Wild is the Wind: Manly’s sublime phrasing bathes you in warmth
If you get the chance to catch Gill Manly singing live, seize it. Even in a London jazz scene crammed with secret treasures, her sublime phrasing, a voice which bathes you in warmth even when the lyrics tell a bitter tale, and her connoisseur’s ear for songs that chime with the musicality which she wears with grace and insouciance, set her apart as a singular talent. The world would be a better place if she were heard more widely – and if there’s any justice, her new album, The Lies of Handsome Men, will bring her the attention she deserves as one of Britain’s finest female singers of any genre.
It’s a carefully selected set of songs that she likens to jewels from her personal treasure trove, put by until the time was right to put her interpretations on the record. Generous, too, at 15 tracks.
Many better-known singers would be hard-pressed to sustain unbroken interest through such an eclectic mix of standards and pop songs. However, Manly has a gift for threading lyrical themes and ideas together with a vocal line that ranges from girlish delight (shades of Blossom Dearie) to arch-vamp (recalling Julie Wilson) but is at its most telling with world-weary, self-knowing material that hints at the emotional texture of a woman’s life, lived fully. Buddy Greco guests on “Second Time Around”, but it’s a measure of the album’s quality that his stardust is a pleasantly incidental contribution rather than the high point of the record.
Despite the occasional tone-lightening favourite (“Peel Me A Grape” and “Witchcraft”), The Lies of Handsome Men sets a contemplative mood from the moment the title track edges into earshot. In that respect, it reminded me very much of a great but little-remembered Judy Holliday album, Trouble is a Man: serious, complex, sophisticated and intelligent readings of heart-breaking songs.
“The Lies of Handsome Men” sets the bar high, but with the glories of the Dudley Moore/Fran Landesman at-least-we-had-a-go classic “Before Love Went out of Style”, the John Scott/Caryl Brahms soliloquy “Woman Talk” and the quietly devastating Rod McKuen testament to survival, “A Single Woman” to follow, the quality never dips. “How Insensitive” is a case study in narrative interpretation, and “Wild is the Wind” a glorious tribute to one of Manly’s main influences, Nina Simone.
Manly’s pianist, Simon Wallace, who also produced the album, must share the credit for this. To make “Mad World” rub shoulders with the damped-down histrionics of “Windmills of Your Mind”, the cynicism of “Charade” and the frustrated longing of a little-heard Goffin/King number, “Go Away Little Boy”, without a single jarring moment is a considerable achievement.
This is a cohesive and coherent piece of work full of endless lessons for any receptive singer – and indeed for the rest of us, picking our way through the emotional minefield of human experience and trying to make sense of it without letting bitterness take hold. When Manly signs off with “Not Like This”, salvaging truth and dignity from the ashes of a love affair, the affirmation is left hanging in the air between the artist and the listener. That’s great singing. Highly recommended.