Review - Tom Robinson

Tom Robinson
Only the Now

As of this writing, it's been thirty-eight years since Tom Robinson first burst onto the music scene with his eponymous band's debut single "2-4-6-8 Motorway", and sixteen years since he released his last full-length album. He's still got it.

This album is very different from both the punk-inflected rock of the Tom Robinson Band and the softer, more pop sound that he leaned towards with Sector 27 and his previous solo records. It opens with the acoustic guitar and glistening strings of "Home In The Morning, a fantastic farewell song that perfectly suits the world-weary, slightly hoarse voice that Robinson has developed in recent years. After that, it's on to "Merciful God", a solid, rage-filled rant that harks back to the barely-restrained anger of "Power in the Darkness". Its subject matter of imperialism and religious violence could fit perfectly into a standard punk song, but the arrangement Robinson gives it is sinuous, reminiscent of the Pogues' "Turkish Song of the Damned", which adds a fresh vibe to the glorious cacophony of Adam Phillips' guitar. Personally, I loved the stomping, bass-heavy version of "The Mighty Sword of Justice" that Robinson did when I saw him play earlier this year, but the more melodic album version is just as good, largely thanks to Frank Rollock's steel pan and the backing vocals by Billy Bragg, Martin Carthy, and most of all Lisa Knapp.

"Don;t Jump, Don't Fall" is one of Tom Robinson's most affecting songs, a half-spoken lament that is made all the more heartbreaking by a crushing string arrangement. Crushing really is the right word here - the strings seem to descend like a lead blanket, pushing you down into the song, forcing you to listen. Probably the best song on the album. "Holy Smoke," the next song, takes us from the sublime to the ridiculous, but in the best possible way. It's a song about using Bible pages to roll joints, and God is voiced by Ian McKellan - what's not to love? Swami Baracus' contribution provides yet more evidence that Robinson really knows how to pick collaborators.

I'd like to shake the hand of whoever made the decision to get John Grant to sing "Cry Out". This has been one of my favourite Tom Robinson songs since I heard it at the first gig I ever went to, and Grant's soulful, melancholic voice is perfect for the desperation conveyed through the lyrics. Tom Robinson and John Grant each have their own distinct sound, but their duet here works brilliantly.

Personally, I found the second half of the album underwhelming. It's good - I like the Beatleesque melody of "In My Life" and "Only the Now ends the album on a sweet note, but it just didn't grab me the way the first half did. Still, it's a great album, and I'd definitely recommend it.

Rating: 7/10