The pinnacle of Peter Murphy’s solo popularity in the US came with his third release `Deep` where the singer seemed to return to the more aggressive alt-rock sound that was a trademark of early Bauhaus.
`Peter Live Volume Four: Metro Chicago 1990` is an archival live album capturing his second set at the venue on the Deep album tour. The band featured Peter’s long time co-writer Paul Statham on guitar and keyboards, Eddie Branch on bass, Teri Bryant on drums and Peter Bonas on lead guitar.
Understandably the album is rich in cuts from the `Deep` album and the set opens with four tracks from said album. `The Line Between The Devil’s Teeth` is a track about inner conflict and struggle and brought to mind that intensity and belligerence of Bauhaus`s `In The Flat Field`. I felt that `Deep Ocean, Vast Sea` reflects the emotion of its subject matter being self-discovery whereas `Seven Veils` which has a similar exploration of a spiritual journey and has an almost middle eastern vibe with Peter`s trademark vocals sprinkled atop and throughout. `Cuts You Up` was a massive hit in the States, spending seven weeks at the top of the U.S. charts and allowed the artist to graduate into much larger venues. A quite reflective number about two people who are in love, but not strictly romantically. They’re bonded not only emotionally, but also in a spiritual sense. This live offering retains the delightfully hypnotic quality of the album version.
The quite deep and almost philosophical `God Sends` from Murphy`s debut album `Should the World Fail to Fall Apart` is delightfully edgy and intense which reflects the subject matter which explores superficiality, fame, and the rejection of false idols. I was surprised to hear `I’ve Got A Miniature Secret Camera` which was a B-side and a bonus track from the `Love Hysteria` release. A strange but quite quirky listen.
`Blind Sublime` describes an unconscious, blissful ignorance, a state where humanity sleepwalks through existence and the accompanying music and vocal delivery seem to echo this sense of humanity’s somnambulation. We have in `Marlene Dietrich’s Favourite Poem` a stripped back and deeply personal homage to Murphy’s mother via a tribute to the legendary actress Marlene Dietrich, a deeply touching rendition and a heart wrenching eulogy to the person who gave him life.
There`s a more scornful slant on the late eighties alternative nightclub and clubbing scene with `Roll Call` which has a slightly funky rhythm and become fairly absorbing as it progresses. There`s some wonderful ascending and descending guitar riffs and synth hues that lay the foundation for `His Circle & Hers Meet` a composition that explores a non-physical, transcendent form of love and spiritual unity.
There`s a couple of covers shared with firstly a reimagining of the ironically titled `Funtime` which was written by David Bowie and Iggy Pop and appeared on Iggy`s debut solo album `Idiot` a submission about the futility and emptiness of hedonism and addiction. It`s a pretty faithful version that PM updates and really makes his own. We have band introductions in the lead up to `The Light Pours Out Of Me` which was a track by Magazine which was on their debut album `Real Life` in 1978. It`s another respectful interpretation of a song that explores feelings of alienation, sensory overload, and psychological exhaustion and almost begs to be included in a PM live outing.
The final cut `All Night Long` is a charmingly atmospheric reflection on a spiritual and existential journey and a thoughtful piece to end on.
`Peter Live Volume Four: Metro Chicago 1990` is a snapshot of a moment in time when Peter Murphy was on the ascendancy as a solo artist and performer, especially in The USA. The album is overflowing with numbers that allude to life, love, and spiritual enlightenment and it feels as if this is a stage or point in time where the singer, songwriter and musician is almost comfortable and at peace in himself and his surroundings.
The majority of the tracks are culled from his first three solo albums along with a couple of covers that if you didn`t know better, you`d assume they were his own creations. Again, listening to this live offering has given me a further reminder as to how underrated this artist`s solo work was viewed and appreciated at the time.
Rating 9/10
