"Whatever Happened To Benny Santini?" by Chris Rea (1978) - Review

Greetings music seekers, 

I thought it fitting to start my new blog that I'm running (with a pseudonym) with a review of an album by Chris Rea, where the title and the title track parody a pseudonym the record company wanted to give him, "Benny Santini", to sound more exciting. That track was also the first one I heard from the album, and got me into it and Chris's music.  

Introduction
The album is one I really like; debut albums can be snoozers where an artist finds his feet, and while there is some of that present, particularly on the second side (half) of the album, the majority shows a man who has been in the music scene for a time and wasn't completely green. (Rea had in fact released his first single as early as 1975, and been in a TV-show winning band called the "Beautiful Losers", but ultimately didn't amount to anything, with all but one member of that group forming Rea's backing band for his first few albums.)

+'s
The most pleasing thing about "Santini" is the sound and musicianship. Reportedly, Rea was so unhappy with the production of the album (the same producer would do his next album) that he refused to play the songs live after the tour for the album. Which is a shame, because the record sounds great, whether you listen to the reissued CD, or the original vinyl via a rip (which if you haven't already seen, I strongly encourage you to read the Introduction post where I discuss formats and sources). 
Rea also has a different and excellent vocal sound - he reminds me of Mark Knopfler, but has more variation. Where Knopfler almost always sounds the same whether singing a rock song or a dark tale (which is fine, the music and story is the showpiece), Rea's vocals range from gravelly to harmonious to crooner to various types, making it part of the puzzle in addition to the words and music.
The production combines his vocals with the backup singers (including Rea backing up himself) to excellent effect at times (see: "Bows and Bangles").
The other huge find is Rea's songwriting. Rea can not only write great tracks which sound like they've been written by a career musician, not a debutant (see: "Whatever Happened.."), he can also write sophomoric love songs that are still very clever (see: "Fool"). He can imitate Robert Palmer/other rockers talking about women, love and the like (see: "The Closer You Get"), and evoke strong emotion with stories (see: "Bows and Bangles"). He can even write obtuse, sarcastic lyrics ala Steely Dan (see: "Three Angels"), even if the music isn't Steely Dan at all. Of course it helps that on all these tracks and across the album, the strong statements that happen lyrically are punctuated by strong guitar and piano flourishes, with a capable rhythm section to boot. There's a lot of passion and emotion in the lyrics as well as the music and vocals.
Overall, the sync between words, vocals and music is extremely strong on this record. 

+/-'s
There is a myriad of styles on the album, which is a strength and weakness both.  It ranges from Dire Straits (Mark Knopfler) -style moody, brooding contemplation with guitar picking and strumming to melancholy on piano, to uptempo rockers. The title track is a slow rocker, with strummed steel and electric guitars, conversely the hit single "Fool (If You Think It's Over)" is a piano and pop ballad with no guitars present. Yet further still there's a borderline pop/prog song, "Because Of You", with extended instrumental parts, and the album closer is a more traditional rocker, "Fires Of Spring".
While this isn't the first time such fragmentation on an album has existed, on a debut album it serves to muddy the waters a little. Having just started Chris's second album last night, this is a theme that seems to continue on there too. Essentially, it seems that Rea in his early career, due to album production and management, was defined by them not knowing if they're putting a pianist or a guitarist on show.
In the end they have a bet each way and this actually sounds fine for the most part, but it means the album is slightly fragmented as a result (and potentially even more so on the next one, it seems).

-'s
Additionally, the second half suffers from all the weaker/slower tracks being on it. This is another common find with debut or early albums from talented artists, singles or more quality songs are lumped together on side 1, whereas side 2 features more contemplative, experimental or simply lesser works. 
"Santini" is something different, side 2 actually starts with the hit "Fool", and it's a quality track. However the next 3 tracks are all relatively forgettable compared to the 6 before (although keep in mind - a weak track on this album could be a good track on a poor album!), and the final track is memorable, but due to the tempo change of several slow songs into a fast song, somewhat fails to end the album on an overall high, even if it does show what would become Rea's trademark; his amazing guitar playing, at something close to full flourish.
I can't help but feel that "Because Of You" would have fitted here perfectly as an album closer with its' extended instrumental ending, after some slower, less lyrical songs, with "Fires Of Spring" being an ideal first-side track. But of course, I'm about 43 years too late. ;)
Ultimately "Santini" 's weakness is that the album is pulled into too many directions. Thankfully, as a debut album, this is a good glimpse into the many facets of Rea's songwriting and musicianship.

Verdict
Negatives aside, this is a quality album with smart lyrics and great music, and despite Rea's then concerns, I think the production on the album is great. 
The vinyl is the way to go, but the CD is perfectly acceptable, released at a time (1991) when reissue CD's were mostly faithful transfers of their original vinyl counterparts.
Apparently the album has been remastered with little fanfare, although a few remastered "Santini" tracks were included on Rea's recent release, "A's B's and Rarities" (Disc 1). I haven't seen (heard?) any reason to seek them out as yet.
Scores:
Original vinyl (1978) = 8/10 (or "four stars out of five")
Reissued CD (1991) = 7.5/10 (or "3.75 stars out of five")
Recommendation = This is a must listen. Despite being a debut album and not necessarily representative of the artist or his strengths, it's still an underrated gem. 

For those who have heard the album, I encourage you to read on and see what you think of my track-by-track review. If you haven't and are interested, I strongly urge you to listen to the record first!!

Detailed Track Review

SIDE 1

Track 01 - "Whatever Happened To Benny Santini?"

Something you don't see/hear very often - an album opener from a debutant which sounds like a track from a seasoned veteran. The mythos is deep for a debutant as well; Rea was earmarked as "Benny Santini" for an earlier debut album release which ultimately never went ahead (depending on sources, either Rea jokingly offered the name to appeal to Jewish/Italian audiences in the US, or it was suggested by an American executive for the same reason). This track therefore has two stories, the actual which is the tale of a musician (rocker?) whose promise goes unfulfilled for whatever reason, and the subtext which is Rea somewhat ridiculing the idea that he was going to have to sing under a pseudonym. Seems brave now, but he had the last laugh!
According to one fan, Rea and roadies all wore jackets with the song/album title at the time, and some people were trying to work out who Santini was.

The 1978 concert in Middlesborough features a 10-minute version of "Benny" with a couple of extra verses, and worth checking out, even though it's more of the same.
There's also the following intro from Rea:
"Benny Santini, for every one of us, there's 10 Benny Santini's who didn't get the right chance. That's Benny." 
That's Benny, indeed. A great track with excellent music by all involved, and my first early Rea track I heard which made me want to check the album out. Not sure if it was released as a single, but it should have been the lead single. A classic and sing-a-long-able track.

Memorable lyric: "His songs of silver arrows, they tried to roll into gold"

Track 02 - "The Closer You Get"

Rea goes Robert Palmer with this one. A more typical pop/rock song about a guy trying to get a girl while telling her she's the only one, with music to match. Think "Simply Irresistible" but more 70's. 

What makes it stand out are the clever lyrics and the passion with which Rea sings, the harder rock vibe which Rea would make his own down the road, and again the lack of a 'debut' feel about this already mature track. 

Memorable lyric: "Come over baby, I sure do want to light your flame"

Track 03 - "Because Of You"

A standout track, possibly my favourite on the album.

Aside from the contemplative mood and lyrics which has the protagonist thanking his partner for their help improving their life, the music is uplifting and borderline radiant. Rea almost gets a prog vibe going, think later Genesis pop/prog fusion (Tony Banks wouldn't be unhappy with it), for the second half of the track. Simply put it's a good pop song as well as a good rock track, with excellent instrumental parts (Rea plays no less than 6 parts if you include both sets of vocals!). The guitar solos, buy Paul Keogh and Eddie Guy, are standouts too. 

Memorable lyric: "Yes I do, it's you, and I'll pay you back someday"

Track 04 - "Dancing With Charlie"

This surprised me the first time I heard the album - a driving rocker with a bit of a blues sound. Not fast, but powerful sounding, in contrast to the track before. As mentioned above, this is both a strength and weakness of the album.

The story this time is that of a "loser" who "threw two sixes" and now has money and success and social currency. It's an oft told tale but I enjoy it and it's well told, unconventionally so, with the story changing time periods out of order for mild effect. Rea also makes good use of descriptive words and phrases to immerse the listener in his stories, for example, "Big D was a gambler with everything to lose". The predictable story with unpredictable sound makes it a fun listen.

Memorable lyric: "Charlie didn't have anything, so he didn't have to choose" 

Track 05 - "Bows And Bangles"

Another standout track which surprised me the first time I heard it. There is a good story, and powerful emotive music. Also, how many times does a second verse contain the lyric "And that my friend is the end of the story"? It makes the story even more powerful.

The story is that of a woman who has an average life (works at the "typing pool" and marries a "young guy with prospects") but dreams of greater things, like being free, listening to music, wearing fancy jewelry and even becoming a star.

The music during the chorus with Pete Wingfield's almost percussive piano intro is haunting and provides the perfect backdrop to this familiar tale which most of us can probably identify with, and certainly sympathise with. 
Rea's gravelly vocals are at work to fine effect here too. He sings both solo verses and backed up choruses, and both work in tandem for a good "set you up/knock you down" effect for the listener. You can listen intently to the verse and then be blown away by the chorus. 
I criticise many songwriters who include too few lyrics in their songs and ad nauseum repeat parts or the chorus, but in a song like this Rea uses a clever instrumental bridge and then a repeat chorus. Plus, he's already mentioned in verse 2 that the story is over. It's a clever way of overcoming a typical rock song problem.

Memorable lyric: "And that my friend is the end of the story"

SIDE 2 

Track 06 - "Fool (If You Think It's Over)"

The song that started it all.. except not really. If "Benny Santini" was Chris Rea's reproachful shot at management, "Fool" was management Magnet's counter. They paired him with Elton John's producer, and boxed him in as a piano crooner (this is the only track where Rea didn't play acoustic OR electric guitar), which is how he had to perform it live. From the music website Songfacts: "Rea was promoted [in the US] as a cross between Elton John and Billy Joel, when he was really a bluesy slide guitar player with a massive, resonant voice." and when his subsequent album couldn't replicate the success of Fool (which charted #12 US, #30 UK), Rea was ostensibly done (ultimately following management for 7 more years).. except not really either. But his true success would have to wait for a while after this track (about 10 years). Still, given Rea was considering packing it in to run a family restaurant, we can be thankful for "management".. this one time at least.

The story is Rea's advice to his younger sister some years back about how her losing her first boyfriend wasn't the end of her love life forever, despite her upset in the moment (hence "fool if you think it's over").

Musically as Chris Rea would point out, it's different yet again (he would say "This is not me!" about its production). Thankfully as the start of an album side this works out ok, particularly given it is a strong track. While not being a traditional Rea track (as seen by someone who knows a bit more of his music) it also works well on a debut album. In hindsight it should have been a followup single to a "Whatever Happened.." or "The Closer You Get" single (assuming those would have succeeded!). (In actuality, "Whatever" followed Fool, being only a modest success.)
Strong piano playing by Rea and Wingfield as well as jazzy sax and vibes by Steve Gregory and Frank Ricotti, combined with the vocal techniques used on "Bows" mentioned above, as well as some of the strongest lyrics on the album (and there's about 3 different verses with the chorus to boot) make it a must listen and a good choice to open the second side of this album.

Memorable lyric: "Miss Teenage Dream, such a tragic scene"

Track 07 - "Three Angels"

Another rocker, although not of the same calibre of "The Closer You Get". Obtuse lyrics typical of those good songwriters of the era would occasionally drift into (or if you're Peter Gabriel, every second track). Probably sarcastic Steely Dan style lyrics, although the music style is all Rea's own. I *think* it's about men with no money boozing and gambling and possibly getting women/prostitutes (women = three angels), but references to guitars in the third verse (also guitars = three angels?) mean it could be about Rea's own life as a poor musician, alternating between living dangerously/cheaply and being on stage. In that light, it reminds me a bit of Supertramp's "No Inbetween", although again musically it's completely different, and Supertramp's is more retrospective whereas Rea's is more about the present.

Whatever interpretation is correct, and feel free to correct or enlighten me in the comments, it's an interesting track, if not one of my favourites from the album. Driving rock again, which overall seems to be Rea's "sound" (which will come up again on the next album, for the most part).

Memorable lyric: "Eight castles - wants nine, unhappy - all the time"

Track 08 - "Just One Of Those Days"

After multiple listens of the album, I honestly can barely recall this track, which doesn't bode well for it. 
Upon relistening, it has a country bent, almost reminding me of "That's Alright" from Fleetwood Mac's "Mirage" album. The sentiment isn't far off of Stevie Nicks' track either, for those familiar with it.

It's actually a good track, particularly musically, it's just a quiet point on the album, and as a theme throughout this album, very unlike what's come before it. Lyrically it's got Rea's expressive lyrics, but his vocals are a bit more neutral and passive, lending well to the style of track but not yielding much response from the listener (at least this one).

Memorable lyric: "Cold red sunsets, that freeze the rainbows out"

Track 09 - "Standing In Your Doorway"

Another quasi-Fleetwood Mac Mirage-ish sort of track (reminds me of Aussie band Mondo Rock's "Chemistry" as well, think "State of the Heart" if you know who they are), although less country sounding, but similarly somewhat forgettable as the last one. Rea also stays in the lull of this point of the album vocally. Although one must stress that a weak track on this record could be a high point for a lesser artist or album! 

This track I do remember and the chorus is catchy, with some female backing vocals to boot (the only time they feature). The lyrics are very Dire Straits "Communique" style (sailors are even mentioned), with a story about a man intent on going solo but also misses his former love.

The standout other than the multiple backing vocalists, is Rea's slide guitar work, which would also be one of his future trademarks. Wingfield's piano (and harpsichord!!) work is once again worthy of praise.

Memorable lyric: "Lifelong sailor, but how I wish I was homeward bound"

Track 10 - "Fires Of Spring"

And we're jolted into life once more as Rea picks up the pace to close the album off. While not as fast as I remember it being, "Fires" is an midtempo rocker which features strong guitar work from Rea and Keogh.

The story is essentially about love, the titular "fires of spring" being the flames of love burning, with the risk like Icarus flying too close to the sun, that you will get too attached and be burned by the Sun, or the fires in this case, with the flame representing both passion and risk. Rea's metaphor and writing excels once again.

It's a good track, with great sound, but as mentioned earlier it doesn't follow the previous tracks well, nor does it close the album well, although the guitar work and repeated chorus does end things satisfactorily. And the album being atypical and slightly off sequencing-wise does kind of work for the sophomore effort and the multiple styles that the album introduces. So one must take the good with the bad on "Santini".

Memorable lyric: "And you're caught in the fires of spring"