Excursion on the Version
Excursion on the Version is the rather unenthusiastic title bestowed upon the second and ultimately final studio album from the English musical collective known as Beats International. Released in 1991, this record marked a pivotal, if somewhat weary, point in the group's brief existence, solidifying their sonic identity while simultaneously signaling its impending dissolution.
Studio album by Beats International
| Released | 1991 |
|---|---|
| Recorded | 1991, Studio Esselle |
| Genre | • Dance • dub |
| Length | 49:13 |
| Label | Go! Beat [1] |
| Producer | Norman Cook |
Beats International chronology
| Let Them Eat Bingo (1990) |
Excursion on the Version (1991) |
|---|---|
Singles from Excursion on the Version
- "Echo Chamber"
Released: 1991 - "The Sun Doesn't Shine"
Released: 1991 - "In the Ghetto"
Released: 1991 - "Change Your Mind"
Released: 1992
Overview
Excursion on the Version emerged into the musical landscape of 1991, a mere year after Beats International's debut, Let Them Eat Bingo. It would, predictably, be their swansong. The album's rather self-referential title is not, as some might mistakenly assume, a commentary on a particularly dull sightseeing trip, but rather a direct nod to a specific idiom within reggae music. This terminology refers to the practice of ingeniously repurposing existing instrumental tracks—the "versions"—by layering new vocals or instrumental arrangements over them, thereby creating entirely new compositions. Norman Cook, the primary architect behind Beats International, openly embraced this concept, adopting the phrase to articulate and justify his own distinctive production methods, which frequently involved sampling and recontextualizing various musical elements [4][5]. It was, in essence, a declaration of intent, a musical mission statement that acknowledged its own influences and techniques with a certain blunt honesty.
Of the various singles extracted from the album, the rendition of "In the Ghetto" managed to climb to No. 44 on the highly competitive UK Singles Chart, marking it as the most commercially successful of the album's three charting releases [6]. Following the album's debut, the band, in a move that might be considered either ambitious or simply a change of scenery, embarked on a tour across Africa. This tour, though perhaps culturally enriching, proved to be the final act for the collective, as they disbanded shortly thereafter [7]. Interestingly, the album faced initial distribution challenges in South Africa, a decision made in protest against the country's then-prevalent human rights abuses and the oppressive system of apartheid [8]. This conscientious stand, while commendable, meant that a segment of their potential audience had to wait longer to experience Cook's particular brand of sonic exploration.
Production
The creative and technical helm for Excursion on the Version was, unsurprisingly, taken by Norman Cook himself [5]. The recording sessions took place in the rather picturesque city of Brighton, England, specifically at a location identified as Studio Esselle on Dyke Road [8]. This locale, far from the bustling epicenters of major music production, provided a perhaps more intimate or focused environment for the album's creation.
Sonically, the production of Excursion on the Version was deeply imbued with influences from several distinct, yet interconnected, musical traditions: ska, reggae, and dub [9][10]. This fusion meant listeners were presented with a soundscape characterized by off-beat rhythms, prominent basslines, and the often ethereal, echo-laden textures that are hallmarks of dub production. Cook's approach was less about strict adherence to genre conventions and more about a playful, yet precise, deconstruction and reassembly of these elements, creating something that felt both familiar and distinctly his own. It was, one might observe, an "excursion" into these "versions" of sound.
Critical reception
As with most artistic endeavors, Excursion on the Version was met with a spectrum of critical responses, some more forgiving than others. The professional ratings, collected from various sources, paint a picture of an album that was, at best, mildly engaging and, at worst, somewhat uninspired.
| Source | Rating |
|---|---|
| AllMusic | |
| Calgary Herald | C− |
| Chicago Tribune | [4] |
| Robert Christgau | [13] |
| The Encyclopedia of Popular Music | [9] |
| MusicHound Rock: The Essential Album Guide | [14] |
| The Rolling Stone Album Guide | [15] |
The Calgary Herald, in a rather pointed assessment, declared that the album's offerings constituted "music for mall rats, for the beat(en) generation of feel-gooders who want reggae with none of the dirt of Trenchtown in its grooves, who want lines lifted from the Clash or MC5 with none of their nasty anger, who want a tribute tune to Al Green with none of that intrusive soul stuff" [12]. This rather scathing critique suggested that Beats International had, in their pursuit of a palatable sound, stripped away the very essence and grit that defined their influences, rendering the music a sanitized, commercially friendly pastiche. It implied a lack of authentic depth, a superficial engagement with the genres it borrowed from, leaving listeners with a hollow imitation rather than a genuine evolution.
In stark contrast, or perhaps just with less vitriol, esteemed music critic Robert Christgau offered a concise, yet positive, nod to the track "Brand New Beat," singling it out for praise [13]. This suggests that even within an album that garnered mixed reviews, certain tracks managed to shine through the general malaise.
The Times, a publication not known for mincing words, observed that Cook seemed to be indulging "his latest passion for the dropped first and third beat," a characteristic rhythmic pattern [16]. While acknowledging that "The experience is pleasant enough," the review ultimately concluded that his "songs lack clout and the lyrics are too literal" [16]. This critique highlights a common pitfall: technical experimentation, while interesting, can sometimes overshadow the fundamental need for compelling songwriting and lyrical depth, leaving the listener with an intellectually engaging rhythm but an emotionally detached experience.
AllMusic, a ubiquitous source for musical appraisal, weighed in with the observation that "the music on this album isn't as explicitly derivative as that on the group's debut, Let Them Eat Bingo, but it's all generally derivative, especially of all-purpose ska and reggae grooves" [11]. This comment, while acknowledging a slight improvement in originality from their previous effort, still firmly planted Excursion on the Version within the realm of the unoriginal, suggesting that Cook's "excursion" was more a re-tread of well-worn paths than a bold new discovery. The reliance on established ska and reggae patterns, while foundational to the album's sound, was perceived as a limitation rather than an innovation.
Finally, The Rolling Stone Album Guide offered a somewhat ambivalent appraisal, labeling the album "ephemeral but fun" [15]. This description perfectly encapsulates the fleeting, transient nature of much pop music, enjoyable in the moment but lacking lasting impact. However, even within this mild critique, the guide managed to identify a standout, concluding that Excursion on the Version's "most affecting selection is a fairly straightforward reading of 'In the Ghetto'" [15]. This particular track, a cover of the Mac Davis classic, seemingly resonated more deeply than Cook's original compositions, perhaps due to the inherent emotional weight of the original material.
Track listing
The album's twelve tracks, meticulously laid out, offer a journey through Cook's influences and compositional style. Each piece, a testament to his collaborative spirit, often credits multiple writers.
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Brand New Beat" | • Cook • Edwards • Ray |
4:00 |
| 2. | "Change Your Mind" | Cook | 3:37 |
| 3. | "Love Is Green" | • Cook • Noel |
4:32 |
| 4. | "Echo Chamber" | • Cook • Nelson |
5:47 |
| 5. | "The Sun Doesn't Shine" | Cook | 3:53 |
| 6. | "Herman" | • Cook • Clark • Weekes |
4:12 |
| 7. | "Three Foot Skank" | • Cook • Wildski • Nelson |
3:59 |
| 8. | "No More Mr Nice Guy" | • Cook • Noel • Harris • Lewis |
3:30 |
| 9. | "Eyes on the Prize" | • Cook • Noel |
4:16 |
| 10. | "Ten Long Years" | Cook | 4:33 |
| 11. | "In the Ghetto" | Davis | 4:00 |
| 12. | "Come Home" | • Cook • Withers |
3:27 |
| Total length: | 49:13 |
Personnel
The individuals credited with bringing Excursion on the Version to fruition are listed below, their contributions, however vital, often remain behind the scenes. These credits, a testament to the collaborative process, are adapted directly from the album's liner notes.
- Norman Cook – production (the orchestrator of the chaos, naturally)
- Simon Thornton – engineering (ensuring the sounds actually made it onto the record, a crucial yet often overlooked task)
- Wayne Tracey – sleeve (the visual architect, responsible for the album's outward presentation)
- Blackie – sleeve (another hand in the visual identity, apparently two were needed)
- Glen Luchford – photography (capturing the fleeting moments for posterity, or at least for the album art)