Interview: The Silencers (1990)

Take one part hollow, ringing guitars, toss in a dash of Celtic traditionalism, a tablespoon of “neuvo-wavish” pop sensibility and add a soupcon of lyrical responsibility, flavor heavily with old-fashioned blues, and you’ll have a recipe for success: A Blues For Buddha, the latest album from the Scotland-bred Silencers. 

The band released its critically-acclaimed debut, A Letter From St. Paul, in 1987, supporting that effort with constant touring and an energetic, entertaining live show. Stints as the opening act for both Squeeze and Simple Minds helped build the band’s confidence, while headlining performances across Europe spread the Silencers’ reputation as a “must see” act. “We were playing to crowds of up to four thousand people,” says Silencers frontman Jimmie O’Neill, “and they were coming out to see us just based on our live reputation. We consider our audience to be more important than we are; we put our music ahead of ourselves.”

This is evident within the grooves of A Blues For Buddha, the band’s second RCA effort. The band co-produced the LP, which – save for one track – is comprised of Silencers originals featuring lyrics and vocals by former Fingerprintz leader O’Neill. Throughout the disc, the band offers a unique amalgamation of roots-flavored rock ‘n’ roll, soulful R&B, and native Celtic folk. “We explored the blues and our Celtic flavor a bit more on Buddha,” says O’Neill, explaining how the new LP differs from it more earthy, folky predecessor.

Lyrically, the group mines much of the same ground as its Gaelic brethren U2 and Big Country – racism, the environment, and corporate greed and irresponsibility are all fair targets for the band’s poetic arrows. Songs such as “Skin Games, “Answer Me,” and the beautiful, haunting “Scottish Rain” showcase both a sense of social responsibility and political awareness.

The band’s fierce commitment to its music places it firmly alongside such socially vital artists as Bruce Cockburn, John Cougar Mellencamp, and the aforementioned U2. That fact, couples with the passionate live performances that continue to build the band’s base of enthusiastic fans, make it safe to say that the Silencers are one of a handful of young bands truly ready for the 1990s. 

Review originally published by Sound Shop’s Play Magazine, March/April 1990...

The Silencers