Liverpool Sound and Vision Rating * * * * *
It has been noted by less than forgiving critics over the years, that a mark of popularity does not earn someone the right to be called incredible, to be labelled as a person to whom we owe respect to the status fostered upon them, nor that the popularity which is so quickly gained in less than enlightening times would prevail with a more discerning audience who have been immersed in a wider circle of influence…perhaps such critics are correct, maybe they understand the universe with greater authority than mere mortals could ever hope to comprehend; they will point the finger and single out an artist, a figure head and run off a list of their flaws and disasters and smile smugly as they do so. But maybe, just maybe, they are wrong.
To be Singled Out in such a fashion is to dishonour a person’s work to the point of arrogance and even self-loathing, it reflects more on the person decrying the action than those who embody the pursuit of artistry, and even in a world which has embraced a glut of celebrity, the proof of popularity is not to mistaken for selling out, for being popular with a crowd that sees more than just the tip of the iceberg and the latest show business pretentions hoisted out as part of being hip and happening.
Singled Out, arguably the insightfulness of looking at the phenomenon of Shakin’ Stevens and either understanding what makes him so popular, even a couple of decades after his supposed day out in the sun had run its natural course, or criticising, denouncing the man and his worth out of spite, debatably out of jealousy.
For surely that’s what the fuss is over, because as is more than superbly shown in an album mind-bogglingly full to the rafters of singles, a massive 54 of them to be precise, Shakin’ Stevens proves that he was not just popular because of hype, but because he was dedicated, passionate, and believed in the relationship between himself and those who took time to listen to his words, the way he sang, and like his Welsh compatriot Tom Jones, how he held himself in the public eye.
The brand new release by Shakin’ Stevens is more than just a compendium of moments, it is a reminder, a force of memory which takes the listener on a journey to which there is no reason to relive precious moments, to dust off the dancing shoes, to wistfully clutch a signed photograph or relive the fantasy of being the man himself.
Through tracks that stretch across 50 years, such as Somebody Touched Me, Justine, Hot Dog, This Ol’ House, Green Door, Oh Julie, Your Ma Said You Cried In Your Sleep Last Night, A Rockin’ Good Way (To Mess Around And Fall In Love), Lipstick Powder and Paint, Last Man Alive and Pink Champagne, Shakin’ Stevens resilience, his creativity and the mindful way he pays respect to the song, whether one that has his own originality laced within it, or indeed the covers which he carefully lays before the audience, is to be admired completely.
Singled Out, but an artist whose longevity has proved that being popular does not mean having sold out or being considered to be part of a crowd that is hip, trendy or in vogue, it just means being considerate and compassionate to the art being performed and to the audience who has rightly taken you to their heart.
A scintillating reminder of the energy of one of Britain’s most loved and biggest selling artists, no small change, no loss of impact, just outstanding all the way.
Shakin’ Stevens releases Singled Out on November 27th.
Ian D. Hall