The Blue Nile Hats
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Rickie Lee Jones, a fan of the band, personally selected The Blue Nile as her opening act for her US tour in 1. She would later record a duet with them, a cover of their own Easter Parade from A Walk Across the Rooftops, which was featured as a B side to the single Headlights on the Parade. The Downtown Lights was covered by two artists in 1. Annie Lennox with whom The Blue Nile worked on her debut album Diva on her second solo recording, Medusa and by Rod Stewart on his album A Spanner in the Works. RecordingeditHaving finished promotion work for their debut album A Walk Across the Rooftops, the groups record company Linn Records were keen to have a follow up record, and in early 1. Gullane near the Castlesound Studios where the previous album had been produced. However, sessions for the new record hit problems almost immediately. The band did not yet have enough material to make another album, and with the group forced to share a house and having to spend all their time in close proximity with each other, arguments developed among the homesick band members. Exhausted and stressed, their problems were compounded when Virgin Records, to whom Linn had licensed the Blue Niles records, began legal proceedings against Linn Records, demanding new material. We were up against the wall, singer Paul Buchanan told Uncut magazine in 2. Living away from home, no money, miserable, getting sued. We were absolutely zonked, the record company werent pleased and everyone around was starting to think, this record is never going to get made. It was exhausting. After almost three years in the studio which produced virtually nothing, having begun and scrapped several songs, the group was forced to vacate Castlesound to make way for Its Immaterial, another Virgin band, to record their second album Song. Like The Blue Nile, Its Immaterial also ran into difficulties making their record, overrunning their allotted time and eventually spending a year at Castlesound. During this time, The Blue Nile had no option but to return home to Glasgow back in familiar surroundings and freed from time constraints, Buchanan overcame his writers block, while Robert Bell and Paul Joseph Moore began putting musical ideas down on a portastudio. As a result, when the band was finally able to return to Castlesound in 1. Buchanan, we knew exactly what we were doing. We actually recorded the rest of Hats super quick . Honestly, half of Hats was, like, a week. In a 2. Clash. Music. Buchanan reflected on the time lost trying to make the album We pretty much put the record A Walk Across the Rooftops out, promoted it and then the next thing we knew we were back in the studio. That whole gestation period had gone missing. We didnt really have the songs. We laboured away in the studio trying to generate the material there, which just didnt work. Counter Strike Bots 1.6'>Counter Strike Bots 1.6. We recorded but we just didnt believe in what wed recorded . I think people perceived it as it was all to do with us sort of being in the studio for five years, but of course you couldnt be in the studio for five years, youd lose your mind. There was a two year period where we would have gone back in but we couldnt get back in So when we got back we actually finished Hats quickly. The period when we got bumped out the studio we had nothing else to do, so we packed up and went home. Which is what we should have done in the first place, because when we went back home we reverted to our old routinespractise, play and sit about each others little flats and talk things through. We should have done that to begin with, really. ReleaseeditThe album was released in October 1. UK and the US since The Blue Nile was essentially unknown in the United States in 1. US release of Hats was slightly modified for marketing reasons, with the bands name in larger letters. As a promotional tool, A M Recordswho distributed Hats in North Americatook out a full page advertisement in Billboard magazine offering a free copy of the CD to anyone who called a toll free number which was provided. Three singles were released from the album the first, The Downtown Lights, was released in September 1. UK singles charts, followed by Headlights on the Parade in September 1. Saturday Night in January 1. In the United States, Hats peaked at 1. Billboard 2. 00. 6 The Downtown Lights reached 1. Billboard Hot Modern Rock Tracks chart in early 1. In November 2. 01. Virgin Records released two CD Collectors Edition versions of Hats and its predecessor A Walk Across the Rooftops in the UK and Europe, each containing a remastered version of the original album plus a second CD of bonus tracks. The remastering process was overseen by original engineer Calum Malcolm, along with contributions by Paul Buchanan and Robert Bell, who chose the songs for the bonus CD. Critical receptioneditOn its initial release in 1. Hats received highly positive reviews from music critics. Describing the album as absolutely superb, David Cavanagh of Sounds found that Hats differed significantly from A Walk Across the Rooftops in both its recording technology and aspired moods. Johnny Black of Q noted the more stripped down nature of the albums songs and praised the bands new direction, stating that if Hats has a flaw, its only that its too perfect, too considered. NMEs David Quantick felt that the album demonstrated the bands flair for writing incredibly simple sounding, emotional records about the stuff that fascinates them. Simon Reynolds, writing in Melody Maker, stated that only the laziest ear would confuse this crystalline perfection with the hygiene and polish of plastic pop and described the album as big music, that leaves you feeling very small, very still and very close to tears. In a more lukewarm assessment, David Thigpen of Rolling Stone was complimentary of the bands use of instrumentation to convey emotions and Paul Buchanans more refined sense of melody in the music, but felt that his singing range was limited and the album faltered when it forayed from its reflective posture into sticky melancholy on an overall fine second act. In a retrospective review of Hats, Jason Ankeny of All. Music praised the album as a triumph of personal vision over the cold, remote calculations of technology and stated that in spite of general lack of live instrumentation, it is nevertheless an immensely warm and human album. Following the release of the albums 2. D. M. Edwards of Pop. Matters wrote that Hats sounded richer, fuller, more layered and produced than A Walk Across the Rooftops and provided a pretty unrelenting opportunity to really wallow in gorgeous, sublime, melancholy. Reviewing the remastered versions of both albums in Mojo, James Mc.