World Party’s Karl Wallinger is back on stage: ‘I’m a bit of a lucky person’
BY THOMAS CONNER email@example.com August 29, 2012 6:28PM
◆ 8 p.m. Thursday
◆ Cubby Bear, 1059 W. Addison
◆ Sold out
◆ (773) 327-1662;
Updated: October 1, 2012 4:41PM
The title of the first song on World Party’s newest batch of recordings — “Arkeology,” a five-disc, closet-cleaning retrospective — is a massive understatement for the project’s central figure, singer-songwriter Karl Wallinger.
“Waiting Such a Long Long Time” finds Wallinger singing, in his world-weary voice over a party-pop guitar jangle, “I don’t even know what I want anymore.”
Which isn’t really true. Not anymore.
“What I’ve been through, it’s made me feel that all the stuff we worry about is not worth worrying about,” said Wallinger, 54, in an interview last week to promote his concert here Thursday at the Cubby Bear. “What doesn’t kill you makes you stronger. It’s very true. In my case, it’s made me fatter. I had to be stronger to carry it all.”
What he’s been through is a virtual decade-plus absence from music following a brain aneurysm in 2000.
After a stint with the Waterboys, contributing as keyboardist to the albums “A Pagan Place” (1984) and the phenomenal “This Is the Sea” (1985), Wallinger formed World Party. It was a solo project but frequently featuring guitarist Dave Catlin-Birch, drummer Chris Sharrock and early on, multi-instrumentalist Guy Chambers. Wallinger then quickly charted a hit with the song “Ship of Fools” and enjoyed wide acclaim for an album of prescient environmental themes, “Goodbye Jumbo” (1990).
“Bang!” (1993), a superb album seamlessly blending genres from soul to rock to (briefly) opera, charted in Wallinger’s native U.K. But by the fifth World Party LP, “Dumbing Up” in 2000, many had stopped paying attention. Wallinger was already gone before he was really gone.
In February 2001, Wallinger was cycling with his son, Louis, when things went wrong.
“I just had a headache and said, ‘I’m going to go to bed.’ I came out half an hour later and said, ‘I’ve got this headache — phone an ambulance,’ ” he recalled. “I woke up a day or two and two hospitals later. I came to feeling I’d just gone a few rounds with Muhammad Ali and thinking, ‘This is a bit strange.’ I seemed fine, but it was a test weeks later when I looked into this periscope thing that we found my vision was wrong.”
Wallinger has no right-side vision in either eye.
As you might imagine, this poses two separate problems. “I’m a menace when Christmas shopping. I do a lot of collisions and have to say I’m sorry a lot,” he said.
More to the professional point: “Playing instruments is a bit weird now. I used to look at my right hand as I played piano. That’s how I learned. Now I can’t see my right hand. Same with the guitar — I’m right-handed, but I play upside down like Bob Geldof or Jimi Hendrix. Eventually, I’ve gotten the hang of both again.”
Two months out of the hospital, Wallinger tried his first gig, a benefit show — just to see where his abilities stood. Also on the bill: Edwyn Collins, a contemporary of Wallinger’s from the ’80s band Orange Juice. Collins started his own subsequent solo career (“A Girl Like You”) — and then suffered a double aneurysm in 2005. (“We’re so competitive. He just had to have the bigger one,” Wallinger quipped.)
Wallinger’s skills were largely intact, he found, but the recovery would be long and steep. Fortunately, he received an unexpected financial windfall.
Guy Chambers heard one of Wallinger’s songs, “She’s the One,” a 1997 piano ballad, and took it to his new songwriting partner, British pop singer Robbie Williams. The song, which Wallinger said was knocked out “in 10 minutes and recorded in about half an hour,” became a big hit for Williams.
“So we didn’t have to sell the kids to chemical experiments or anything,” Wallinger said. “I think I’m a bit of a lucky person.”
Using his down time constructively, Wallinger began going back through old recordings. He wound up compiling an iTunes playlist with a run time of 79 days — B-sides, rarities, Beatles covers, interviews and a lot of tour tapes. He whittled it down to five and a half days, and his manager edited that to four CDs, which would become the bulk of “Arkeology.” Some extra DAT tapes and one new project, a pretty ballad called “Everybody’s Falling in Love,” make up the set’s fifth and lead-off disc.
“That track’s a great one,” Wallinger said. “We did it, put it in a box and forgot about it. Great fun, that one. It was good going back and kind of recapping the 25 years. I’ve got stuff that I’ve done during the last 10 years I’m still going through, but really I’d like to get in and record new stuff. I’d like to get a new 12-song record out next year.”
A bargain at less than $40, the 70-track “Arkeology” immediately sold out a limited run and is now on its third pressing.
After this string of acoustic dates in America — a half dozen shows featuring violinist David Duffy and guitarist John Turnbull — Wallinger returns home for his first full-fledged British concert in 15 years — at London’s venerable Royal Albert Hall in November.
“I’m burning the candle at both ends,” Wallinger said, “but I’m good, I’m healthy, and I’m up for this. I’m told a few fans might be, too. So we’ll give it a go.”