Galore: Promotion

The word 'Galore' is derived from Irish Gaelic and it is dictionary defined as 'in abundance, plentiful'. No other term is more perfectly suited to describe this eighteen track collection of gems from international treasure Kirsty MacColl. Galore is more than a 'greatest hits' package; in addition to featuring two new tracks, it is both a celebration of a fascinating career in progress for those familiar with MacColl and a wonderful introduction of a largely undiscovered artist to a wider American audience.

MacColl is no stranger to fellow musicians across the globe. Her exquisite song writing talent and captivating vocals have earned her the admiration of a veritable Who's Who among contemporary pop musicians. Some of the artists she has worked with over the span of her fifteen year career include the Talking Heads, The Pogues and The Smiths, to cite a few. For MacColl, Galore embodies the best of the last fifteen years of her work and unlike many collection albums, it has been chosen with the approval of the artist as opposed to the label. She feels that compilations which are record label driven can symbolize a company's lack of commitment and/or interest in the artist. Neither situation is the case with Galore; in fact, MacColl is presently writing for her forthcoming studio album, which will likely be recorded in the United States and see a 1995 release. [Ha! - FW]

1993 saw Kirsty headline a six week U.S. club tour in support of the critically acclaimed Titanic Days. She was extremely pleased to find devoted legions of Kirsty fans around the country especially in places that she had never before visited.

Galore truly is a plentiful collection for the Kirsty admirer and the music lover. Many musical genres are represented on the album, from the country style featured in There's A Guy Works Down The Chip Shop Swears He's Elvis to the dreamy pop delight of He's On The Beach and Angel to jazzy hip hop on Walking Down Madison. In addition to her own song writing talents, Kirsty has a superb ear for recording the music of others, including the Ray Davies classic Days, Billy Bragg's A New England, Cole Porter's Miss Otis Regrets, which originally appeared on the Red Hot & Blue collection and The Smiths' You Just Haven't Earned It Yet Baby.

Several of the tracks on this collection have never before seen a domestic release, including Chip Shop, They Don't Know, A New England and He's On The Beach. Also featured on Galore are two brand new tracks, a divine cover of Lou Reed's Perfect Day done as a duet with head Lemonhead Evan Dando and the first single from the album, Caroline. Material from all four of Kirsty's studio records is represented on Galore as well.

The marriage of timeless melodies and witty lyrics is certainly a difficult one; for Kirsty MacColl, the partnership is second nature. MacColl's flair for continually producing songs which are equally thought provoking and hummable is a unique gift.

The day has arrived for Kirsty MacColl to step beyond her underground talent status, for her to take center stage as an artist who is ready to be exposed to the masses of music lovers who appreciate the value of song craft. Galore is a marvelous introduction to the uninitiated and, in the words of MacColl herself, "there's plenty more where this came from!"

Thank goodness.

Quotes from the Sleeve Notes

"Kirsty and I began our recording careers on the same day on the same label. In July 1978, Chiswick Records released a clutch of nifty EPs by London bands, under the title of The Sound of the Suburbs. Me and my mates ang of the girls of Romford whilst Kirsty's band offered lyrical insights to life in New Addington. Years later, we caught up with each other again when she did me the honour of covering one of my songs without, I might add, requiring any help in the singing department. Kirsty has possession of one of the most distinctive voices in pop. All those expensive gadgets that make us mere mortals soung good in the studio, she can do it all naturally. And usually in the first take. This may explain why she regularly appears on other artists songs.

This professional popularity should not detract from the fact that she is also a brilliant songwriter. From Elvis impersonators covered in chip fat to angelic infestations of the home. Kirsty has an ear for a good turn of phrase and a knack for coming up with a tune to match, and she is not afraid to experiment. The first time she played me a tape of My Affair we were in her beaten up old motor, trying to exit the car park under the Festival Hall after a performance of Beethoven's 9th Symphony (we had been in the audience, not on-stage). As we circled round and round beneath the South Bank, I remember thinking, What Spirit! What daring! I mean, can you imagine Gloria Estefan having the bottle to do a track with the Pogues?

And that's the greatest of Kirsty's attributes as far as I'm concerned - there's no pretence involved. While would-be divas allow themselves to be manipulated by stylists, with Kirsty what you see is what you get. In concert, if the equipment should break down there are no prima donna tantrums - instead you are liable to be treated to an acappella version of Lydia, the tattoed lady. Unpretentious, inimitable, writes like a playwright, sings like an angel. Ladies and gentlemen, the one and only Kirsty MacColl."
Billy Bragg

"Together we roamed the streets of Paris, rocked the night clubs of London, and rolled the mean streets of New York City. When you hear these songs of Kirsty's, you're going to want to hang out with her too."
Chris Frantz & Tina Weymouth

"Red hair, sharp tongue, she should be Irish; but I think of Kirsty as one in a line of great English songwriters that includes Ray Davies, Paul Weller and Morrissey. The Noelle Coward of her generation."
Bono

"Kirsty is a voice gradually added to a body. She has great songs and a crackin' bust. She is a supreme original but not - as far as I know - one of the original Supremes. Everything shows in the voice. The best of the last of. Furthermore, a full set of teeth. What more? NOT cursed."
Morrisey

"I first got to know her properly when her husband was trying to produce "If I should fall from grace with God". We had a long chat down the studio when she was as out of it as I was and it turned out that the shy frightened looking girl with classical red-haired gaelic beauty was funny, charming, intelligent and a real gas to talk to. We became good friends and she was soon boosting my ego and hypocritically lecturing me about my excessive drinking while keeping me up all night slugging champagne. I've always dug her stuff - she has an unmistakable beautiful voice and a unique talent for making great music - she's equally great at writing and performing her own stuff and interpreting other people's songs. Kirsty has a particular talent for arranging and harmonising with her own voice while still sounding warm and human. Sorry if I sound like a bloody jazz critic. Anyway - why isn't she massively successful? Kirsty's got the talent, the looks, the guts, the imagination, the passion, the hunger and whatever that magic thing is that makes her one of the great one-offs, and should be up where she belongs."
Shane MacGowan

"The voice of an angel from a mind & heart inflamed by Thatcher's England"
David Byrne

"Writing songs with Kirsty has always been a joy for me. These strange stories of people, relationships & life, with all the wit of Ray Davies & the harmonic invention of the Beach Boys. Only Cooler."
Johnny Marr

Promotion of other albums - Kite - Electric Landlady - Titanic Days - Tropical Brainstorm

Style [ Standard ] [ Cool Blue ] [ Tropical ]

Galore: Promotion

Quotes from the Sleeve Notes

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