The elegance and finesse of pops past femme fatale's was principle to their refined and majestic heart breaking glares. Suggestively they swooned on stage, beehive barnets and flirtatious frocks in hand, unknowingly entering the souls of the onlookers.
It was a time when less was more. The likes of Dusty Springfield and Lulu could seduce an audience with a gaggle of lovable pop pennings and needed little more than a flutter of their eyelids to get the geezers going. There was no market for saucy, under dressed bimbos wrapped up in pythons singing in showers, and despite MTV, I don't think there is today.
Camera Obscura's new album 'My Maudlin Career', harks back to a simpler time. An air of '64 sophisticated-mod revels in this albums timeless lucidity. Both souly and temptingly poppy the Camera Obscura invoke very little from the egotistical, crass chart temptresses of today.
Despite only two fifths of the band being female, Carey Lander and Tracyanne Campbell, it's vital to assess these comparisons because, well, they make Camera Obscura the lavishly gorgeous vintage pop outfit they are today. Get your over priced Camden charity clobber on and relish in the band who are everything that The Long Blondes wanted to be.
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