'' is the first album by
Rob Dougan , released in mid-
2002 in the UK and in mid-
2003 in the US and Europe. It was nominated for the 2004 Grammy Award for "Best Boxed Or Special Limited Edition Package".
''Furious Angels'' was originally released as a single-disc album (14 tracks for its world edition, 15 for its home UK edition) dominated by vocal tracks, which strongly divided listeners about Dougan's gravelly voice.
It was then rereleased as a two-disc album, disc one featuring all 15 songs and disc two featuring 10 instrumental versions of the vocal songs from the first disc, as well as two music videos; there's also been a special-edition set adding a booklet of lyrics and photographs
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The album was written, produced and mainly financed by Rob Dougan himself, rather than a studio, with funds generally raised through the licensing of tracks from the album to film and TV (see below).
This album has been described as "semi-dark, yet fresh and witty", however its appeal is far from universal, maybe best summarised by the opening paragraph of this 2003 Guardian article
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It's been noted how the overall tonality of both music and lyrics is essentially dark – in a similar way to some blues or folk music. While not a
Concept Album , it seems structured as a descent into darkness followed by an ascension towards light (a comedy in the traditional theatrical sense). Tracks 1 to 9 feel like a rough descent, 9's "Nothing At All" providing the heartwrenching bottom. Track 10 feels merely disenchanted, 11 feels relaxed, 12 feels like optimistic melancholy from the coziness of a piano bar, and after 13 for a pause, 14 reaches the appeased light of "One And The Same (coda)".
Lyrics excerpts are provided for the most representative standout tracks.
# (00:43) " Prelude " — A brief choral opening with strongly distinguished left and right channels, making it uncomfortable on headphones.
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# (05:56) " " — An uptempo track coordinating Rob Dougan's lead vocals, Joy Malcolm's backing vocals, a full orchestra, and "metronomic" synthetic beats, as well as subtle piano backing. It's also the only track that's similar to "Clubbed to Death", but with a slight
Gospel Music twist.
- "'' like a sentence of death / i've got no options left / i've got nothing to show now / i'm down on the ground / i've got seconds to live / and you can't go now / cause love / like an invisible bullet has shot me down and i'm bleeding / yeah, i'm bleeding / and if you go / furious angels will bring you back to me / will bring you back to me ''"
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# (03:50) " Will You Follow Me? " — Romantic and soundtrack-like orchestral instrumental.
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# (04:34) " Left Me For Dead " — Orchestral torch song of strings tempered by some folksy bitter humour.
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# (04:34) " " — An electro/orchestral tragic song that's now really dark. The song is a complex network of tragedy, angry despair and a kind of strange addiction. It bursts with a severe energy that is sustained throughout, with a softer yet still tragic interlude at about 2.45 minutes in, only to be struck by a dramatic despair laden ending.
- "'' tell me how long have i got / i wanna end this earthly toil / till this diet life expires / i wanna go swimming in the soil / and not come up for breath / sit in god's room // i'm unfit for consumption / i don't know how to play my part / i swear i'm alone in this thing / i'm a blind man driving my car / into oblivion / let it come soon / i'm not driving anymore / i can't keep up with you ''"
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# (07:29) " " — Rob Dougan frequently attempts different variations of the same track, which usually find their way onto single releases, however the "kurayamino variation" of this track is significantly better known than the first one due to its appearance in ''
The Matrix ''. Therefore, this version is now known simply as "Clubbed to Death", and the first one as the "Original Mix".
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# (05:37) " There's Only Me " — A moving and bittersweet hopeless-love song.
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# (04:28) " Instrumental " — A string version of "One and the Same (coda)"'s melody.
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# (06:32) " " — A powerfully poignant song about love, old age and death, which could thematically be compared, or opposed, to the Beatles' "When I'm Sixty-Four". Dougan's usual gravelly voice is contrasted by
Falsetto peaks, and the simple use of an acoustic guitar, seconded by sparse piano and harp, demonstrates another facet of his musical styles.
- "'' let the whole world fall away / and fall into my arms / stay with me / i don't know how long we've got left // can i stay, and say nothing, at all, at all / where will we go when we get old / when the bustle and the noise / get too frightening // we'll learn as we go / to float far away / into silence / and i'll watch your face / and find patience and grace / in each line there // will you walk into the grave with me // fade away / and end up nothing, at all at all ''"
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# (05:20) " Born Yesterday " — A disenchanted club/orchestral song.
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# (04:33) " " — Despite its theme, a much more relaxed and energetic song, with blaxploitation hints.
- "'' speed me towards death / cause i just can't wait for her / i want her to come / i want to embrace her / i've decided it's life / that i don't like // i don't want to die slowly / i don't want to decay / i want to be chosen / i want to be made / i don't want to die lonely, and weary of life / i will not be earthbound / i'm gonna fly / for life is a game fit only for fools / it's a horse that can't win / in a race rigged to lose / so speed me towards death ''"
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# (03:59) " Drinking Song " — Almost jazzy, a melancholic piano bar complaint, growled as a half-drunk Tom Waits.
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# (00:33) " Pause " — Precisely 33 seconds of silence, probably intended to pace the album more effectively when listened to from start to finish.
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# (05:46) " " — An uplifting and serenely optimistic finish.
- "'' we're one and the same / two birds adrift on the wind / as life slips away / let's keep believing / that we're one and the same / one and the same / let's start living / seize the day / can't miss heaven / it's a step away / let's keep persisting / another day / let's keep believing / come what may / we're one and the same / two hopeless dreamers / wasting away / god has an order / we'll find a way / one and the same / yes we are / one, one and the same ''"
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# (07:07) " Clubbed to Death 2 " — Preceded by precisely 60 seconds of silence; probably to designate its bonus track status, or as an encore. After about a minute of Dougan-esque instrumentals, a heavy drum loop fades in and the orchestra speeds up a bit and brings back memories of the original Clubbed to Death. The track occasionally takes breaks from the panicked sound to return to wholly orchestral elements.
# (04:34) " Will You Follow Me?
{Link without Title} " — Followed by "Prelude"
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# (06:04) " Furious Angels
{Link without Title} " — Followed again by "Prelude", although with different use of stereo.
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# (04:42) " Left Me For Dead
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# (04:34) " I'm Not Driving Anymore
{Link without Title} " — A more immediate version than the vocal version, opening with the main drum beat and maintaining it for much of the song.
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# (05:36) " There's Only Me
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# (04:30) " Instrumental " — Identical to the version on disk one; mislabeled as "Clubbed to Death" in the track listing.
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# (05:54) " Nothing At All
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# (07:33) " Born Yesterday
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# (04:30) " Speed Me Towards Death
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# (05:46) " One and the Same (coda)
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The subtitle "kurayamino mix" is Japanese for "darkness's mix" ("kurayami" means "darkness", and "no" is the genitive suffix). It denotes Dougan's own mix in a tragic style, as well as his stated inspirations from Japanese 'dark' writers such as
Mishima or
Kawabata {Link without Title} .
The short strings intro is an excerpt from the first movement of '''s history).
"Clubbed to Death 2"'s classical part is built around
Chopin 's "Prelude No.4 in E-minor" (from ''Preludes'', opus 28).
Many of the tracks from the album have been licensed for use in feature films, advertising, or on television
{Link without Title} . It has often been claimed that ''Furious Angels'' is the second-most licensed album of all time, behind ''
Play '' by
Moby .
- TV: "I'm Not Driving Anymore" as theme for the UK aired versions of . "Clubbed to Death", "Will You Follow Me?", "I'm Not Driving Anymore (Instrumental)", "Left Me For Dead", "Born Yesterday", "Speed Me Towards Death (Instrumental)" and "Chateau" were also used in episodes of Top Gear .
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- Commercials: Caffery's, Audi ("Clubbed to Death 2" for the Audi A8), Mitsubishi ("Clubbed to Death" for the '98 Mitsubishi Eclipse), Sky Movies, Royal Mail, Nissan Maxima, Lincoln LS "Surprising Journey" ''View Ad'' (modified version of "Clubbed to Death 2" - unreleased)
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- Games: Grand Prix 3 by Geoff Crammond ("Furious Angels" Instrumental version)
