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Thursday, November 20, 2008, 06:00
And wisely, instead of looking for glitzy international inspiration, TC – as he styles himself on the sleeve notes – has gone down a very parochial route.
After all, he surely knows the way to a certain little town in Texas by now.
So, eschewing much of the Vegas-pomp and Americana which would doubtless be so easy to do, Christie has gone back to his own roots – he hails from Conisbrough, a village between Sheffield and Doncaster.
As the title suggests, Made In Sheffield boasts a steely collection of songs forged by writers from the city, where its 11 tracks were also recorded.
At first glance it's an embarrassingly diverse collection – a very un-Monkeyish rendition of an Alex Turner ballad and a Human League song share airspace with a couple of Christie originals.
Yet the genius Richard Hawley/Colin Elliot production, the pair responsible for the shape of the project in the first place, holds the whole thing together.
Well, it's not just the production.
Top marks must go first and foremost to the man whose name graces the sleeve.
Simply attempting to find a middle-ground where this diverse collection can share a stage is a laudable achievement.
But this 65-year-old grandfather has actually made it work, and work well.
In these post-Popstars, X-Factor reality-boredom days, it's a jolt to hear a new record by someone who can really sing.
Don't let Amarillo's played-to-death novelty trick you – this man is a master of the microphone in the traditional sense.
Lead-off track The Only Ones Who Know – originally heard on the Arctic Monkey's second LP Favourite Worst Nightmare, is an innovative re-working replete with syrupy strings and Tony's classic delivery, a million miles from Turner's precocious northern snarl.
The emphasis is still on the retro with Perfect Moon, with Christie himself admitting: "Whenever I listen to this song I am transported to a South Sea tropical island from a 1950s Hollywood film."
The gear shifts in the third track Born To Cry, with TC once again polishing his indie credentials with a track penned by Hawley and Jarvis Cocker in the early hours after a Pulp gig.
An epic 1970s-feel big pop epic, it's stretched to almost six minutes to allow room for Hawley's volplaning guitar.
It's not Walk Like A Panther, but it shows TC embracing the future while throwing a knowing nod to his past.
When I interviewed Tony back in January, he told me about his Christmas present from his son and daughter-in-law – a banjolele.
He went out and bought a teach-yourself ukelele book, learned a few chords and by the end of the day had come up with All I Ever Care About.
A wistful, almost barbershop number with a 1920s feel, the McCartney-esque songwriting, Good Day Sunshine-ish piano solo and the ukelele link make it more George Harrison than George Formby.
The other Christie-penned number, Home Tomorrow, is more standard fare but nevertheless carried off with aplomb as a rockabilly number.
Then there's Louise, a 1980s Human League hit given gentle, stripped-down lounge treatment here with piano, haunting trumpet and a particularly sympathetic vocal.
The scathing standout track Danger is A Woman In Love – for all its mild misogynism – is a corker.
Without doubt a classic Bond theme-that-never-was, its Thunderball-esque bombast and knock-out vocal from TC could be just the thing to bring a dash of old-fashioned double-o heaven to the dourness of the series' latest installments.
Almost unknown Sheffeldian songwriter Martin Bragger, who wrote the piece well over 10 years ago, also contributes Paradise Square to the album.
Closing track Coles Corner is the song which kick-started the whole project.
It was hearing Richard Hawley's original version on the radio – and lusting after its production – which prompted Christie to seek out the singer-songwriter, who readily agreed to produce the entire project.
Despite Hawley's peerless original not exactly gathering dust, TC acquits himself admirably with this re-worked version.
It's a dignified end to a rather dignified album – one which Christie, while assuring us it won't be his last, admits he would be happy to have as a legacy.
"These songs aren't fashionable; we just went for quality. I'm so, so proud of it," he says.
He's right to be proud. It's a mature – but not creaky or cranky – record which successfully captures where he is right now.
And it exudes the essence of a city which clearly deserves to be known as equally for its musicianship as its steel.
■ Review by ALEX KELLER
Made in Sheffield: Tony Christie is back with a vengeance. (SIP)
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