T.G. Elias – ‘The Man In The Iron Cage’ & ‘God’s Own Land’ Review
Tuesday, February 22nd, 2011, 3:17 pmWORDS by Chris Mitchell
For those of you who don’t know much about T.G. Elias, the Manchester based singer songwriter has a voice that is somewhere between Tennessee and Wigan. His double album release, The Man in the Iron Cage and God’s Own Land portrays someone who has lived the blues, but managed to pick up a slight lisp on the way. In my mind, they created an image of walking along a dusty road, in an inhospitable desert and spotting a house in the distance, with a likelihood of refreshment.
To a certain extent, it is impossible to successfully describe him without clichéd comparisons, so I might as well get it out of the way. Throughout both albums there are smacks of Bob Dylan, with ‘The Ever Lasting Gospel’ and ‘Hark Back the Hounds’ from God’s Own Land being two clear examples. However, this would be a simplistic view to take of both these songs, if not the entire album. The variety of musical flavours stretches far, with ‘…Gospel’ being reminiscent of Scandinavian Indie-man Sondre Lerche in places, let alone that in ‘Hark…’ there are wisps of Guns N’ Roses’ ‘Patience’. It would not be surprising if Izzy Stradlin happened to be a big influence in Elias’ guitar playing.
With so many genres vying for prominence of his musical palette it is no wonder Elias is a fan of drawing together occasionally odd combinations, which bemuses whilst keeping you intrigued. ‘A Wicked Tongue’ from …Iron Cage brings together an obvious admiration for old blues, with Sister Rosetta Tharpe being brought together with poppier tones of The Beatles or Elvis.
His lyrics have a similar quality, in some songs appearing poetic with a touch of melancholy romance. But with a small bit of scrutiny they transpire to be nothing of the sort. Scratch just a millimetre beneath the surface of the words and the image of intimate love making, that is as much mind as it is body , is a far cry from the impression of torrid, sweaty sex that is left in its place. ‘Southbound Otley Highway’ and ‘Rancid Misbehaviour’ fit the bill and you could easily be forgiven for thinking he was sex obsessed. But the complex word-smithery and dulcet tones of his guitar and voice don’t do justice to how this will sink into some people’s souls.
That is not to say the albums are without flaws and a few production choices are bizarre at best, seeming to be chosen more out of convenience than purpose. The electric keyboards used in ‘The Hanging Tower’ (Gods Own Land) lack the depth that an actual piano would bring to what is a sweet, melancholy song and the unexpected ending to ‘Rag for Ronnie’ (…Iron Cage) acted as an anticlimax for me, not a quirky choice.
All in all they are both strong albums, and while as a double album there is a lot of music to drink in, it is worth it. T. G. Elias has an ability that marks many artists who are listed amongst the greatest who have ever picked up an instrument: he can touch people on a level so personal that words are meaningless and only abstract feeling that is impossible to define resides. This ability is not universal, it is likely that most people who listen to this will like both to some degree or another. But those who are touched by his music will listen in moments uniquely personal. Perhaps these moments will be as twee as walking down the aisle or as macabre as putting it on at a funeral. These albums contain material that is apt for both.
For info on T.G Elias, visit http://www.myspace.com/tgelias/music
I have both of these albums and have seen the man a few times live………..Truely captivating performer with a voice like pureed gravel. He had the audience in the palm of his hand at every show.
… A third album is on its way I hear, which can only be a good thing.