Dome of Discovery
Review in SOUNDBITE, No. 7, Jan 1994

DOME OF DISCOVERY - CHRIS JUDGE SMITH

First for those of you unfamiliar with Judge’s work to date, here’s a little resumé:

Chris Judge Smith co-founded Van der Graaf Generator in 1967, and left in 1969. Since then, Judge has been actively involved in all manner of projects, as a lyricist, composer and performer. He has been involved in several off-beat musical theatre projects, two of which, ‘The Kibbo Kift’ and ‘Mata Hari’, were co-written with Lene Lovich. Another, ‘The Ascent of Wilberforce III’ (written with Max Hutchinson), was about Himalayan Mountaineering, half-an-hour of which was entirely in Esperanto.

Judge wrote songs for ‘Not The Nine O’Clock News’ (Anyone out there remember the wonderful ‘Gob on You’?) and Peter Hammill has recorded several of his songs throughout the years, and Judge has been actively involved with Peter Hammill co-writing The Fail Of The House Of Usher’ opera, finally released In 1991. Also, In 1991, we were all given a rare treat when a collection (‘Democrazy') of vintage demo tapes, made between 1967-77 were released on CD (Still available - see address at bottom of page).

‘DOME OF DISCOVERY’, originally planned for release in October, is Judge Smith’s first real solo album and will now come out in January next year.

Overall, the tone is uplifting; in some parts, danceable (!), and other parts, simply strange. The lyrics are refreshingly witty and are clearly expressed by a whimsical Judge, who clearly had a thoroughly enjoyable time in the studio.

I would love to hear them live. I can picture it now - a small hall filled with expectant audience...dancing at the front and in the aisles, and at the sides, and at the back by the bar...with everyone having a good time. The songs cry out for a live audience...

Musically, I can do no better than use Judge’s own description of the tone:
...newfangled songs, old-fashioned sounds...Punk Orchestral

Here and there are shades of world music, bits of jazz, spaghetti western, salsa, pure pop. The songs are both accessible and bizarre, partly to do with the soprano and mixed-choir backing vocals, twanging guitars, trumpets and cello mix that make up the instrumentation on the album. I think it should appeal to a broad spectrum of listeners - those who enjoy the obscure, and those who like to sing in the bath.

The album was mixed by David Lord. Ian Fordham and Michael Brand have helped with arrangements of the songs, of which there now follows a track-by-track review...

TELL ME YOU LOVE ME

Here we have ‘Language Is Insufficient for the task in hand’ and Judge pokes a small jab at the prospect of there ever being a solution to communication problems:
“Will you try it in Esperento if I promise not to laugh?’
The song pumps along merrily...

CARPET TILES

Here is a tale, regarding two redundant new-starters. The common occurrence of redundancy has had us all taking a flexible approach to the world of employment. A ‘Mike Leigh’, screenplay filmed as a three-minute pop song.

THE VOICE OF THE NIGHT

A soprano voice lifts the spirit of this track - in the background, strings pulse as Judge hurls words through a window in the night sky.

DON’T POINT THAT THING AT ME

In case you’re wondering, the ‘thing’ of the song begins life as a pistol, but the lyrics are loaded (sic) with innuendo:
“Don’t point that thing at me, it may feel good in your hand
But that don’t mean that you’re a real man”
Drawing parallels between guns and sex, reminding us of the ever-present relationship between the two : Ever since Mr. Neanderthal picked up his club to beat Mr. Not-so Neanderthal with it to stop him winning the affections of his mate, I guess.

Musically. CJS has said of the sounds on this album:
‘I am haunted by ghost sounds from my past; childhood wireless sounds:- those Light Programme trumpets and twangy guitars”
Look no further than this song for twangy guitars. The guitar sound seems particular apt, almost culled from some spaghetti western track - I know the guitar tune reminds me of something but I can’t put my finger on it at the moment...

WHAT'LL I DO WITHOUT YOU

Originally a big hit for Lene Lovich, here reclaimed by the writer.

GIANT HAND

A love song with some amusing Imagery, propelled by tango, and some sweet brass sounds.

I NEVER LOVED YOU ANYHOW

Another love song, about a character rationalizing over she who he has lost to another. We all do it, and what truer self-denial statement is there when it has to be said so aloud?

GOD SAVE THE TZAR

This has got to be a great show-opener (should we ever be graced with live renditions of these songs, eh Judge?). Mixed choir backing vocals blend in well with the song.

JIMMY JIMMY

A cover of the Undertones song. No, Really, a song about a crook, a no-hoper, but it does sound like a couple of the aforementioned Undertones are singing backing vocals. Or was it sampled? Here and there, Judge also gives us a little Lene Lovich vocal snippet. Could Judge be hinting that she learnt this vocal style from him?

A PLACE OF YOUR OWN

This is the most somber track on the album; lyrically wise. For my mind, the tone is unsuited to Judge, and it doesn’t fit in with the other songs, but I’m sure not a lot of you will agree.

THE JUDGE RIDES AGAIN

Cracking whips and other horsey sounds trumpet the return of Judge to the recording studio. Accompanied by cellos, brass and irony. A celebration, and justly so. Long may this hobby horse gallop!

THE DYING OF THE LIGHT

After the return of Judge, the return of Jimmy Jimmy, and the stories of all the other characters of the preceding songs are updated the two carpet tilers are off selling time shares, the Tzar’s In Bucharest. This is a neat idea - the tying of loose ends in one song, drawing the collection of characters in ‘The Dome of Discovery’ together in one world of song...

“But briefly, as it’s fading,
Each face looks like your own"