Peter Godwin: You! UK DL 
Lieber Gott Im Himmel! I’ve been deep down the Peter Godwin hole of late; remastering my now even more peerless collection of rarities and wouldn’t you know it, this lovely download has come along and made a mockery of my efforts. Now I need to re-design the packaging materials since there’s room for just this brand new single in the jam-packed running order.
Last week commenter Gavin; attuned to all things Godwin [as we all are, right?] contacted me to let me know that the first new song in [gasp] eight years had dropped down the chute of commerce in spite of the weird times we’re in, so I bought immediately because that’s what we do when Godwin sees fit to release a single. The day I can’t drop eleven bits in iTunes [even during a stay-at-home order] for the new Peter Godwin track is the day to send flowers. So I bought and played it immediately. What’s it like?
Well, for starters, Godwin’s been recording a lot of music with the spacious sounds of Johnson Somerset collaborating on music and production with him, and this time there’s a new partner in the mix. Godwin, who resides in France, has gone native and enlisted the new-to-my-ears Garbo D’Astorg to write with and this was considerably different from the widescreen, chill out vibe that he had been exploring with Somerset. Gavin suggested Bowie and the guitar style certainly throws back to a strong hint of Earl Slick with lovely sustain on the dual guitar line snaking throughout the entire song. But overall, I’m picking up more of a Roxy vibe, since the song reminds me more of early Metro material than anything from the Godwin canon of the last [gulp] 40 years!
The guitar/bass/drum emphasis was far more rock than the sophisticated pop that Godwin has made his metier in the last few decades. But that’s not to suggest that it’s leather and studs time for Godwin. As ever, the cosmopolitan Godwin has a real feel for chanson that marks him as a peer to Bryan Ferry and the tune, albeit crunchier than anything Godwin has released in ages, still bore that distinct imprint. We can count for that much in this chaotic world!
Sure, sure. You can stream it, but earn way more karma and vote with your wallet. Click the button. You know you want to.
– 30 –
WOW! First, Godwin sounds as silky smooth as rich, bitter, dark chocolate mousse. The song has some late 70’s Bowie references, but it is unmistakably the drama of Peter Godwin in the lyrics. The guitar glides between Slick and Fripp (at times) but your allusion to it moving like a snake through the song is apt.
But it’s the remote cold end that hooked me right back to starting the track again. Last controversial thing to say…this is what Bowie’s Never Let Me Album could have sounded like…
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Echorich – Yeah that ending is the cherry on the top of the song. Provocative Bowie theorum, sir. I sort of get it. But Bowie was still drowning then [and sadly, didn’t know it at the time] and Peter Godwin has a much surer vision. There are good sounds buried under terrible ideas on “Never Let Me Down” and vice versa. But in Gabor D’Astorg Godwin has a new chapter off to a strong start.
This does look like a worthwhile release. But I’m commenting on the cover art. This reminds me so much of an MOR type album cover by say Andy Williams or Nat King Cole, in the 50s or 60s. The font, name of the album, the way he’s looking skyward, the sea in the background …my parents’ record collection is littered with covers like this.
Do you suppose this setting is intentional? Anyone else get that sense?
bpdp3 – Well, Godwin lives in Nice and it was probably shot on the beaches there since…why not. As for pastiching 60s MOR art styles, scratch an artist like Godwin and you’ll find a Scott Walker fan underneath.