If there were real justice in the world of rock/pop music, this Welsh guitar giant and record producer would be world-famous and have sold out stadiums. He should at least be ensconced in the Rock & Roll Hall of Fame! He was an amazing guitar player, and his picture could reasonably be in dictionaries alongside the entry for rock’n’roll... well, or possibly by the entry for rockabilly. His credits as a band member, solo artist, side man, and producer would run to a much longer word-count than I would consider for this space. I will only mention that he was integral to the groups Love Sculpture and Rockpile, a bandmate of the great Nick Lowe, and producer of albums by a number of other artists you are probably familiar with. But check him out on Wikipedia.
Depending on how you categorize his output/catalog, Closer to the Flame was perhaps Edmunds’ 10th album. On its release most critics loved it, some didn’t, and though I love almost all of his stuff this is my favorite. Here you will find real rock’n’roll – up-tempo and guitar-driven songs that defy you to not tap your feet or snap your fingers. Or even – dare I say it – pull out your old, neglected air guitar. Edmunds’ guitar work here is some of his best, and when he cuts loose, as he does frequently on this album, you gotta admire the man’s sheer talent and craft.
The album opens with the wonderful title cut. It has a not quite pedal-to-the-metal but driving beat, with many images of the flame theme; “With every kiss I came a little closer to the flame...” The gospel-like backing choir and Memphis-style horns elevate the song into classic of-kind status.
I won’t go into a blow-by-blow, chord-by-chord description of every song. Most of the cuts are unapologetic, straight-up rockers – not head-bangers, mind you, but crafted pieces that should have vaulted this album far higher into the charts. “Never Take the Place of You” is an exception, a slower, more reflective piece. There are a couple... less interesting cuts, such as “King of Love,” which is a fairly mindless but rockin’ number about a king who is falling in love.
My favorite cut is the comparatively ethereal number “Stockholm,” which while still absolutely rock-driven is a more thoughtful, beautiful piece that I have occasionally used as a demo cut (on LP). It’s an ode to that city and a girl there that has captured the singer’s heart and imagination. It closes with a girl intoning something sexy in Swedish over the chords...
OK, so this isn’t music for folks who don’t relate to electric guitars and driving tempos no matter how well done. Fine – be that way then. For those of us who grew up (or – ahem – supposedly grew up...) appreciating that kind of sound, Edmunds’ albums stand as worthy achievements in the history of the rock genre. Flame was apparently released in 1989 with 10 cuts, then re-released in 1990 with 11. The added song, “Stay With Me Tonight,” is a pull-out-the-stops rocker that closes the album, the title of which is self-explanatory.
It is readily available on Discogs in both CD and LP formats at quite reasonable cost. I have it in both, and will, of course, recommend the LP version to anyone with a decent system.
Footnote for classical buffs (though they probably haven’t read this far): On a couple of albums Edmunds recorded his version of Khachaturian’s Sabre Dance that should impress you.
Also recommended: Edmunds’ D.E.7th and Information
View on Discogs