But; they were highly rated and I knew this, and so I've always promised myself to revisit them. Finally, some 20-odd years later I've gotten a start on it - through their 2cd compilation The Killing Moon - The Best Of Echo and the Bunnymen.
The collection is laid out chronologically (well, why would you ever do one otherwise? ... it's a good rule of thumb that a band's music will be most coherent if grouped into tracks produced at around the same point in their natural evolution... I might expand on this in future), and I was slightly surprised to find I preferred the earlier period. Right from the kick-off - their debut single "Pictures On My Wall" - they sound fresh, and inspired with the fire of youthful rebellion, while my favourite track from the collection (so far) "Do It Clean" is a dockside import of pounding blues-rock groove to post-punk (post-shipping), disenfranchised Liverpool.
There's an overt (but in my own case, mutual) adoration of The Doors. In contrast to the recidivism of many of his post-punk peers of the era, McCulloch was inspired by and absorbed Morrison's Byronic lyricism, even in places self-consciously mimicing the improvisional singing which Morrison employed in apolocalyptic epics like "The End" and "the Unknown Soldier". More subtly, the influence is clearly felt in the space the songs enjoy, the backing is stripped down, tight and fluid, thus giving the lyrics room to breathe. But as one would reasonably assume, the Bunnymen's take is an altogther more "English" affair, excising Morrison's graphic and sordid excess and conjuring a more ghostly, urban wasteland. In this respect they are perhaps close to Joy Division - there is no humour, no sex, no whiskey - all is ringing, strident angst.
According to the liner notes, they began achieving mainstream success in 1982 with "The Back Of Love", which is quite good, charted in the UK Top 20, immediately followed by the Top 10 hit "The Cutter", also not bad. In the mid-period (1983's Porcupine), they flounder uncertainly in the Cure's wake, attempting the sort of vaccum tight, wacky, punk-pop of the Boys Don't Cry breed... but lacking Smith's (well kept secret-) highly refined pop sense.
Finally comes enlightenment - 1984's The Oceans Rain their 4th and, generally agreed, best album. Here, all the pieces come together and the ambition of their sound is realised. With their new mature confidence, the sound is much bigger and to me it sounds sub-The Mission/Simple Minds. It's stadium sized, assured, and well balanced, though perhaps in the process also loses the quirky, innocent charm of the early work.
There's a dialogue in the sound and structures they use - a gracious, intelligent respect of their wider musical ancestors suggesting a truly accomplished musician is at the helm. In addition to the Doors there was an acknowledged influence from Scott Walker and, once you know that, you can hear that big bandstand reverbed 60's Spector sound in there too - a sort of post-modern rock 'n roll for the disenchanted. I know that Adam and the Ants' big tribal drum sound was an influence on this whole generation and seems to play here too. Elsewhere moments suggest Roxy Music, REM, Talking Heads, and, bizarrely, INXS.
In short, a legacy that holds its own and rewards rediscovery.
With remarkable coincidence, a couple of days after I began this, EATB announce a reunion tour in support of a brand new studio album. Time will tell...
