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Digital Subscriptions > Classic Pop > Aug 2019 > GARY DALY GONE FROM HERE





It’s the quiet ones you’ve got to watch, but that assumes they’re on your radar. Few would have expected one of 2019’s loveliest records to arrive via Gary Daly, whose band has been treated so poorly by history you may need a reminder he’s the singer for China Crisis. Gone From Here, however, is one of those albums that whispers to you, its tone at first so gentle you don’t realise how agreeable it is. That’s until you notice the silence which follows leaves you with an aching sense that a good friend is suddenly missing.

Its roots in the 80s are unquestionable: Roland Juno-60s, Yamaha DX7s and Korg PolySixes, crucial to China Crisis, are conspicuous, sometimes guilty pleasures. But Daly’s songs are ageless, like, say, Terry Hall’s (not least Low Tide’s autumnal Colourfield echoes), Stephen Duffy’s (especially Of Make Do And Mend’s baroque pastoralism), or even – though Daly’s notably more ‘English’ – Neil Finn’s. That, perhaps, is why he’s never enjoyed the same degree of credibility as fellow Liverpool graduates The Teardrop Explodes or Echo & The Bunnymen: China Crisis never defined their era.

Still, Time It Takes boasts Steely Dan’s poised discipline, its guitar solos unusually restrained, and the empathetic In The Cloudy Domain’s like The Blue Nile working with an orchestra instead of synths. I Work Alone’s Casiotone rhythm accentuates its intimacy, Dead Of Night shimmers like the Milky Way, and, in Anthony, there’s even a pretty tribute to Anthony ‘Anohni’ Hegarty.

The title track, furthermore, finds Daly’s voice cracking as he sings with pathos of lost friends, but possibly more poignant still is Carousel Of Stars, featuring John Campbell of another underrated early 80s Liverpool act, It’s Immaterial. Offering a tantalising hint of what to expect on their forthcoming comeback, it finds the Driving Away From Home frontman take to his feet for a hushed, magical exploration of life’s possibilities.

Admittedly, Gone From Here is somewhat polite, but its strength lies in his emotional frankness and melodic mastery. In fact, though his delivery is so unassuming you’ll need to replay it, you’ll hear Daly’s aesthetic summarised on the impossibly sweet Write Your Wrongs: “Say what you want/ But just don’t be a c*nt”. That you’ll find yourself singing these words for days underlines his achievements. Wyndham Wallace

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About Classic Pop

This month, we have a world exclusive with Adam Ant as he prepares for a full-album tour of his experimental solo debut Friend Or Foe. It’s a must-read interview packed full of surprises. The pop mavericks keep on coming elsewhere, too – our classic album is The KLF’s seminal LP, The White Room, and we catch up with the inimitable Wendy James as she unveils new double album Queen High Straight. We meet the people behind Pet Shop Boys’ dazzling new stage show Musik, a return to the world of Billie Trix; playwright Jonathan Harvey and star Frances Barber fill us in on what to expect. Peter Hook tells us the story behind Joy Division’s Unknown Pleasures – 40 years on, the band’s debut is still a work of staggering genius. In our album-by-album feature, we take an in-depth look at the recording career of Eurythmics and we meet Will Young to find out how he’s beaten his anxiety issues to create new studio album, Lexicon. Legendary producer Stephen Street talks us through his life in vinyl and we take a peek inside a new book on Soft Cell to uncover unseen photos of the synth-pop duo. Our packed new album reviews section includes Gary Daly, Shura, Friendly Fires, Mabel and more. On the reissues front, we serve up a selection including The Lightning Seeds, Belinda Carlisle, Big Country and Bonnie Tyler. In our live reviews section, we round up our Glastonbury Festival best bits plus check out gigs by Spice Girls, Elton John, Tears For Fears, Pink and more.