Chris Hickey Survives the 80s to Reissue Two Lost Gems
The 80s got a bad rap. Ronald Reagan and Margaret Thatcher had a lot to do with that. So did the entertainment-industrial complex. That was the John Hughes decade. It was also the decade where the big record labels, who then dominated all but the most obscure niche markets, began targeting their marketing to very specific age and gender groups. In this rigidly stratified world, that meant teenybopper pop, new wave and hair metal for the girls and 70s elevator pop for women past college age; metal for the younger guys, 70s dinosaur rock for the older ones. But the reality is that there was a vast amount of great music from that decade that never made it past college radio, if it even got that far. That’s where Chris Hickey would have been found, if anywhere, on the pre-internet airwaves back in 1985 when he released his cassette-only debut Frames of Mind, Boundaries of Time. He followed up that dark folk album with the similar Looking for Anything two years later. Happily, both are now available digitally for the first time ever.
It’s impossible to hear Matt Keating and not think of Hickey – and vice versa. Both are nonchalantly strong singers, have a flair for a biting turn of phrase and a catchy melodic hook – and an unease that doesn‘t lift. Where Keating got his start in punk rock, Hickey came from the folk side, but with a grimly lyrical edge that in its own quiet way was just as punk. Right from the first track on the first album, June Fifth, Hickey’s vocals are low, seething, wound tight as a drum. Just voice, a couple of guitars, a string of nonchalantly doomed images, and “A ring of the phone to tell you that you were wrong…”
Sometimes Hickey lets the images paint a picture; more often than not he hits the point of the songs square on the head, with a direct, plainspoken quality akin to Jonathan Richman but with balls. Hickey also has a strong political sensibility and a snarling distrust of authority. The best song on the collection is Another War, a soaring, Byrdsy twelve-string janglerock anthem. And it’s not just a litany of pain and grotesquerie, although there’s a lot of that:
The soldier plays a bamboo flute
The song he used to sing at home
For a a fifteen-year-old prostitute
He teaches her to sing along
The song sounds like a lullaby
She sings the words of quiet love
They could sing that song all night
But a knock on the door says time is up
This is where Hickey is strongest: the song may be going on thirty years old, but it’s as relevant now as it was then. It could have been inspired by Reagan’s misadventures in Costa Rica, or Lebanon, or Grenada, but this war could be anywhere.
The tunes have held up well, too. The earlier material, understandably, has more of a a lo-fi feel, sometimes just a couple of guitar tracks and voice, sometimes with bass and simple drums. The somewhat more elaborately produced tracks have more of a distinctive 80s feel – it’s that watery chorus-box guitar! The characteristically pensive Faraway has gently fingerpicked acoustic, woozy synth and a faux cello patch; the two-chord vamp in Carol echoes the Police’s King of Pain. I Can’t Wait to See You is half the Police, half swaying acoustic 80s rock.
Start Over Again looks back to early acoustic Dylan, a word of caution for a would-be sellout: “Your words are thin and your heart isn’t in, so why don’t you start over again?” Not You works similar lyrical territory, with just snarling electric guitar and vocals: “I know who’s telling me the truth and it’s not you.” The caustic minor-key folk-rock tune Man of Principle foreshadows Roger Waters’ The Bravery of Being Out of Range. Freedom explores existential boundaries over a bed of tasty multilayered acoustic guitars:
An attempt is not an escape
An escape assumes a frame
A frame is a boundary that exists in the mind
The mind is one of many
Many agree to a frame…
This Is My Land makes succinct fun of people who won’t let anyone near their stuff, metaphorically speaking. Not My Place reminds of 60s Dylan, but with good vocals, a plainspoken message to a boss type to kiss off. The unspoken punchline of the mutedly pulsing, allusive courtroom scenario Five Words might be “I sentence you to death.” And Dark Cold Day assesses a gloomy Reagan-era milieu over biting, minor-key janglerock:
Follow poet, follow right
To the bottom of the night
With your unconcerning voice
Still persuade us to rejoice
With the forming of a verse
Make a vineyard of the curse
Sing of human unsuccess
In a rapture of distress
The rest of the tracks broodingly contemplate interpersonal relations, and for one reason or another this is where the Matt Keating comparison holds most true. There Was a Time, with its simple, elegant broken chords and catchy, anthemic chorus; the grimly waltzing Not Our Son and the gorgeously jangly, uncharacteristically sunny Save My Life are three prime examples. The collection ends with a droll, roughhewn spoken word piece. Hickey remains active in music, with lots more intriguing stuff up at his Bandcamp page.