by Barry Maclean
In my band, Miniature Dinosaurs, we try and keep our songs catchy for those who just want to have fun, but at the same time we like to put a reward underneath for those who wish to dig a little deeper into the geekery of songwriting. The first time I remember imagining songs in this way was after listening to The Blue Nile's debut album 'A Walk across the Rooftops'.
The very start of the album acts as a perfect example of this mindset. It opens with three interlinked tricks. The first is the twenty seconds of silence that begins the album. This cleanses the listener’s auditory palate and creates a sense of anticipation that bursts into life with the bold statement that follows, for not only does the album open with the title-track, but the title-track opens up with title. A cheap thrill maybe, but I can't help but love the moment when an album title is sung, so to get it so soon feels like reward for my patience through the silence. The third trick is one perhaps more easily deployed in films and novels; that of location. The opening track is steeped in it. Not only does the descriptive language set the scene (“the traffic lights are changing, the black and white horizon, I leave the quiet red stone and walk across the rooftops”), but so does the music. A case in point is the snare drum, which produces a sound not unlike steady footsteps on a corrugated rooftop.
One of the best loved songs on the album is 'Tinseltown in the Rain'. As a single, it occupies the forever favoured position of track two. There is a Hollywood string arrangement interacting with sad piano and muddy guitar, a musical metaphor for the track title. It's not certain if the song is about the relationship with a person or place, although the sincerity is never in doubt, especially during the memorable refrain of “Do I love you? Yes, I love you”. The interpersonal call and response of this line brings to light an interesting quirk with the album; the lack of backing vocals. Paul Buchanan's voice is certainly strong enough to hold it on his own, and what's more, the freedom this allows is a joy to listen to. At times you get sense that Buchanan is almost wrestling with himself, and no more so than within this line.
The album continues with 'Rags to Riches', where much of The Blue Nile’s expansive sound bank can be enjoyed, most of it seemingly echoing the sounds of their Scottish roots. 'Stay' is beautifully restrained. It remains on one frustrated chord, until the chorus finally breaks free, but only to echo the now desperate lyrics. Closing track 'Automobile Noise' is like a walk home, providing a chance to think about life, music and the brilliance of this album, because ‘A Walk across the Rooftops’ truly is a masterclass in songwriting that deserves to be thought about.
Although the music of Miniature Dinosaurs might be slightly removed from that of The Blue Nile, this album certainly influenced our desire to create music that appealed both to the head-nodders and the head-thinkers. We're about to begin work on our debut album, and if it's half as brilliant as The Blue Nile's then we'll be happy.
