Description
The self-titled album by the American alternative pop band The Ocean Blue was released on Sire Records in 1989. The album was recorded at Eden Studios in London, England; except track A3 and B4, recorded at Matrix in London. Produced by Mark Opitz except track A3 and B4, produced by John Porter. Mixed by Opitz, Mike Dignam, and Rob Minnig.
The Ocean Blue, formed in Hershey, Pennsylvania in 1986, is a band that combines synthesizer-based New Wave hooks with “bluesy” saxophone solos and high tinsel guitars to produce a truly unique sound. They managed to get two of their earliest recordings, “On Growing Up” and “Wounds Of A Friend”, included on Lancaster’s local Christian Radio Station WJTL’s Preliminary Hearing cassette compilation in late 1986. The compilation also included very early work from friends and mentors of The Ocean Blue, noted local artists and alternative rock legends, The Innocence Mission.
Both The Ocean Blue and The Innocence Mission caught our attention three years ago, on the East Coast sampler called ‘Preliminary Hearing‘, and it’s great to report that their major label debuts more than live up to the advance hype they’ve received.
The Ocean Blue confesses to being deeply influenced by U2, especially principal songwriter David Schelzel, and its music is definitely tailored for the same college-age crowd.
Musically, the group is indebted to English bands like The Smiths and Echo and the Bunnymen – catchy melodies, bolstered by lots of jangling guitars and billowing keyboards. Schelzel is neither as brooding as Ian McCulloch (of Echo) or as whiny as Morrissey (of The Smiths). Schelzel’s lyrics veer from the abstract («Awaking to a Dream», «Vanity Fair») to the more direct («A Familiar Face», «Between Something and Nothing» and «Love Song», which contains a few verbatim quotes from 1 Corinthians 13). All in all, ‘The Ocean Blue’ is an impressive debut from a promising young band.
The Innocence Mission shares a common regional background with The Ocean Blue – both are from southeast Pennsylvania – and both will likely appeal primarily to the same early 20’s to early 30’s crowd. But that is where most similarities end. While its self-titled debut is rich in atmospherics and textures, The Innocence Mission emphasizes its lyrics, via the warm and supple voice of Karen Peris.
Peris’ voice combines the childlike nature of Edie Brickell with a more sultry, “catch-in-the-throat” huskiness of Stevie Nicks. And it seems the perfect instrument for conveying her emotional, often intense lyrics. Musically, the group plays a delicate kind of rock, which emphasizes keyboards and Peris’ tremendous voice.
‘The Innocence Mission’ seems almost a journal of someone’s quest for faith («Surreal») and attempting to live each day in that faith («Clear to You»). «Mercy» paints a vivid picture of the human spirit as a kite, floating where “there are no fires of hell, only Mercy.” The family is also at the forefront of Peris’ thoughts – saying hello to a new member («Curios»), keeping the family ties strong («Broken Circle») and not neglecting the older generation («Come Around and See Me»).
Aside from the audio content of both releases, the packaging and graphics are first-rate, and seem to be a signal that the labels are committed to the success of these fine groups. But more than that, the bands themselves are sending a message to young Christian musicians who wish to state their faith in an artistic manner to the world beyond the church. [Bruce Brown, CCM, December 1989]
Floating through the breeze in Chocolate Town USA is a sweet, familiar aroma. It is every child’s fantasy: Willie Wonka come true. Appropriately, The Ocean Blue, hailing from Hershey, PA, deliver music that is equally familiar and inviting.
David Schelzel’s lyrics reveal the outlook of four small-town boys who have turned the corner into manhood, eyes wide open to the world, hearts preoccupied with romance. The lilting music, however, owes more to progressive European pop stylings than to its central Pennsylvania origins. Production credits fittingly include John Porter, who worked with the somewhat similar sounding Smiths. Fortunately, Ocean Blue ignores the over-indulgent self-centered-ness and self pity found in the music of Morrissey and company in order to sing, play and dance at a higher, more pleasant level of awareness.
There’s an undercurrent of joy and acceptance sweeping through this record. It’s reflected as much in the songs of world-weariness («Frigid Winter Days», «Office of a Busy Man»), as in songs of youthful love and optimism («Love Song», «Ask Me Jon» and «A Familiar Face»). And best of all, every song on this self-titled debut is catchy and memorable. Their simple poetry hangs in the air above dance pop for the common woman and man. It’s sometimes savory. Sometimes bittersweet. But it’s always satisfying. Just like chocolate. [Michael J. Kauffman, Harvest Rock Syndicate, Issue 3, 1989 (Volume 4)]
> iTunes (https://music.apple.com/us/album/the-ocean-blue/302065490)
LP tracklist:
Side One
A1. “Between Something And Nothing” – 3:59
A2. “Vanity Fair” – 4:37
A3. “Drifting, Falling” – 3:53
A4. “The Circus Animals” – 3:54
A5. “Frigid Winter Days” – 3:19
A6. “Just Let Me Know” – 3:26
Side Two
B1. “Love Song” – 3:22
B2. “Ask Me Jon” – 3:12
B3. “Awaking To A Dream” – 4:10
B4. “The Office Of A Busy Man” – 3:43
B5. “Myron” – 3:28
B6. “A Familiar Face” – 4:32
Note: Simultaneously released on 12-inch vinyl LP and CD by Sire Records.
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