Saturday, 22 April 2017

Art Of Noise Daft


Art Of Noise Daft

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The place for Art of Noise neophytes to start, Daft collects (Who's Afraid Of?) The Art of Noise! and Into Battle with the Art of Noise, along with two reworkings of "Moments in Love" from the original U.K. release of that song, to make a fantastic hour's worth of music. If anything, a single or two aside, Daft beats out the official Best Of compilation by a mile. Having aged superbly with time, AON's early works sound all the more advanced and of the moment, a testament especially to Trevor Horn's excellent production and Anne Dudley's gripping arrangements. Further entertainment comes from the liner notes, which aren't merely state-of-the-art 1984 album design but an apparently barbed attack on the further incarnation of the band from one Otto Flake. The exact seriousness of this is up to the reader. As for the "Moments in Love" versions, both are gentler and more elegant than the already lush original,

Wednesday, 19 April 2017

Nick Cave & The Bad Seeds ‎The Best Of Nick Cave & The Bad Seeds Special Edition



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Nick Cave is unquestionably an album artist. Each of his records has a specific mood and theme, standing as an individual work. That said, his albums have also been notoriously uneven. Sometimes, as on From Her to Eternity or The Boatman's Call, he has delivered near-masterpieces, while on other albums, only a handful of songs have hit the mark accurately, which is why The Best of Nick Cave is a welcome addition to his catalog. Granted, the title is a bit odd (it's better than Greatest Hits, however), but the compilation itself is as good as it could possibly be. All the major songs -- "Red Right Hand," "Straight to You," "Nobody's Baby Now," "Into My Arms," "Do You Love Me?," "Henry Lee," "Where the Wild Roses Grow," "From Her to Eternity" 

Saturday, 15 April 2017

Pixies Death To The Pixies



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Just as people can't imagine rock music without the Beatles, one can't help but wonder what alternative and grunge would sound like had there never been a Pixies. Having damn near invented the soft, acoustic verse followed by the exploding, distorted chorus that grungers so favored, the Pixies were the inventors of a craft. They wrote the book on alternative. Death to the Pixies' first of two discs is a collection of some of the Pixies' best-loved and best-known songs, and it spans their career, from their 1987 debut Surfer Rosa to their 1991 wave goodbye, Trompe le Monde. It also acts as a "greatest hits" of sorts, as every Pixies song you've ever heard on commercial alternative radio ("Here Comes Your Man", "Gigantic", "Monkey Gone to Heaven", etc.) are all here. Disc two serves as a decent collection of live performances

Wednesday, 12 April 2017

UNKLE ‎Psyence Fiction


UNKLEPsyence Fiction

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James Lavelle and DJ Shadow are unequal partners in UNKLE, with the former providing the concept and the latter providing music, which naturally overshadows the concept, since the only clear concept -- apart from futuristic sound effects, video-game samples, and merging trip-hop with rock -- is collaborating with a variety of musicians, from superstars to cult favorites Kool G Rap, Alice Temple, and Mark Hollis (who provides uncredited piano on "Chaos"). Since Shadow's prime gift is for instrumentals, the prospect of him collaborating with vocalists is more intriguing than enticing, and Psyence Fiction is appropriately divided between brilliance and failed experiments. Shadow and Lavelle aren't breaking new territory here -- beneath the harder rock edge, full-fledged songs, and occasional melodicism, the album stays on the course Endtroducing... set. Shadow isn't given room to run wild with his soundscapes, and only a couple of cuts, such as the explosive opener, "Guns Blazing," equal the sonic collages of his debut. Initially, that may be a disappointment, but UNKLE gains momentum on repeated listens. Portions of the record still sound a little awkward -- Mike D's contribution suffers primarily from recycled Hello Nasty rhyme schemes -- yet those moments are overshadowed by Shadow's imagination and unpredictable highlights, such as Temple's chilly "Bloodstain" or Badly Drawn Boy's claustrophobic "Nursery Rhyme," as well as the masterstrokes fronted by Richard Ashcroft (a sweeping, neo-symphonic "Lonely Soul") and Thom Yorke (the moody "Rabbit in Your Headlights"). These moments might not add up to an overpowering record, but in some ways Psyence Fiction is something better -- a superstar project that doesn't play it safe and actually has its share of rich, rewarding music

Saturday, 8 April 2017

Roxy Music ‎Avalon


Roxy MusicAvalon

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Flesh + Blood suggested that Roxy Music were at the end of the line, but they regrouped and recorded the lovely Avalon, one of their finest albums. Certainly, the lush, elegant soundscapes of Avalon are far removed from the edgy avant-pop of their early records, yet it represents another landmark in their career. With its stylish, romantic washes of synthesizers and Bryan Ferry's elegant, seductive croon, Avalon simultaneously functioned as sophisticated make-out music for yuppies and as the maturation of synth pop. Ferry was never this romantic or seductive, either with Roxy or as a solo artist, and Avalon shimmers with elegance in both its music and its lyrics. "More Than This," "Take a Chance with Me," "While My Heart Is Still Beating," and the title track are immaculately crafted and subtle songs, where the shifting synthesizers and murmured vocals gradually reveal the melodies. It's a rich, textured album and a graceful way to end the band's career

Wednesday, 5 April 2017

The Lemonheads The Best Of The Lemonheads The Atlantic Years



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Evan Dando -- for all intents and purposes, he is the Lemonheads -- is a sporadically brilliant songwriter. Every one of his albums contains as many flops as masterpieces, sometimes more. Hardcore fans have learned to live with this and even cherish his dopey detours, but there are many others who would prefer to have all the best bits on one disc. Which means, of course, that The Best of the Lemonheads: The Atlantic Years offered the perfect opportunity to achieve that goal. Unfortunately, it was bungled, at least in America (it was released in Europe and Japan with more tracks). With the exception of "Mrs. Robinson" (never a favorite of hardcore fans, but included for those nostalgic Gen-Xers), it's hard to argue with what's here, but it feels criminally brief at 12 tracks, especially since the songs are rarely over three minutes long. It's entertaining, to be sure, and it makes a convincing argument that Dando is a clever pop craftsman, but it leaves you wanting more -- which isn't really what best-of albums should do

Saturday, 1 April 2017

Saint Etienne ‎You Need A Mess Of Help To Stand Alone



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Continuing the trend of Beach Boys-inspired album titles that started with 1992's So Tough and continued through 1997's Good Humor, 1993's You Need a Mess of Help to Stand Alone is a straightforward singles collection covering St. Etienne's first two or three years. Originally released as a bonus disc with vinyl copies of So Tough, You Need a Mess of Help to Stand Alone collects 11 single A- and B-sides that had made it neither onto that album nor onto their full-length debut, 1991's masterful Foxbase Alpha. This includes alternate single mixes of "Kiss and Make Up" (St. Etienne's debut single, from before Sarah Cracknell installed herself as the group's full-time vocalist) and "People Get Real" from the debut, and a slinky mix of So Tough's "Join Our Club." The album also features the otherwise non-LP single "Who Do You Think You Are," one of St. Etienne's most groove-oriented tunes

Wednesday, 29 March 2017

The Boo Radleys ‎Giant Steps Deluxe Edition


The Boo RadleysGiant Steps Deluxe Edition

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Giant Steps was a colossal record for its time. Colossal. The music rags fell over themselves with platitudes for The Boo Radleys. It was the kind of worship that bordered on sycophantic and payola-driven. Yet, these Creation All-Stars in a pre-Oasis world were the label’s brightest hope, and what was clear from the start was the epic title matched the grandiose trail-breaking feel of the record. You stopped what you were doing and took notice. It was that kind of record. A psychedelic pop record, an indie guitar record, a dub-based groove record, a falling down the rabbit-hole record. Giant Steps wasn’t the Boo’s out-of-the-blue debut. Not by any means. This Liverpool/London quartet had been punching their weight for a few years now, with Giant Steps appearing a year after the Dinosaur Jr/MBV fuzz n’ pop of 1992’s Everything’s Alright Forever. With songwriter/guitarist Martin Carr’s bursting back-pocket Bernard Butler riff, “I Hang Suspended” became the perfect “and away we go!” track to launch the album with vocalist Sice’s featherweight vocals giving Giant Steps an airy, otherworldly feel. The dub/reggae rhythms of “Upon 9th And Fairchild”, the breezy, downbeat vibe of “Wish I Was Skinny”. The shoegaze n‘ politics of “Rodney King (Song For Lenny Bruce)”, the soaring dub-sympathy of “Lazarus”. Every track was a larger-than-life chapter in a book that was 17 songs long.When you think of what Radiohead were doing at the same time and what The Boo Radleys did with Giant Steps, it’s a crime The Boo’s number never came up the same. The album drips with madcap invention and the same kind of technicolour studio wizardry that an obvious Beatles acolyte such as Carr saw as the ultimate goal. But how do you go about topping the freakish genius of Giant Steps? When Wake Up! rolled around two years later, the playground had changed so significantly that the shoegazers were extinct and the talk about town was this thing called “Britpop”. Almost sensing the sea change in the works, the sprightly lead track and single “Wake Up Boo!” found quick favour with the Britpop kids and morning television presenters, but it’s the kind of song that if someone walked into your room singing (with its “wake up, it’s a beautiful morning!” refrain), you’d feel inclined to knock them clear into tomorrow. Wake Up! had its moments (it topped the UK album charts, no less) and listening with a fresh pair of ears, it’s a more than adequate follow-up, but one that sold largely on the back of Britpop and the terminally infectious “Wake Up Boo!”. More reigned in and focussed than its predecessor, Wake Up! toned down the roaming psychedelia and tightened up on the Beatles influence, appearing most noticeably on the sing-along nursery rhyme feel of “Find The Answer Within” and the backmasking mad freak-out “Joel”. The Elvis Costello shuck and jive of “It‘s Lulu“ missed its mark as a single, and in its place should’ve been given over to swooning falsetto pop of “Stuck On Amber”, the only track to hit the same Giant Steps stratosphere while straddling the pervading Britpop ethos. The Camden scene name-dropping of “Charles Bukowski Is Dead” places Wake Up! in a semi-perfect time capsule for the Britpop era, but it was never to be one of those defining releases. Looking back, it’s almost as if Giant Steps never happened, overshadowed by your Definitely Maybe’s and your Parklife’s, yet clearly deserving of the same stature. Cherry Red’s deluxe treatment rounds up the various pre/post album releases (including the classic Adrenalin and Boo Forever! EPs) as well as all extraneous b-sides which means each Deluxe Edition winds up being a whopping 3CDs long each. With b-sides always being the sole domain of the fan, it’s a mixed bag, but there’s a few forgotten gems scattered around — the Boo’s cover of Fat Larry’s Band’s R&B hit “Zoom”, the St. Etienne Remix of “Rodney King” to name just a few. Though the eight (count’em) mixes/versions of “Lazarus” do begin to test your mettle, but if that’s the worst, you’re still in for one hell of a treat.
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