The second album from Mick Hobbs’ Officer! (the punctuation’s part of the name) was released on vinyl in 1988. It’s been dusted off- or “remastered from the original reel-to-reel tapes” to give it the proper term- and released on CD by KlangGalerie with five bonus unreleased instrumental tracks from around the same time, as part of a rather prolific output.
It’s very 1988, in many ways- a lo-fi guitar-pop with a quirky, folky attitude and the occasional tilt towards the weird, backed up with a pleasant richness of guest string and wind instruments. The sound quality would have felt low-budget even then, and a bit of remastering doesn’t disguise the generally grungy feel. What carries it above that slight sonic problem is the fact it has a very strong ear for a catchy hook and a catchy riff, with elements like the chorus of “Coma” or the infectious opening riff of “Simone” undeniably strong pieces of song-writing.
Certain parts, like the Jethro Tull-ish flute of delightfully odd “r Tune” (a Simon Bates-sampling tune that Bates would never have played), feel both more eccentric and slightly older, harking back to a more experimental 60’s studio feel. “Remove Your Hat”’s first part has that barking mad avantgarde spaciousness, before the second part develops into a song that’s halfway to Madchester, while the Beatles-ripping riff of “Bright Star” seems like a more overt throwback.
“r Tune” is also an example of the unusual lyrical approach, which sits somewhere between straight-faced, wacky and ironic, without ever settling into overt comedy. “Simone, she leaves me accident prone, so I’d better leave her alone [...], keeping her body in tone, with food that’s organically grown” is poetry. The introverted but sweet love song parts, such as “(I’ve Got A) Nice Girlfriend”, never quite reaches Jilted John territory, but it’s not far off, while the simple and innocent approach stretches into wilful ironic pretend-dumbness in songs like “Hid It (‘Cos I Wanted You To Find It)”.
As quite a contrast, the five previously unreleased instrumental bonus tracks, rather than being the sparse pop-demo sound that I might have anticipated, are rich experimental pieces with analogue synths and complex time signatures that hint at a very different but equally interesting compositional approach. “Distal Interphalangeal”’s mesmerising counter-play of repeating plinky bell sounds with spontaneous growls is a particular highlight.
It’s oddly endearing from start to finish, and while the clanginess and sonic quality of the guitar does start grating over the course of an hour, it’s an interesting way to get introduced to Hobbs as an off-beat songwriter with some great tunes.