus already diverted partially to the sensual. This is in no way meant to be an insult to the choice of lyrics; it is just the atmosphere the song is trying to create.
I have heard this song live several times and on their debut E.P. This version of the song has much of the qualities of the live performance without the problems with quality of recording that plagued the E.P.
The lyrics can be read here: http://www.geocities.com/capojrfans/Track4FYOG.html
Track 5: Hindsight.
The title 'Hindsight’ should have given me a clue that this was bound to end badly, or at least end. The lyrics begin in the first person perspective in the present tense; this is sustained throughout the first verse as the vocalist describes how deeply they love the girl. The accompaniment during the verse is repetitive and quiet in comparison to other songs on the album. The chorus is more forceful, the riff has a faster beat, and a sense of urgency is created as the singer questions the lover's ability to withstand the test of time. It implies that the relationship will end; they will go back on their promises of forever and will leave him.
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The choice of title seems to say to me that they are looking back at something that is already over, but the ending does leave it open. Perhaps the lesson that the boy could learn if they heard their words would be to trust that they are loved, even if they don't feel it for themselves, and that doubt can fulfil prophecies as effectively as any other factor in a relationship. Second guessing what they have learned from the experience, like hindsight is still only 20/20.
The lyrics to can be read here: http://www.geocities.com/capojrfans/Track5FYOG.html
Track 6: Greenham
'Greenham' harks back to the days of the women’s protest camps at Greenham Common against nuclear weapons bases in the United Kingdom. During my research into the song I came across this site which may give more of an insight into the history of Greenham Common to those not familiar with the subject: http://www.greenham-common-trust.co.uk/history.htm
'Greenham' is told from the perspective of a young boy whose mother took them to the women's protest camps. The first few verses have a childlike quality as they describe the camp and the people there. It becomes more serious when the police become involved and the women are arrested. As a link for the chorus lines, the band has chosen to use a song that was sung to the child: "I was born a big strong woman, I was born a big strong woman, I was born a big strong woman and they just can't take my dreams away."
If the context is lost on first listening, it can seem somewhat comical to hear a male voice with those lyrics, but this song works as an upbeat affirmation of feminine power, as much as it does a personal tale about the effects of the Greenham protests. The song shows that one of the band members was either present or put in some research of their own, with little details like the dates when the convictions of the women were overturned.
The lyrics can be read here: http://www.geocities.com/capojrfans/Track6FYOG.html
Track 7: Jokes on Me
The bass is the centre of 'Jokes on Me' from the start working to establish a blues rhythm, the introduction of an offbeat click of fingers up until the first vocals was a nice touch. Extra layers were added around that point with drums and guitars. The guitars do not follow the rhythm of the vocals and they play off against each other and the drums - which gives ample opportunity for dancing and depth to the melody. The lyrics themselves were delivered with the throaty wisdom of one who had been there and done it.
The lyrics to 'Jokes on Me' could be any number of awkward break ups that most of us have experienced at one point or another. At least the first verse could be. The second verse is far less common, honesty about how it came to that point. They definitely appear to enjoy playing this one and it shows even on the album.
The lyrics can be read here: http://www.geocities.com/capojrfans/Track7FYOG.html
Track 8: Big Love Rock Song.
There is little new that I could say about 'Big Love Rock Song' as I have reviewed it before. It is a satirical piece, poking fun at the commercial attitude of the music industry set to the backdrop of a cheesy epic rock song. The song has mainstream appeal, a catchy tune and is one of Capo Jr's more care free expressions. The album version of the song true to the live version is crisp, energetic and cheeky. I would recommend taking a look at the lyrics even if you've never heard the song, they're a good laugh.
The lyrics can be read here: http://www.geocities.com/capojrfans/Track8FYOG.html
Track 9: Compassion Fatigue
Could anyone who has never lost their temper with a child who continually comes back crying having done what you asked them not to over and over raise their hand? Another favourite is the number of times a friend approaches for relationship advice, only to go ahead and do whatever they had in mind - which we all know will go horribly wrong. Not cynicism, just the way that they are. That is in essence 'Compassion Fatigue,' the one who comes for advice but doesn't take it, seeks sympathy but is by their very nature, perpetuating the problem. The person who causes even their friends in the end to despair because their paranoia stops them from seeking their friends who could help them to stop repeating history instead of just being there to pick up the pieces time and again. I can sympathise with the position of the singer in this piece, while it is unlikely to be a socially popular position to take, there have been times where I wished I could tell my friends to quit feeling sorry for themselves and do something about it.
'Compassion Fatigue' from the start has an authoritative stance, the guitars tight, the drum beat fast, the vocalist takes very short breaks for breathing room to ingest the information being imparted.
The harmonic line of the guitars in this piece often cross over one another and create a background that forces the listener to focus on the lyrics, every so often stopping to be impressed by the skill that it takes to pull off the sustained pace of the piece.
The lyrics can be read here: http://www.geocities.com/capojrfans/Track9FYOG.html
Track 10: Slave.
'Slave' is a polyphonic piece, each guitar taking on a separate line that does not follow the melody line. The lyrics called upon a collective memory of a time when most of us have had a crush on someone who will never return that affection. As such it wasn’t difficult to feel sympathy towards the piece and Kit managed to shift his voice between frustration and sadness with some grace.
This is a classic rock song with impressive guitar solos that would fit well into the work of eminent rock artists as well as the little known Capo Jr. This is an appropriate end to what has turned out to be a stunning first album. The sound quality of this song in comparison to the E.P. version is greatly improved.
The lyrics can be read here: http://www.geocities.com/capojrfans/Track10FYOG.html
Capo Jr's first album 'For Your Own Good' was a pleasure to listen to and review. Each day brings with it a mood, there are moments when no matter how much I love a band I just cannot listen to another song from that genre or with that theme. That, thankfully (given the number of times I listen to an album during a review) did not happen with Capo Jr. Their music spans the genres, themes and I would say generations. I applaud their skills and I hope to see them still about in ten years time. If you would like more information about the gig dates to check them out for yourself, a request can be sent to join the mailing list at capoproductions@aol.com
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