This being the first review of 2014, we have decided to mix it up a bit. Since we have fewer breaking stories from the band…*coughs*…we are going to break up our reviews into two parts. Each week you can look forward a review: one week will feature my review of a particular song, and the next will be Amanda’s review (of the same song). Additionally, instead of doing a separate category for production, we have incorporated production into the “Overall” section – found at the end of each review just before our final cocktail rating.
For the next two weeks, we are going to examine “Union of the Snake” off of, yes…Seven and the Ragged Tiger. This was the lead single off of the album, released in October of 1983 and peaked at #3 on both the US and UK charts. Rhonda will start off the review, followed by Amanda’s next week.
Musicality/Instrumentation: The introduction to this song is intriguing to me, purely because of the dichotomy of Andy on guitar verses Nick on synthesizers. This is one song where there is a real “call and response” happening between the two – which I find plays into the theme of the song beautifully. What I did not notice much of, though, is bass. There are moments when I can actually hear John’s bass, but it’s very faint (in my opinion). I think the sound would be better supported with a touch more of him in the mix, and it wouldn’t sound quite as top heavy. One element that I love in this song though, is Andy Hamilton on both soprano and tenor saxophone. He can be heard throughout the song, and rather than a guitar solo, we hear Andy Hamilton on soprano sax about 2/3 of the way through the song. The tenor sax is heard in several places and helps to provide some much needed depth and dimension to the overall sound. I also really appreciate the extra sounds – like the click/clack sounds of percussion that take place throughout – it’s an added element without being too intrusive and overwhelming. Speaking of percussions brings me to the drums. Truthfully I would have not necessarily noticed Roger’s drums – they are there without being overly obtrusive. However, I read that Roger took this beat from David Bowie’s “Let’s Dance”, and now that I listen to the song – I very much hear that influence, which works well with the instrumentation.
Vocals: I really like Simon’s vocals on this song – what I don’t enjoy quite as much though is the very loud backup singers in the mix. They seem to overpower Simon, and I don’t know that it adds as much as it detracts. I’ve always imagined Simon singing the entire song with a sneaky smile on his face – as it very much sounds that way when I listen. He sings the song with emotion, but not so much that it becomes comical.
Lyrics: Ok, who here can tell me what in the hell this song really means?? In doing my initial research for this song, I ran across several suggestions online ranging from “tantric sex” (apparently Simon offered this up as a reasoning behind the lyrics) to the borderline being the area between the conscious and subconscious minds. Again…this courtesy of Simon Le Bon, who just loves to toy with us all. Thanks, Simon. I must fall to my own reasoning, which sadly in this case, is very much lacking. I think that I always felt the Union of the Snake was the band, and the line “The union of the snake is on the climb. It’s gonna race, gonna break through the borderline” was about the band’s upward movement. World domination and all. “If I listen close, I can hear them singers…” “voices in your body coming through on the radio”…I don’t know why, but I always felt that was about the fans. That if he listens, he can hear us. We’re loud, you know. I joke, but I find these lyrics in particular to be a good example of the prose-type lyrics that Simon was famous (infamous?) for writing during this era.
Overall: As I mentioned, we are incorporating production into the “overall” category – which really is meant to be a survey of how the different elements fit together. With that in mind, this is one of the songs off of this album that I feel was produced rather well. The overall sound is not overwhelming, and I can hear most of the instrumentation pretty clearly. However, I do find it odd that John was not worked into the mix better to add more of a “grounding” to the sound. I still think the background singers are incredibly loud at times, and while I can understand the reasoning for having them there – I don’t think the intention was to overpower the lead singer. I like the call and response between synthesizers and guitar, and I feel like entire song is more of a “it’s us against the world” type of anthem, which plays out well through the instrumentation and lyrics. Overall, I have to wonder if this was truly the best song on the album that could have been the lead single – it was done at the last minute, with mixing taking place up to the last minute before EMI took the tapes for pressing, although to be sure, the song does not sound as though it was rushed together – and perhaps in that regard, the song was well-executed. The song was never on my list of favorites for the band, but I believe that since this song was the first released from this album, Duranies were starving for new music – and this song met the need.
Cocktail Rating: 3 Cocktails!