Velvet Thunder: The Changeling Deluxe – Review
A great review, by Velvet Thunder, of The Changeling reissue
TOYAH – THE CHANGELING:
DELUXE REISSUE (CHERRY RED)
“Far from being the musical Yin to Fripp’s Yang in those 1980s days, comparison of their respective works reveals as many creative similarities as there are differences.”
The excellent Cherry Red reissue campaign of Toyah’s classic early 1980s catalogue continues here with 1982’s The Changeling, the fourth Toyah studio album in just over three incredibly prolific years. Nowadays it is common for people, particularly those from a prog rock background, to simply regard Toyah as her contemporary incarnation as ‘Mrs Robert Fripp’, and the person responsible for dragging the famously irascible and studiously earnest King Crimson keystone out of his shell and into an ongoing series of light-hearted and often hugely entertaining YouTube video clips of them performing together in a variety of guises. All of which is fine as far as it goes, but there was far more to her wonderfully creative musical side than that – and this reissue series really ought to bring that to the fore in the public consciousness. Far from being the musical Yin to Fripp’s Yang in those 1980s days, comparison of their respective works reveals as many creative similarities as there are differences.
Following an intensely creative 1981, it would have been a very tempting – and indeed understandable – development for The Changeling to follow a relatively commercial and public-pleasing course. Just a year previously, the album Anthem – and particularly its two hugely successful singles It’s A Mystery and I Want To Be Free – had sent her into the world of mainstream TV and media in an easily marketable guise as a sort of ready-made ‘pop-punk with glam’ persona, with subsequent hits such as Thunder In The Mountains continuing that impression. As that whirlwind year came to an end, however, Toyah and her band (led by her chief songwriting partner and musical soulmate Joel Bogen) had other ideas. Indeed, not only did Toyah want to go back to the darker, more challenging template of previous works such as 1980’s The Blue Meaning, but she also planned to base the new album conceptually around how the events of 1981 had affected her on a personal level. The resulting album was certainly not the one which the record company executives wanted or expected her to produce, yet despite, or indeed because of that fact, it has remained one of her key creative statements.
• Continue reading at Velvet Thunder.
