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Track List
01) 10 Lessons in Love
02) Mitch
03) The Perfect Couple
04) Last Day Blues
05) Man's World
06) Barstool
07) Poems
08) If
09) The Real Blues
10) Proceed With Care
11) Man, Girl, Boy, Woman
01) 10 Lessons in Love
02) Mitch
03) The Perfect Couple
04) Last Day Blues
05) Man's World
06) Barstool
07) Poems
08) If
09) The Real Blues
10) Proceed With Care
11) Man, Girl, Boy, Woman
4:59
3:53
3:54
3:57
4:53
4:07
3:47
3:56
5:51
4:17
2:28
Data Complete
70%
Total Rating
70%Total Rating
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Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2001
Alternative Rock
Bittersweet
Rock/Pop
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Medium
Album
0 copies
Album Description
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"Fat Chance" is the first solo album by British artist Paul Heaton, the former frontman of both The Housemartins and The Beautiful South, released in 2001 by Polygram International ,in the guise of Biscuit Boy (a.k.a. Crackerman). The album was re-released the following year by Mercury Records complete with new artwork and crediting the artist as Paul Heaton.
Though this is technically a solo project, he's not going completely alone, with help coming from Martin Slattery and Scott Shields (from Joe Strummer's backing band the Mescaleros), two of his Beautiful South colleagues David Rotheray and Damon Butcher and regular Beautiful South producer Jon Kelly.
The album was critically acclaimed, but was not a commercial success.
User Album Review
In an ideal world, a side project should allow the artist to cut free from the well-worn grooves of their regular band and try out some imaginative new ideas. The problem with Fat Chance is that Beautiful South frontman Paul Heaton has done exactly the opposite - his over-familiar cynicism weighs down every single second of this impossibly gloomy record, and this time there's no chirpy backing music to lighten the mood. On the evidence of the lyrics here, Heaton hates just about everybody and everything these days, with intellectuals, journalists and holidays topping what turns out to be a frighteningly lengthy list. The grumpy old misanthrope's saving grace has always been his caustic wit, of which there are several welcome glimpses here. But too many songs sound like discarded chippings from The Beautiful South factory, and the mood of unrelenting misery and drabness eventually becomes unbearably depressing. Heaton's talent is not in question, but at the moment you can't help feeling that he's going a funny way about using it.
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User Comments
Available in:
"Fat Chance" is the first solo album by British artist Paul Heaton, the former frontman of both The Housemartins and The Beautiful South, released in 2001 by Polygram International ,in the guise of Biscuit Boy (a.k.a. Crackerman). The album was re-released the following year by Mercury Records complete with new artwork and crediting the artist as Paul Heaton.
Though this is technically a solo project, he's not going completely alone, with help coming from Martin Slattery and Scott Shields (from Joe Strummer's backing band the Mescaleros), two of his Beautiful South colleagues David Rotheray and Damon Butcher and regular Beautiful South producer Jon Kelly.
The album was critically acclaimed, but was not a commercial success.
User Album Review
In an ideal world, a side project should allow the artist to cut free from the well-worn grooves of their regular band and try out some imaginative new ideas. The problem with Fat Chance is that Beautiful South frontman Paul Heaton has done exactly the opposite - his over-familiar cynicism weighs down every single second of this impossibly gloomy record, and this time there's no chirpy backing music to lighten the mood. On the evidence of the lyrics here, Heaton hates just about everybody and everything these days, with intellectuals, journalists and holidays topping what turns out to be a frighteningly lengthy list. The grumpy old misanthrope's saving grace has always been his caustic wit, of which there are several welcome glimpses here. But too many songs sound like discarded chippings from The Beautiful South factory, and the mood of unrelenting misery and drabness eventually becomes unbearably depressing. Heaton's talent is not in question, but at the moment you can't help feeling that he's going a funny way about using it.
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