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The archaeological dig of 1980s pop music continues, and this week's find for the Time Team crew to mull over is Swing Out Sister. Perhaps that's a little harsh, mind, as the band haven't really been away in terms of splitting up - merely they seem to have enjoyed an extended break. The big question now being - is Corinne Drewery the same girl?
Nine albums in, and the answer is a positive one. Swing Out Sister continue to make music for the soul, delivered through Drewery's beautifully heartfelt tones. As it has matured, her voice has if anything become even better, capable of tugging the heartstrings with little more than a simple lilt, still instantly recognisable.
Anybody looking for an excursion down memory lane for a rehash of Breakout will be disappointed, but that doesn't mean they should up sticks and look elsewhere. For while Beautiful Mess has a mature sound that takes it close to the middle of the road, it sports a classy production, and delivers its messages with emotion and lack of pretence.
The vocals make the record, that's for sure - and a song such as Something Every Day is effortless mid-morning radio fodder, its hook initially not up to much but making more of an impression with subsequent listening. This track, Butterfly and My State Of Mind are co-written with Gina Foster, all three accomplished songs with a dash of soul.
Elsewhere the closest parallel to the Swing Out Sister sound would seem to be Texas, the two sharing pop sensibilities, though where the Glaswegians have tended to over polish their sound, Andy Connell ensures that doesn't happen here, with enough of a sharp edge to keep the music less predictable.
Occasionally the lounge aspect of the music is overplayed, and the instrumental bossa nova, Butterfly Lullaby, divides the album with a sound perilously close to hotel muzak. Thankfully Secret Love (You're Invisible) is next up, its vocal ripe for a deep house remix with Drewery singing, "caught in a dream, you came to me" as her opening gambit.
The Little Wizard remixes of Something Every Day and Butterfly are offered as bonus tracks, and after the subtleties of the album are not revealed in a flattering light, with overdone 'street' beats, trumpet solos and scats blocking the essence of the raw material. The band work best when left to their own devices and given less studio treatment, with largely sensitive string and vocal arrangements, even if the soft focus shots are occasionally too frequent.
In their original form, and 'less is more' production, it's worth noting that not only are Swing Out Sister back, they've matured like a fine red wine, and clearly have plenty to offer.
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