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Bill Fay Life Is People (2012)

 

Bill Fay — Life Is People 
Birth name: William Fay
Origin: London
Years active: 1967–1971, 2010–present
Labels: Deram, Durtro, Dead Oceans, Wooden Hill, Coptic Cat
Location: London, England
Album release: August 21, 2012
Record Label: Dead Oceans Records
Duration:     54:06
Tracks:
01. There Is A Valley       4:16
02. Big Painter       3:59
03. Never Ending Happening       3:44
04. This World       3:43
05. The Healing Day       5:14
06. City Of Dreams       6:11
07. Be At Peace With Yourself       5:01
08. Jesus, Etc.       4:18
09. Empires       3:23
10. Thank You Lord       3:14
11. Cosmic Concerto (Life Is People)       7:56
12. The Coast No Man Can Tell        3:07                                       / Credits:
Matt Armstrong  Guitar (Bass)
Jay Bennett  Composer
Ian Burdge  Cello
Travis Cole  Choir/Chorus
Matt Deighton  Guitar (Acoustic), Guitar (Electric), Harmony, Vocals (Background)
Bill Fay  Liner Notes, Piano, Primary Artist, Vocals
Richard Green  Guitar (Bass)
Steve Gullick  Cover Photo, Photography
Joshua Henry  Producer
Waleed Isaacs  Choir/Chorus
Bernard Kane  Viola
London Community Gospel Choir  Choir/Chorus
Jonathan Mahan  Guitar (Electric)
Guy Massey  Engineer, Mastering, Mixing
Ben McLusky  Assistant Engineer
Louise Murray  Choir/Chorus
Pete Newsom  Fender Rhodes
Steve Rooke  Mastering
Wendi Rose  Choir/Chorus
Mikey Rowe  Celeste, Fender Rhodes, Hammond B3, Mellotron, Piano, Vibraphone, Wurlitzer
Alan Rushton  Drums, Percussion
Ray Russell  Guitar (Electric), Guitar (Nylon String)
Patrick Simon  Mellotron, Piano
Nathan Stone  Cello
Jeff Tweedy  Composer, Vocals
Vulcan String Quartet  Strings
Andrew Walters  String Arrangements, Violin
Joanna Walters  Violin
Tim Weller  Drums, Percussion

¶   Bill Fay is an English singer, pianist and songwriter whose early releases were made on the Deram label in 1967. Following the release of his second album in 1971, Fay was dropped by the label and no further releases were made until 2005. Fay's 2012 album, Life Is People, was his first album of all-new material since 1971. / Website: http://www.billfay.co.uk/
By Grayson Currin; August 21, 2012 / Rating: 8.0
¶   You don't need a history lesson to love Life Is People, the third proper album by British singer-songwriter Bill Fay. If you've ever enjoyed the records of Pink Floyd or Randy Newman, Spiritualized or Wilco, the dozen gems here move between similar poles of spartan grace and outsized grandeur. The organ-abetted lilt of "The Healing Day" suggests Jeff Tweedy and Jay Bennett turning the page toward happiness a decade ago, while the gospel choir delivering the mantra of "Be at Peace with Yourself" might make you scan the credits for a J. Spaceman acknowledgment. The flinty "Empires" is a piano-led political tune written from a distance and with a dark, Newman-like wit, where the world's biggest timbers eventually yield to the teeming underbrush beneath. Its warped tones and terse delivery suggest Roger Waters coming back to Earth. Beautiful, patient and poignant, Life Is People is an expert singer-songwriter album, as dependent upon keen insight as it is upon meticulous arrangement.
¶   But a history lesson makes Life Is People that much more meaningful. Bill Fay is 69 years old, and he hasn't released a proper studio album since his second, 1971's brilliant and acerbic Time of the Last Persecution. He'd stumbled into a recording contract with the Decca Nova/Deram imprint. As he admitted to WFMU in an interview last year, labels at that point scooped up an abundance of acts, hoping that at least something would turn into a best seller. "Somebody told me at the time," he said, "that their policy was to throw as many pieces of mud as possible at the wall, and hope that some would stick." Fay's records didn't stick, however, and neither did he. Deram dropped Fay and, in the 41 years since Persecution, he's recorded new material and consistently written new songs but never finished a complete record. Music, as he also told WFMU, was a private family affair for him as a child, with his aunts and uncles playing together and his mom occasionally sitting down at the family piano; he performed several times, but largely it seemed that, after stumbling toward fame through music, he wanted to keep the stuff to himself.
¶   It was too late, though. Based only on the strength of those first two records and reissues, sporadic batches of leaked demos, and a terribly teasing collection called Tomorrow, Tomorrow and Tomorrow, issued 30 years after it was recorded, Fay's cult standing grew. Wilco covered "Be Not So Fearful", the gorgeous affirmation from his debut, and convinced Fay to join them onstage in 2007 and later during a 2010 Tweedy solo set. Then, last summer, Fay returned to a London studio for the first time in three decades with American producer Joshua Henry, a lifelong Fay fan who'd barely been alive for 30 years. With a band comprised of younger studio players and Ray Russell and Alan Rushton, who'd joined Fay for Persecution so long ago, they recorded the bulk of Life Is People in a little less than a month.
¶   And now, back to the present: Life Is People doesn't feel at all like a late-life afterthought from a cult hero. Pointed and urgent but never pushy, Fay's songs offer pleas for redemption in a world drunk on its promise, coupled with a reassuring contentment for simply having lived this life. Fay chastises the way generations have refused to learn from their history, even as we stare into devices that allegedly offer all the answers we'd ever need. On the other hand, "Be at Peace With Yourself" extends existential reassurance-- that is, as Fay offers behind a tabernacle-sized mix of organ and choir arrangements, whoever you are is probably good enough. That's a thought echoed on "The Healing Day", a tender Revelation hymn that depends upon the belief that some cosmic help is always on the horizon. "Every battleground/ Is a place for sheep to graze," Fay sings during one his most eloquent bits ever. "When it all comes tumbling down/ All the palaces and parades."
¶   But the record's two key songs, "The Never Ending Happening" and "This World", provide a crucial bridge between Fay's indignation and optimism. On the former, Fay's voice hang's worn but resilient above a simple, elliptical piano line; in these perfect four minutes, he considers death, God, birth, bird song, and war cries as one continuum. He's happy to have been involved, he admits, to have his tiny narrative shape a much bigger story: "Just to be part of it/ Is astonishing to me." The record's pop standout, "This World" springs from the somber end of "The Never Ending Happening" as if to offer the message that, appreciative as he may be, Fay isn't done quite yet. He and Wilco's Jeff Tweedy trade the verses and share the chorus, their simpatico voices both showing the signs and struggles of survival. (Fay also lands a wrenching solo cover of "Jesus, Etc." here, his voice turning Tweedy's resignation into observational candor.) As they dole out experiences with blue-collar worries and dismiss the corner drug dealer who offers "an easy way out," they sound enthused, as if overcoming the worries of the world is its own substantive reward for living. Though he's a quarter-century older, Fay temporarily lends Tweedy an energy that recalls the transition from Uncle Tupelo to Wilco. They're having fun.
¶   In the past decade, a number of serpentine stories and bittersweet circumstances have revitalized the careers of musicians who, for whatever reason, were swallowed by the record industry and largely ignored by the world. To varying degrees, soul singers like Bettye LaVette, Solomon Burke, and Charles Bradley found ways to turn long flirtations with fame (or abject failure) into real or revived careers with new records on indie imprints. Thanks to collaborations with young producer Kieran Hebden, drummer Steve Reid finally became more than a footnote of rock and jazz history; when Bert Jansch linked with Drag City and Devendra Banhart, the inspiration to Led Zeppelin and what had become New Weird America met a fresh generation of listeners. Life Is People and the tale that accompany it are strong enough to do the same for Fay, to at last make his reputation among many match his legacy among few. "There are miracles in the strangest of places," Fay sings at the start of the title track's seven-minute ascent, setting the scene for the string of tiny triumphs he sweetly lists. At the risk of overstating the case, Life Is People—the work of a 69-year-old family man, and the work of a lifetime—confirms its maker's own thesis.
Fortaken: http://pitchfork.com
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¶   Bill Fay is one of English music's best kept secrets. At the dawn of the 1970s, he was a one-man song factory, with a piano that spilled liquid gold and a voice every bit the equal of Ray Davies, John Lennon, early Bowie, or Procol Harum's Gary Brooker. He made two solo albums but his contract wasn't renewed, which left his LPs and his reputation to become cult items. But he never stopped writing, the music kept on coming. Now, in his late sixties, he has produced Life Is People, a brand new studio album that shows his profoundly humanist vision is as strong as it ever was.
¶   His debut on the underground Decca Nova label, Bill Fay (1970), included spacious big band jazz arrangements by Mike Gibbs, but it was the follow-up, Time Of The Last Persecution (1971), that cemented his reputation – a harrowing, philosophical and painfully honest diagnosis of an unhealthy society and a messed-up planet, that featured the cream of London's fieriest jazz session players such as guitarist Ray Russell. Unable to make ends meet as a musician, Fay wandered through a succession of jobs for years, writing songs privately. Both solo albums were re-issued in 1998, and when the likes of Jeff Tweedy began singing his praises in the early 2000s, Bill began to come back into view and Wilco even convinced the shy singer to join them onstage in London in 2007.
¶   A few CDs of Bill's early demos and home recordings have since emerged, but Life Is People is his first properly crafted studio album since 1971. He was motivated by American producer Joshua Henry, who grew up listening to his dad's Bill Fay albums on vinyl. Spooling through Bill's home demos, Joshua discovered an incredible trove of material. Matt Deighton (Oasis, Paul Weller, Mother Earth) assembled a cast of backup musicians to bring out the songs' full potential. These include Deighton on guitar, Tim Weller (who's played drums for everyone from Will Young to Noel Gallagher and Goldfrapp), and keyboardist Mikey Rowe (High Flying Birds, Stevie Nicks, etc). In addition, Bill is reunited on several tracks with Ray Russell and drummer Alan Rushton, who played on Time Of The Last Persecution.
¶   And it's a stunning return to form. Ranging from intimate to cosmic, epic but never grandiose, Bill's deeply committed music reminds you of important, eternal truths, and the lessons to be drawn from the natural world, when the materiality and greed threaten to engulf everything.
¶   It's time to recognise one of the great English voices. After nearly 50 years, Bill Fay has finally delivered his masterpiece: as rapturous and soul-stirring as any music you'll hear this year.
¶   (DOC061 released: 08/21/12)
Discography:
Albums:
Bill Fay (Deram, 1970)
Time of the Last Persecution (Deram, 1971)
Tomorrow, Tomorrow & Tomorrow (Durtro, 2005)
Life Is People (Dead Oceans, 2012)
Compilation albums:
From the Bottom of an Old Grandfather Clock (Wooden Hill, 2004)
Still Some Light (Coptic Cat, 2010)

 © Bill Fay pen and ink by Erica Parrot                                                                            ///   Review by Thom Jurek    /   Rating: ****
¶   Life Is People is Bill Fay's first non-retrospectively released album since 1971. His first two, Bill Fay and Time of the Last Persecution, were released at the beginning of the 1970s, sold poorly, and were not reissued until 1998. Producer Joshua Henry (who grew up listening to Fay's early albums via his father's vinyl collection) and engineer Guy Massey persuaded Fay to reenter the studio, enlisting Matt Deighton, Mike Rowe, Matt Armstrong, some string players, four singers from the London Community Gospel Choir, and guitarist Ray Russell and drummer Alan Rushton (both played on Time of the Last Persecution). Jeff Tweedy (a longtime champion) also appears. Fay plays piano and sings. Fay has written songs and recorded at home for 40 years when he wasn't working in factories, shops, and parks. His experiences as a writer and as a citizen are inseparable from these strange songs, which are the works of a master craftsman. His bittersweet reflections on wasted life, loss, death, grief, environmental apocalypse, and human frailty are balanced by themes that affirm tolerance, healing, love, and spiritual redemption. Now in his late sixties, Fay's voice is seasoned, but not weathered. It's plaintive; it imparts the great wisdom in these songs humbly and without artifice. But there is no preparation possible for hearing Life Is People. It's an intimate recording even at its most epic and majestic, as evidenced by the glorious opener "There Is a Valley" and the shimmering "The Healing Day." The liturgical organ and piano that introduce the album's centerpiece, "Be at Peace with Yourself," is, in its repetitive subtlety and grace, a hymn to self-acceptance that is stated elegantly and without bombast. When the choir enters, the song lifts off, rooting itself deep in the scarred human heart. Elsewhere, Fay's sense of intimacy expresses world-weariness and haunted despair, such as on "Big Painter." Fay performs solo on "Jesus, Etc." (written by Tweedy), which makes a perfect bookend to the stark gospel prayer "Thank You Lord." In between them is the foreboding "Empires," a 21st century blues with stellar guitar work from Russell. "Cosmic Concerto (Life Is People)" gorgeously celebrates life in the process of being lived, be the circumstances mundane or profound. Fay (who is donating his proceeds to Médecins Sans Frontières) performs these songs as if they were living things, independent of his inner world. His reverence for them makes the listening experience one of great emotional depth. Life Is People brims with compassion, vulnerability, and tenderness. It is not a comeback record but a late continuation, a great work of art. (http://www.allmusic.com)

Bill Fay Life Is People (2012)

 

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