A few days ago I received four new press pieces for the Media Archive, which I shall set about transcribing in due course.
Four - an excellent response to a rather generic request for material from the UK press relating to The Golden Section.
So far, all that I have managed to locate (well, the vast majority) has been Australian, and very postive.
These UK pieces - from MM, NME and Record Mirror - are all scathing in their criticism of the album and the artist, describing TGS variously as "over-ripe" and "claustrophobic" and Foxx himself as having "produced little of any real merit" and "desperately in need of a more varied setting". Sharon Machala in Record Mirror is particually cutting - "a thin coat of gold plate is never any substitute for the genuine article".
What's interesting about these views is that they do exemplify my own opinion of the album at the time of its release. I felt it was very much an over-produced 'sell-out' album, with Zeus B Held drafted in by Virgin to polish up a desperately needed hit single. They'd dismissed the songs a year or two earlier, and Foxx himself ditched most of them, but obviously felt there was some potential there given a dose of sparkle and some thumb-slappin basslines a la Level 42.
Your Dress came close, and is one of the best songs on the album, but was never in any dange ro fthreatening the Top 40.
I have redefined my opinion since, having heard these 'original' songs without the brasso, and with a much deeper understanding 25 years on of what Foxx was all about and a maturity to apprecaite the song-writing craftmnanship of tracks like 'Sitting At The Edge of the World' and 'like a Miracle'.
I got to see The Golden Section tour twice - Dominion and Lyceum - (both recorded for future release) and at the time I was blown away. First time seeing my favourite artist live, travelling to London, student circumstances etc etc. Subsequently realised, thanks to several superb bootleg recordings - neither of these were great gigs and the sound quality was pretty poor.
This is expressed too well by Neil Tyler in NME, who suggests the show was a "pretentious display of musical nothingness".
It's fascinating as an archivist to collect together ALL the critical opinion of the time, because its so easy as a fan to regard everything as shiny and wonderful.
Well into the third folder of material now, and keep having to re-organise when this excellent 'retro' material turns up.
No wonder the clicky lever-arch things get buggered every six months