Cover Art by Lucy Child. An Original Linocut.
A German review
This album was released with a different graphic design, but the same cover art in Germany through Normal. With each album came Press from territories around the world, which I still have in my personal archives, waiting to be shared through the site, with linked pages for German, Greek and other translations. But here's one I found on an Internet Fanzine site recently:
LOUIS TILLETT
Cry Against The Faith 1998
Format: CD
Genre: Rock
Normal/Indigo
Louis Tillett ist einer der alten Recken der australischen Rockszene und lieh seine wundervollen Pianoklänge bereits anderen australischen Vorzeige-Bands und -Musikern wie den NEW CHRISTS, BEASTS OF BOURBON, DIED PRETTY, CELIBATE RIFLES oder Ed Kuepper.
Auf seinen eigenen Alben bisher vier an der Zahl, das erste "Gates Of Hell" entstand schon '87 spielte Rock hingegen eine untergeordnete Rolle, stattdessen beherrschten fette Big Band-artige Bläsersektionen und pianolastige Blues- bzw.
Soul-Klänge die Kompositionen. Ohne Tilletts an Jim Morrison erinnernde Stimme und sein sehr realer selbstzerstörerischer Lebenswandel hätten seine Songs aber nicht die Überzeugungskraft, die sie nun mal haben.
Tillett ist dadurch einer der wenigen weißen Blues und Soul-Sänger, dem man seine tiefe Verbundenheit mit diesem Sound tatsächlich abgekauft, ohne daß er sich dabei lächerlich machen würde.
Die große Innovation bringt dieses Album sicherlich nicht, aber einen nach wie vor sehr authentisch klingenden Louis Tillett, der das macht, was er am besten kann, seinen Seelenschmerz in klasse Songs verpacken.Thomas Kerpen
LOUIS TILLETT
Cry Against The Faith 1998
Format: CD
Genre: Rock
Normal/Indigo
Louis Tillett ist einer der alten Recken der australischen Rockszene und lieh seine wundervollen Pianoklänge bereits anderen australischen Vorzeige-Bands und -Musikern wie den NEW CHRISTS, BEASTS OF BOURBON, DIED PRETTY, CELIBATE RIFLES oder Ed Kuepper.
Auf seinen eigenen Alben bisher vier an der Zahl, das erste "Gates Of Hell" entstand schon '87 spielte Rock hingegen eine untergeordnete Rolle, stattdessen beherrschten fette Big Band-artige Bläsersektionen und pianolastige Blues- bzw.
Soul-Klänge die Kompositionen. Ohne Tilletts an Jim Morrison erinnernde Stimme und sein sehr realer selbstzerstörerischer Lebenswandel hätten seine Songs aber nicht die Überzeugungskraft, die sie nun mal haben.
Tillett ist dadurch einer der wenigen weißen Blues und Soul-Sänger, dem man seine tiefe Verbundenheit mit diesem Sound tatsächlich abgekauft, ohne daß er sich dabei lächerlich machen würde.
Die große Innovation bringt dieses Album sicherlich nicht, aber einen nach wie vor sehr authentisch klingenden Louis Tillett, der das macht, was er am besten kann, seinen Seelenschmerz in klasse Songs verpacken.Thomas Kerpen
And now a Translation (of sorts)
Louis Tillett is one of the old ranks of the Australian rock scene and has lent his beloved Pianoklength to other Australian show bands and musicians like NEW CHRISTS, BEASTS OF BOURBON, DIED PRETTY, CELIBATE RIFLES and Ed Kuepper.
On his own albums so far four in number, the first "Gates Of Hell" was already created '87 Rock played however a subordinate role, instead dominated fat Big Band-like wind instruments and pianolastige blues
Soul sounds the compositions. Without tulletts of Jim Morrison-like voice and his very real self-destructive lifestyle change, his songs would not have the conviction they have.
This makes Tillett one of the few white blues and soul singers to buy his deep bond with this sound without making him ridiculous.
The great innovation certainly does not make this album, but a still very authentic Louis Tillett, who does what he does best, wrapping his soul pain into great songs.Thomas Kerpen
© by Ox-Fanzine / Issue # 31 (II 1998)
On his own albums so far four in number, the first "Gates Of Hell" was already created '87 Rock played however a subordinate role, instead dominated fat Big Band-like wind instruments and pianolastige blues
Soul sounds the compositions. Without tulletts of Jim Morrison-like voice and his very real self-destructive lifestyle change, his songs would not have the conviction they have.
This makes Tillett one of the few white blues and soul singers to buy his deep bond with this sound without making him ridiculous.
The great innovation certainly does not make this album, but a still very authentic Louis Tillett, who does what he does best, wrapping his soul pain into great songs.Thomas Kerpen
© by Ox-Fanzine / Issue # 31 (II 1998)
Credits
Louis Tillett: Vocals, Piano, Hammond organ, Synthesizer, Soprano Saxophone
Jim Dickson: Bass guitar
Nick Fisher: Drums
Di Spence: Tenor saxophone
Penny Ikinger: guitar
Charlie Owen: guitars (on In Loving Memory Of)
Don Walker: Spoken Credits
All songs written by Louis Tillett except And She Sang (by Jim Dickson and Louis Tillett),
In Loving Memory Of (by Charlie Owen) and It's Gonna Rain (by Mack & Stultz).
Cover Design: Greg Granger
Jim Dickson: Bass guitar
Nick Fisher: Drums
Di Spence: Tenor saxophone
Penny Ikinger: guitar
Charlie Owen: guitars (on In Loving Memory Of)
Don Walker: Spoken Credits
All songs written by Louis Tillett except And She Sang (by Jim Dickson and Louis Tillett),
In Loving Memory Of (by Charlie Owen) and It's Gonna Rain (by Mack & Stultz).
Cover Design: Greg Granger
