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Trans-X came out with its one and only hit way back in the early 80's. They're a Canadian band in the New Wave genre. A few posts back I was discussing a show I used to watch as a kid called "The Palladium". This is another band I discovered through that show. The band's one big hit, 'Living On Video' was a huge favorite of mine back then. I bought the tape and although I wasn't getting into all of the music, I still loved a few songs here and there. All these years later and the music sounds quite dated. The songs are made up of flimsy synth arrangements with very little substance holding them together. Still, it's a fun record for those of us who enjoyed those early synth bands.
There are lots of memorable tunes here. Mostly as a result of rather ridiculous lyrics such as 'Monkey Dance' and '3D-Dance'. But you can't blame them for trying. Trans-X's songs were some of the first I taught myself how to play on keyboards and piano.
The lead singer of the group has a European accent. The band is obviously from Montreal when you consider the ease with which he moves from English to French. All the while you have that nifty faint Eurotrash tinge to his voice filtering through his vocal delivery. With an average song length of over five minutes per track, this record has the potential to become extremely boring. Be prepared. There's also a female member of the group who's apparent only contribution revolves around mediocre singing and groaning. Not exactly an influential singer in the making.
This particular CD includes a re-recorded version of 'Living On Video'. I'm not partial to it. It also features a nice remix of 'Message On The Radio' and the French language track of 'Living On Video'.
So my favorite Trans-X songs are as follows; 'Living On Video', 'Message On The Radio', '3D-Dance' and 'Through The Eyes Of The 90's'. The other material is take it or leave it. I seem to remember there was a different track I really liked on the cassette that isn't on the cd. I'll have to research it more. As I listen to the record, there just seems to be something missing. Still, it has been a long time since I listened to it. You never know, I could be imagining it. My final words: FOND CHILDHOOD MEMORY OF A FUN 80'S BAND.
TRANS-X - LIVING ON VIDEO
01. Living On Video
02. Message On The Radio
03. Nitelife
04. 21st Century
05. Josee
06. Digital World
07. Eyes Of Desire
08. 3D-Dance
09. Monkey Dance
10. Through The Eyes Of The 90's
11. Ich Liebe Dich (I Love You)
12. Living On Video (Re-Recorded)
13. Message On The Radio (Remix)
14. Vivre Sur Video
When you consider what a strange movie "Orgazmo" is, than it might not surprise you to know the soundtrack is just as bizarre. It's an odd collection of music put together on one disc. There's no cohesive theme here, just weirdness wrapped up in weirdness. The first track features Robert Smith of The Cure fame singing a tune by the band Cogasm. 'A Sign From God' is ok and somewhat likable, but hardly up to The Cure standards. And it's not a track I will go out of my way to listen to. The second track by DJ Swamp is kinda cool but lacks anything unique and outstanding to set it apart from most electronic beat tracks. The Crystal Method number 'More' is the first excellent cut on the disc. However, the mid-tempo number isn't strong enough to pull the disc together and it languishes here. Dilated Peoples is a rap number with a great beat, but it doesn't go anywhere. And it's hard to listen to them pronounce dilated as "dia-lated" throughout the song. It's such a huge mispronunciation it grates on the ears.
The next track is the KRS-One number and it features mix production by The Dust Brothers. The beat is mellow, but again, there's no progression. It's another lackluster rap with nothing setting it apart or giving it a real backbone. The "whoop. whoop" is annoying. Not nearly as annoying as the guy yelling "yeah" in the background every four count. Wreckx N' Effect deliver the first and only great hip hop number with 'Rump Shaker'. So far, this is the one track I put the disc in for. It's such a great beat and excellent rapping. Of course the song is all about objectifying women; which is the one negative to a great track. Wu-Tang Clan follow up with the slowest and most boring number on the record. I've never been a huge fan of the Clan but I have come to expect much better than this. It's so boring and repetitive I can imagine the US government using it to torture prisoners of war.
Smashmouth clock in with one of the album's highlight cuts. It's witty and details reasons why men try to compensate for small equipment down below. The Atari Teenage Riot track is a mess of distortion and hardly listenable. It could be a great track but seriously, the distortion is so loud and intense it obscures the track. DVDA, (short for Double Vaginal, Double Anal), is Trey Parker and Matt Stone taking the Divine approach to camp lyrics and music. It's more irritating than funny. The Head Set track is quite amazing. It sounds like it's from the late 70's/early 80's electronic movement. The vocals are performed by the singer with a thick German accent that serves to make the song even more cool. It's the combination of German electro industrial and strange lyrics, odd vocals that make the track another highlight of the record. If this group is a joke, they're an excellent gag and should be applauded for interesting work. The April March song is based on a line from the movie. It takes a simple statement, "Jesus and I love you" and uses innuendo to make it something perverted and dirty. With boring music and uninspired lyrics, it serves little purpose other than as a conversation piece. Of course if a serious band covered this track, it would be awesome!
The Dust Brothers end the disc with 'Try Your Luck'. They produces and mixed many tracks on this record. For a group with such a reputation, you'd expect more. However, this piece is rather lackluster. On the whole, this album falls short of something truly spectacular. It's on the dull side. I'm glad I didn't buy it. It was given to me as a gift. For that reason, I'm happy to have it, but the overall feel is kinda lame. Of course if you're a die-hard fan of certain groups like The Cure, The Crystal Method or Smashmouth, the disc features tracks you can't find anywhere else. So it's a great disc to have on that basis. My final words: PASS UNLESS YOU'RE COMPLETING A COLLECTION.
ORGAZMO - MOTION PICTURE SOUNDTRACK
01. Cogasm (Featuring Robert Smith) - A Sign From God
02. DJ Swamp - Disintegrator
03. The Crystal Method - More
04. Dilated Peoples - Work The Angles
05. KRS-One - Check It Out
06. Wreckx N' Effect - Rump Shaker
07. Wu-Tang Clan - C.R.E.A.M.
08. Smashmouth - Sorry About Your P#!@s
09. Atari Teenage Riot - SexLawPenetration
10. DVDA (Featuring Trey Parker And Matt Stone) - Now You're A Man
11. Head Set - Twisted Steel, Leather Donut
12. April March - Jesus And I Love You
13. The Dust Brothers - Try Your Luck
Back in the early 80's, Utah's ABC affiliate used to show a late night program called "The Palladium". It was a nightclub in Salt Lake City where the kids would lip sync and do performance pieces based on popular new wave bands. I used to stay up all night on the weekends to watch the show. I discovered so many bands through the program and it shaped my identity throughout my teen years. I really wanted to be a skinny new wave kid with strange hair, make-up and cool clothes. My parents wouldn't let me express myself with an image. I was kept under tight reign by them. Still, it was fundamental to my thinking and helped me gain a concept of who I wanted to be.
Gene Loves Jezebel is one of the bands I saw discovered on the show. The song I saw performed was 'Brand New Moon' and it's the reason I picked up this disc. Huge mistake. If I'm not mistaken, Gene Loves Jezebel consists of two lead singers. They alternate back and forth. However, they're both absolutely tone deaf and terrible. They sound so similar it's often difficult to distinguish who's murdering which notes. The songs are so boring and uninteresting I can't believe I was drawn to this group. Just goes to show you how impressionable kids can be. I bought this disc at a used cd shop and I only paid a couple bucks for it, but even that was two too many. Listening to these guys sing is like listening to something dying. I couldn't even make it through the whole disc before I had to take it out. 'Brand New Moon' sounds nothing like I remembered it from the show.
There is one track I can say something good about and that is 'Desire (Come And Get It)'. Although hardly worth mentioning, it is ok and not completely distressing on the ears. Seriously, even right now, with this thing playing in the background... Yeuch! What a horrible record. With a different vocalist and some better production, some of this material might be salvageable. In it's current state it's an abomination. My final words: ENGLISH HILLBILLY CATERWAULING.
GENE LOVES JEZEBEL - DISCOVER
01. Heartache
02. Over The Rooftops
03. Kick
04. A White Horse
05. Wait And See
06. Desire (Come And Get It)
07. Beyond Doubt
08. Sweetest Thing
09. Maid Of Sker
10. Brand New Moon
Unlike its companion piece, this singles collection is the first time many of these songs have appeared together before. "The Singles 81>85" can more or less all be found on the American collection "Catching Up With Depeche Mode". Having them together on one release is a wonderful idea and the surprises don't stop there. On top of all the great hits, you get different arrangements on at least one song. 'Useless' features a different drum track and slightly altered music. The disc follows the singles releases according to the order they were released in North America starting with "Black Celebration" in 1986 and ending with "Ultra" in 1997. The final three tracks on the second disc are included for very specific reasons. 'Only When I Lose Myself' is the new single recorded specifically for this release. 'Little 15' wasn't released as a single in the US but it was a single in the UK, so as a bonus, it shows up here. 'Everything Counts (Live)' comes from the double disc live album "101". This was the only single from that record, hence its inclusion here. So you have lots of juicy extras to whet your Mode appetite.
The real treasure of this release is the bonus disc. For oh so many reasons... Back during "Violator", Depeche Mode were experimenting with multiple format releases. Just as they were investing heavily in producing cd singles, they were also exploring the potential of cassette singles. 'Enjoy The Silence (The Quad: Final Mix)' was only released on the cassette maxi-single. This was most unfortunate because it was one of the best mixes of this track. Despite complaints, the song never saw a digital release until this CD. The other mixes are also wonderful and it's interesting to see the 'Dangerous (Hazchemix Edit)' here as that song was a b-side not a single from an album.
It's the perfect collection from a strong band who made incredible music for many years. It's worth the time and effort whether you're just a casual listener looking to stock up on the greatest hits or a die-hard fan looking for more material to add to your collection. You won't go wrong with this release. My final words: AMAZING COLLECTION OF HIT SINGLES FROM A BRILLIANT BAND!
DEPECHE MODE - THE SINGLES 86>98
CD 1
01. Stripped
02. A Question Of Lust
03. A Question Of Time
04. Strangelove
05. Never Let Me Down Again
06. Behind The Wheel
07. Personal Jesus
08. Enjoy The Silence
09. Policy Of Truth
10. World In My Eyes
CD 2
01. I Feel You
02. Walking In My Shoes
03. Condemnation
04. In Your Room
05. Barrel Of A Gun
06. It's No Good
07. Home
08. Useless
09. Only When I Lose Myself
10. Little 15
11. Everything Counts (Live)
BONUS DISC
01. Rush (Wild Planet Mix)
02. Enjoy The Silence (The Quad: Final Mix)
03. World In My Eyes (Safar Mix)
04. Dangerous (Hazchemix Edit)
This collection was released as a companion piece to the other singles release. The downside here is the fact all of these songs are available on so many other releases from regular albums to other hits collections. There's virtually no reason to own this disc. The biggest draw for fans was the inclusion of 'Photographic (Some Bizarre Version)'. If you don't know anything about Depeche Mode I'll simply say this was their first UK hit. They put the song on a compilation record called "Some Bizarre" and on the strength of this ditty, they were signed to a record deal. Of course that's a highly abbreviated version of the story. Still, this number has never seen a CD release before. For die-hard fans, it makes owning this singles collection a must. Of course I picked it up because I was going to the concert in Anaheim and I had the import singles plus the limited edition version of the other album so it made sense to have this companion prequel in my collection as well.
Once again I have to say it's a lovely disc, though there really is no reason to own it beyond track 16. Over the years, Depeche Mode have released a total of three different singles/greatest hits records. It gets tedious over time. You'd like to see a band using their resources to create new music rather than continually rehashing their old hits to generate new income. My final words: GREAT RECORD BUT DEFINITE PASS UNLESS YOU'RE A COMPLETEST.
DEPECHE MODE - THE SINGLES 81>85
01. Dreaming Of Me
02. New Life
03. Just Can't Get Enough
04. See You
05. The Meaning Of Love
06. Leave In Silence
07. Get The Balance Right
08. Everything Counts
09. Love In Itself
10. People Are People
11. Master And Servant
12. Blasphemous Rumours
13. Somebody
14. Shake The Disease
15. It's Called A Heart
16. Photographic (Some Bizarre Version)
17. Just Can't Get Enough (Schizo Mix)
The first CD in a 3 CD set of this import single collection contains the studio versions of 'Only When I Lose Myself' and its two b-sides 'Headstar' and 'Surrender'. A perfect purchase for fans not interested in owning mixes. I like the way they broke this set up. I think it's an excellent job and I love the artwork on the disc. It's cool. I've already discussed these tracks on other versions of this release so let me just say this and then I'll let it go... It's a great way to start a small collection of discs in a series. I recommend buying the import set for this single. My final words: PERFECT START TO A GREAT SET.
DEPECHE MODE - ONLY WHEN I LOSE MYSELF
01. Only When I Lose Myself
02. Surrender
03. Headstar
So basically, if you put the first disc with this one you get the American maxi-single. Of course you miss the single version of 'Only When I Lose Myself' but that's ok. I still like them on separate discs. Even though I don't like the last two mixes, I still enjoy the first. It's great to have discs you can play through without being subjected to mixes you don't enjoy. Hence another brilliant step in keeping the two separate. My final words: EXCELLENT SECOND DISC IN A THREE PART SINGLE COLLECTION.
DEPECHE MODE - ONLY WHEN I LOSE MYSELF
01. Only When I Lose Myself (Subsonic Legacy Remix)
02. Only When I Lose Myself (Dan The Automater Remix)
03. Headstar (Luke Slater Remix)
This third disc in the UK single collection of 'Only When I Lose Myself' contains the most satisfying mixes of the three discs. From the start, Gus Gus gives us the title track the only way it should be played. There's a funky deep beat that flows across the song like syrup spreading over pancakes. It sweetens the already fluid track and gives it amazing depth. Both his mixes incorporate this rhythm to a highly successful conclusion. Right On! Finally, some excellent sounds mixed in to make awesome noise. 'Painkiller' is a hidden track from the album "Ultra" and was also the b-side of 'Barrel Of A Gun'. Very few of those mixes impressed me and this one isn't an exception. It moves along at a rather awkward pace. There's a girl who comes over the music and talks about her stereo being her ultimate high. Completely lame, but I guess DJ Shadow did something the band liked because they paid for this mix. I wouldn't have bothered.
'Surrender (Catalan FC Out Of Reach Mix)' is probably my favorite cut of this entire collection. The song is given a house beat with some new synth lines and Dave's vocals are punctuated with drums. It accentuates the song to such a wonderful degree, it's like hearing a brand new track completely separate from the original. Even Martin's guitar bits are used to great effect here. This is an example of what can happen when someone talented gets behind the wheel of an already classic automobile. The final track is 'World In My Eyes (Safar Mix)'. I'm not sure if this mix was recorded before or after the Devotional Tour, but it borrows heavily from the live arrangement during that tour. It even incorporates crowd noises though whether or not they're from a live performance of the track remain a mystery to me. Regardless, it's a wonderful mix and I enjoy it greatly.
This is such a wonderful way to end the collection and I'm very happy with the content, artwork and overall production value of these discs. My final words: GOING OUT ON A HIGH NOTE!
DEPECHE MODE - ONLY WHEN I LOSE MYSELF
01. Only When I Lose Myself (Gus Gus Long Play Mix)
02. Painkiller (Kill The Pain Mix - DJ Shadow Vs Depeche Mode)
03. Surrender (Catalan FC Out Of Reach Mix)
04. Only When I Lose Myself (Gus Gus Short Play Mix)
05. World In My Eyes (Safar Mix)
This is the American maxi-single release of 'Only When I Lose Myself'. As you can see, the maxi-single didn't include all of the material generated for this release. It's quite disappointing and after buying the complete import set of singles, I wish I hadn't wasted my money on this item. The first mix is so bland and minimal I'm not sure you can actually call it a mix. It takes an already slow song and makes it even slower. Not in a good way. I could tell the mixer wanted to add a sense of urgency to the lyrics, but he only succeeded in dragging the song down. 'Headstar' is a brilliant tune in any form. Having the original track without any mixing is quite exhilarating. To this day, the original tracks of other b-sides such as 'Sea Of Sin' and 'Happiest Girl' remain unheard by the public. On the exact opposite end of the spectrum, 'Surrender' is a tune sounding much better when mixed. The original piece is kinda languid and boring. I'm not drawn to it at all.
'Only When I Lose Myself (Subsonic Legacy Remix)' is rather exciting purely from the drum track. It's a relentless beat that goes on for 7 minutes with barely any vocal overlay and little musical accompaniment. This song succeeds in creating urgency where Dan The Automater failed. Finally, 'Headstar (Luke Slater Remix)' is just plain awful. This came out during the time when certain electronic outfits were mixing extreme beats and sounds to create something new and progressive in electronic music. The fast paced jungle sound on this track sounds muddled and embarrassing, missing all the great parts of this excellent tune. My final words: MULTIPLE REASONS TO MISS THIS ONE.
DEPECHE MODE - ONLY WHEN I LOSE MYSELF
01. Only When I Lose Myself (Dan The Automater Remix)
02. Headstar (Non-Album Track)
03. Surrender (Non-Album Track)
04. Only When I Lose Myself (Subsonic Legacy Remix)
05. Headstar (Luke Slater Remix)
Robin S burst onto the 90's club scene with the instant dance floor hit 'Show Me Love'. It seemed like she exploded overnight. I remember everyone talking about this song. It was simply huge. I vaguely remember her on some talk shows too. I was so into the track, I bought the single and enjoyed it enough to buy the disc. As I listen to this record, I'm struck with a very specific impression of how and why it was made. The producers came up with a great sound and a couple excellent songs. They decided to find a soul vocalist to use on the tracks. Enter Robin S. Once she was found, they produced an entire record for her. Sadly, she wanted to be a singer of a different type and because of her aspirations, they let her pick half the tracks. In my mind, that explains why you get such an awful mix of songs on this disc.
In the great tradition of R&B/Soul artists, Robin S is drawn to mediocre tunes with a gospel feel. That Rhodes chime keyboard sound shows up alongside generic vocal arrangements more times than I care to admit. I was expecting a great soul voice over some excellent dance music and instead, you get a hodgepodge of material. The producers of 'Show Me Love' really hit on a formula with that track and they work to capitalize the sound by making other numbers using the same sounds. That's not a horrible thing to do, but part of what makes an electronic band great is the literally unending buffet of sounds you can choose from. And if you can't find one you like, you can make new ones yourself. These guys stick pretty close to home. They don't expand their musical pallet beyond the hit making beats of the first single. The songs that seem to fit in this category are 'Show Me Love', 'Love For Love', 'I Want To Thank You', 'Back It Up' and 'Brighter Day'. All of these numbers are great. They more or less fall into the same formula. In fact, 'Back It Up' is exactly the same song as 'Show Me Love' with slightly different lyrics. 'If We Could Just Be Friends' and 'Back And Forth' are tunes with faster, more modern beats, but neither of them are extremely interesting or unique.
The remaining tracks are so generic and uninspired I can't even bother writing about them other than to say they're totally not worth listening to. Robin S doesn't have the powerful, expressive voice that sets certain soul singers like Patti LaBelle apart. She is perfect for interesting dance tracks needing a little soul to give them substance musically. Minus the formula tracks, this record is a waste of time. If you include the remix of 'Show Me Love' at the end of the disc, it's an even 50/50 split between good numbers and crap numbers. The remix shows up on the single as the 'Show Me Love (Stonebridge Club Mix), but it's still nice to have it on this release as well.
I read online Robin S has released more material but I haven't heard it. Due to the disappointment of the material she picked for this record, I'd be hesitant to pick up anything else. Especially if she gained greater control over the sound and direction of her career. For those who need a good jolt of club music back when club music was its own culture, this is a nifty little number with some exciting tracks. If I had control over this disc, I would have split it up into two E.P.'s instead of one haphazard album. My final words: HOT/COLD, 50/50.
ROBIN S - SHOW ME LOVE
01. Show Me Love
02. Love For Love
03. I'm Gonna Love You Right (Tonight)
04. If We Could Just Be Friends
05. What I Do Best
06. My Kind Of Man
07. I Want To Thank You
08. Once In A Lifetime Love
09. Back It Up
10. Back And Forth
11. Brighter Day
12. Who's Gonna Raise The Child
13. When You Find Love
14. Show Me Love (Extended Mix)
This is the first single from the album with the same name. I was excited when this first came out because I loved the song and wanted to hear the mixes. At the time I aspired to be a DJ and I was mixing tracks. Nothing like what real DJs do. I would mix songs together using my computer and some audio editing tools. Anytime a song I liked came out with mixes, I'd scour them to see if I could use any of them for my mix tapes. This was one of my favorite CDs to pull material from. The first mix is basically an extended version of the album track. They play the song through twice as one complete track. It's great for those who love the original track and always think it's over too soon. The second mix is more house and less trance. It has a lovely modulating scale playing with a chime sound. The mix focuses more on a genuine piano sound and some synth orchestra swells. The house beat features a staggered handclap effect. It's more light hearted and pretty than the original. However, it glosses over the power of the lyric content.
The third mix is very much like the first in that it's an extended version of the track. The differences are subtle. They drop most of the effects out a few times to add strength to the vocals and there's additional drum programming and a house piano motif playing throughout. The final mix features a heavy club beat with very little music playing over. It's the closest thing to straight forward vocal track than any other on this single. Toward the end of the cut a synth line is brought in over Robin's scatting. It's a fun mix but on the dull side because of length. Over all, this is a single for true fan's and not a random listener. The mixes are fun but not incredible. They barely serve enough merit a release. Still, I love the song and it's fun to hear some different versions of it. My final words: THEY DIDN'T SHOW THE LOVE.
ROBIN S - SHOW ME LOVE
01. Show Me Love (Stonebridge Club Mix)
02. Show Me Love (Nick Nice Eagle Mix)
03. Show Me Love (New Club Mix)
04. Show Me Love (Nice & Stoned Old School Mix)
A Flock Of Seagulls were a huge group in the early 80's. I remember really liking certain songs of theirs and this was the first record I purchased from the band. On cassette no less. I loved the album and bought more. My fascination with them has waned over the years, but I still love these earlier numbers. I was fortunate enough to see them play live back in the early 90's. That was amazing. I met Mike Score and he signed my CDs. Wow, awesome experience.
My biggest complaint about this record is the missing tracks of 'Rosenmontag' and 'The Last Flight Of Yuri Gagarin'. Both of these tracks were on my cassette and were two of my favorite numbers on the record. Apparently, they were limited to the cassette release and the original CD. My copy is a re-release with different added tracks. The first track, 'Wishing (If I Had A Photograph Of You)' is a typical song for the band. They are considered a synthpop band and part of the New Romantic/New Wave movement, but I don't consider them synthpop. The keyboards play a major part in the song make-up, but the group is augmented by heavy guitars, bass and live drums. Not the traditional make up of a synthpop outfit. 'Nightmares' is a more sinister sounding number. It's interesting. Not exactly my favorite track on the album, but it's moody as all hell and that's in their favor in my opinion.
The next track, 'Transfer Affection' is one of my favorite Seagulls songs. I just love the tune. It's just lovely from start to finish and continues the tradition of computer/science fiction based lyrics. Who knew the world would change in such a way that these songs would seem more appropriate today rather than back then. I consider the concept of transferring sentiment online and it strikes me as way ahead of its time lyrically. 'Electrics' is another great tune that I love. It's so odd. There's the precision of the music and the moving vocal delivery of Mike Score enhancing the track and giving it soulful feeling. The rest of the songs may lack the catchy hooks that set some of their better tunes apart, but they are all interesting and fit the wonderful sound the Seagulls created at the height of their fame.
The one thing I also want to point out here is the mood of this record. When you listen to the disc as a whole you get a better appreciation for what I'm talking about. There's a feeling, a story happening here. It's hard to put your finger on a running narrative, but there's an organic feeling to the flow that seems to make perfect sense. I would always listen to this record straight through playing one side after the next. And I loved it as a whole. Although the individual tracks may not hold up under scrutiny by themselves, as a whole they make an incredibly moving record I've loved for years. I really need to find a copy of the earlier version with the missing songs that have become as much a part of this record to me as the original track list.
The additional tracks at the end are quite nice. I'm a big fan of 'Committed'. I really love that number. The live version of 'I Ran' is also wonderful. All in all, this is a record from a wonderful time in my life and I'm so happy about it. My final words: A PERFECT MOOD FROM A GREAT BAND.
A FLOCK OF SEAGULLS - LISTEN
01. Wishing (If I Had A Photograph Of You)
02. Nightmares
03. Transfer Affection
04. What Am I Supposed To Do
05. Electrics
06. The Traveller
07. 2:30
08. Over The Border
09. The Fall
10. (It's Not Me) Talking
11. Committed (Extended Version)
12. Quicksand
13. I Ran (Live)
For the most part, I like Sheryl Crow. I remember hearing 'All I Wanna Do' on the radio for the first time when I lived in Salt Lake. I remember thinking what a great laid back tune it was. I never bought the album or followed her, but I did like the song. Years later, a friend of mine was throwing a bunch of CDs away and this was one of the discs she was unloading. I like the song 'Strong Enough' so when she asked if I wanted any of her music, I picked this single out. It's literally the only CD I have of hers.
'Strong Enough' is an interesting song for a couple reasons... The first time I heard it, I thought "Boring... Another chick singing about outdated male stereotypes and some bullshit ethic about men being real men so the woman can be weak." But, when you listen to the words, the meaning is far from that standpoint. She discusses her own failings and temperament. Because of her personal weak points, she needs to know if her potential mate is strong enough to deal with it. There's no macho bravado or stereotypes at play. Just an open and honest revelation of herself. "This is what you're in for. Make sure you really want to endure it."
The next three tracks are live cuts. One suspects this single was released to correspond with a tour. Usually, bands include live material on singles when they're promoting live dates. I'm familiar with both 'All I Wanna Do' and 'Leaving Las Vegas'. Both were fairly big hits for Crow. 'Reach Around Jerk' is a song I'm not familiar with and I don't find much beyond the title that extremely interesting about it. The live versions showcase her band and comes across somewhat less than polished. But it's that raw feeling that make live bands like Crow's more interesting. There's something human, organic and flawed in groups like this. You feel a real connection to them rather than a flawless, perfectly rehearsed show.
In the end, it's a nice piece of music to own. If this is demonstrative of Crow's single releases, I must say good job. It's always wonderful to have content you can't find on the album. It's also great to have something other than just mixes to listen to. Well done, Sheryl. My final words: GREAT SINGLE TO ENJOY.
SHERYL CROW - STRONG ENOUGH
01. Strong Enough (LP Version)
02. All I Wanna Do (Live)
03. Reach Around Jerk (Live)
04. Leaving Las Vegas (Live)
I've never been a huge fan of musical theater. I think it's over the top. Like when you watch Barbara Streisand in a movie... She acts like she's on a theater stage. Each gesture and movement is exaggerated and larger than life. It's more like a pantomime than real life. Liza Minnelli is one of those kinds of performers to me. When she sings, I feel like she's enunciating every single syllable. Kinda why I make such a terrible fag. I don't get that culture. It's not that I don't like her voice... She's fine. What I don't like is the delivery. Regardless, the music on the disc compliments her voice. She should do albums like this more often.
I picked up this record during a time I was really into the Pet Shop Boys. This disc had new songs, so I bought it brand new and truthfully, I feel pretty good about it. The Pet Shop Boys didn't write everything on the record, but they did produce and arrange it. That alone makes it worth having.
The album starts off with 'I Want You Now'. It's a decent song. I love the beat and the music. Liza starts off with an over-the-top dramatic vocal. Even though that sets my teeth on edge, it's the lyrics that make this tune cringe worthy. The intended meaning of the song is discovering the strength to be brave and take a risk on love. However, when you get to the chorus and hear,
"I want you now and I'm prepared to take chances,
I told you how I won't take no for an answer"
You get the impression you're listening to a stalker... Next up is the Stephen Sondheim classic 'Losing My Mind'; which the Pet Shop Boys recorded and released their own version of. This song really illustrates the difference between popular and theatrical music. The Pet Shop Boys' version is a polished and meticulously timed piece. Liza performs the standard more in the tradition of a show tune and her vocals seem to lag over the precision synth arrangement.
Easily one of the best original tunes written for this record, 'If There Was Love' relies on a deep but minimal drum pattern surrounded by sparse keyboard sounds. The vocals are light and whimsical belying the intensity of their content. It's actually quite amazing. The song has an incredible organic build and ends with a coda that incorporates Shakespeare sonnet #94 "They that have power to hurt" recited quietly over the music. 'So Sorry, I Said' is another lovely tune written for the record. Most of the tunes on this album seem so situation specific you can imagine them being performed on stage during a musical. It's followed by 'Don't Drop Bombs'; which could also be placed firmly in the same category. It wouldn't be hard to take these tunes and write a story around them. Much like Abba did with their old tunes for the musical "Mama Mia".
The next track is a cover of Tanita Tikaram's song 'Twist In My Sobriety'. This track is a huge mistake. Sometimes a pop version of a hit single isn't the right choice. It's not a bad cover, but it doesn't hold a candle to the original. It's responsible for the famous "Liza with a Z" rap; which I actually heard quoted on an episode of Will & Grace.
'Rent' is a cover of a Pet Shop Boys' song produced by the Pet Shop Boys. The song makes more sense here as Neil Tennant doesn't come off quite convincing singing a song from the perspective of a kept woman. It also sounds theatrical. 'Love Pains' is another cover. This time from a woman named Yvonne Elliman. And I only know that because I looked it up online. This song has a great sound and a wonderful disco feel. It's also the song where Liza moves away from her trained singing style. She really cuts loose on this one.
'Tonight Is Forever' is another Pet Shop Boys cover. This time the arrangement is remarkably distinct from the original version. It's symphonic and rather sweeping. But perfect for Liza. Both PSB covers were given this treatment. The final song 'I Can't Say Goodnight', is another tune written specifically for this record. I actually find the production on this number a bit over the top. It starts off with a saxophone setting a noire mood. It is perfect for Liza in that like many of the other songs, it could easily work as a show tune.
I think the Pet Shop Boys used this project to satisfy their own musical theater ambitions, but they were sensible enough to understand their involvement would attract their fans as well as Liza's. They approached it with both audiences in mind and what they ended up with is a unique blend of synth pop and show music. Personally, I think the album is successful and extremely ambitious. I applaud Liza for choosing to work with them and them for working with her. It's a great listen all the way through and should satisfy both sets of fans.
My final words: I LOVED THE "RESULTS" OF THIS COLLABORATION.
LIZA MINNELLI - RESULTS
01. I Want You Now
02. Losing My Mind
03. If There Was Love
04. So Sorry, I Said
05. Don't Drop Bombs
06. Twist In My Sobriety
07. Rent
08. Love Pains
09. Tonight Is Forever
10. I Can't Say Goodnight
There used to be a Tower Records on Maryland Parkway right off of Flamingo in Las Vegas. That's where I paid full price for this CD. I picked it up because Wendy & Lisa worked on it and I had no idea what I was in for. At the time, I was buying anything they worked on. If their name was attached at some point I was gonna buy it. And this disc was no exception.
I put the disc in and started listening and thought there must be some mistake. To that point, I'd heard some interesting work they'd done with other artists like Joni Mitchell and Michael Penn, but I was convinced their strengths lie in working with pop artists like Seal or Prince. 'Periwinkle Sky' began and I thought, "WTF?" Williams has a broken small voice that she half sings/half speaks her vocals. Normally, I'm drawn to interesting and unique sounds but in the case of Williams, I find the combination of her strange child-like songs and bizarre voice an unappealing marriage. It's like watching an adult paint like a child. There's that car crash curiosity that keeps you looking, but inside you're somewhat appalled.
Wendy & Lisa appear on two tracks on this odd record. 'Train Song (Demise Of The Caboose)' and 'Let It Be So'. The two songs are easily the highlights of the record. 'Train Song (Demise Of The Caboose)' is actually pretty amazing. The music is wonderful and huffs puffs along like an actual steam engine train. The Wurlitzer gives it the chugging quality and the stuttering, skip of the drum track is singularly beautiful. You can't help but enjoy the number. Even through Victoria's strange lyrics. At one point, she stops and says,
"I'd like to take this time to complain about the train".
My mind boggles at this. I find it ridiculous. Still, I have to say, once again, Wendy & Lisa take an artist and bring out their best qualities. As annoying as I find Williams, I do appreciate her performance on these two tracks. Musically, 'Let It Be So' doesn't have the cool physical motion of 'Train Song'. Probably because Lisa & Wendy didn't work on the music. They contribute Backing vocals only. Still, their very presence give strength to Victoria's sound. It's like taking a banner heading and making it bold. Thankfully, the music on this song is fairly well done.
There are a couple other tracks that always stand out on this disc. But that's mostly because they're so weird. 'Kashmir's Corn' is a completely bizarre fairy tale Williams tells of waking up one night and adventuring out of her room. 'Grandpa In The Cornpatch' is another number I find oddly disproportionate. It's like milk when it starts to go bad. There's just something off. But that's not always a bad thing.
Ultimately, the fact is without the Wendy & Lisa input, I'd never have bought this record. Victoria Williams isn't an artist I find compelling or interesting. Her fans are drawn to the poetry of her lyrics and the honesty of her voice. I'm not. I find her lyrics rambling and unappealing. Musically, I'd put her somewhere between traditional folk and plucking banjos on some backwoods porch. My final words: HUGE PASS.
VICTORIA WILLIAMS - MUSINGS OF A CREEK DIPPER
01. Periwinkle Sky
02. Rainmaker
03. Kashmir's Corn
04. Train Song (Demise Of The Caboose)
05. Last Word
06. Nature Boy
07. Tree Song (Eucalyptus Lullabye)
08. Let It Be So
09. Allergic Boy
10. Humming Bird
11. Grandpa In The Cornpatch
12. Blackbirds Rise
Once upon a time there was a Dreamworks animated film called "The Prince Of Egypt". An excellent film and apparently popular enough with Christians to spawn it's own knock-off album full of songs inspired by the film. This country based tribute was found on Amazon used for something like .75 cents and I bought it basically because of the Alison Krauss tune. I wanted it and hadn't been able to find it to download. So I paid the price and got the disc.
Truthfully, I've never listened to this album completely through before I decided to do this project and review my collection. I tend to avoid mainstream country. My personal opinion of that genre is unflattering. I find the music extremely formulaic and unimaginative. Entire songs are written and based around a simple word play. Music arrangements are rarely inventive and exciting. That doesn't mean I don't like an occasional song here and there or that I'm anti-country. I just never hear anything that catches my ear.
This record is no exception. The Krauss track is absolutely incredible. It's a beautiful and heart rendering song. Of course it follows the plot of the film fairly faithfully, it still manages to sound good on its own beyond the basic premise of the movie. There are many songs on this disc I figured would be hugely popular with country audiences. There's country hit after country hit. Too bad I don't care much for country hits.
There are a few notes I'd like to make. I found the Mindy McCready track well written and enjoyable. I have no clue who this woman is, but I liked the vocal arrangement and the song's different sound. I know Faith Hill is a popular singer but her track 'Somewhere Down The Road' makes me wanna stab a fork in my head. I wish this song was "Somewhere Down The Road". I couldn't handle listening to it all the way through. It's a broken record that repeats the title line over and over relentlessly. It was just too much.
I liked Clint Black's 'Slavery, Deliverance And Faith'. It's just un-country enough to catch my attention. Especially the chorus. I can't quite put my finger on the style of performance this is. I know it's classical, but it's a welcome change from the repetitive, unoriginal material floating all over this record. Beth Neilsen Chapman follows Black with her contribution 'Godspeed'. The song continues the boring unending collection of mediocre tunes, but I did find myself liking her voice. She's not low and sultry or high and pretty. She's mid-range, but it's a very relaxed and uncluttered sound I find quite appealing. Too bad the song wasn't better.
I liked Alabama's song, 'The Voice'. To me, it sounds more like a 70's rock song than a country bit. Compared to the rest of the disc, I did enjoy the respite of this number. Overall, I don't like this record. The few points of interest I can find aren't enough to make it worth listening. I won't listen to this beyond my need to occasionally hear the Krauss track. I can live without most of it.
The biggest problem I have with praise or religious music is the limited vocabulary these artists use. They pick phrases and lines from scripture and rarely move beyond those concepts when structuring a lyric. I often find myself bored to tears listening to these numbers. I've always wanted to hear a religious group write music that dealt with real life and expanded themes beyond a scriptural context. The heavy devotion style of most of these songs is just overwhelming and so strong it makes me feel like running away as quickly as possible.
I'm strange in that for me spirituality has always been a private, personal thing. I prefer to commune with God internally not shout it from the rooftops. I know there's a huge popularity for those who feel the need to proclaim their faith and adoration. To me, that's exactly the kind of "Look at me worship! Aren't I the most dedicated and loyal Christian ever?" fake faith I find so distasteful. It almost seems like these artists are spending time competing to demonstrate who's the bigger God-fan. I'll pass. My final words: GENERIC PRAISE WRAPPED UP IN A TRIBUTE RECORD.
THE PRINCE OF EGYPT - NASHVILLE
01. Wynonna - Freedom
02. Randy Travis and Linda Davis - Make It Through
03. Alison Krauss - I Give You To His Heart
04. Steven Curtis Chapman - Heartbeat Of Hope
05. Pam Tillis - Milk And Honey
06. Vince Gill - Once In Awhile
07. Mindy McCready - Walk In Glory
08. Faith Hill - Somewhere Down The Road
09. Reba - Please Be The One
10. Clint Black - Slavery, Deliverance And Faith
11. Beth Nielsen Chapman - Godspeed
12. Alabama - The Voice
13. Gary Chapman - You Are My Light
14. Mac McAnally - The Moving Of The Mountain
15. Jessica Andrews - I Will Be There For You
16. Toby Keith - I Can't Be A Slave
17. Charlie Daniels - Could It Be Me
Devo is an interesting band. I've always liked them, but I never collected them as heavily as other new wave acts. I'm quite fond of synth pop and Devo are truly masters of the genre. This particular record is the first tape I ever bought of the band. I didn't recognize any of the songs on it, but I knew their singles from MTV. 'Whip It', 'Satisfaction' and others... The first time I listened to the tape I wasn't impressed. I thought the beats were cool and I liked the music, but I didn't hear anything that stood out. Usually you hear a couple songs that strike your fancy and although I enjoyed listening to the disc, there wasn't a single track that really jumped out.
Devo approach songwriting in a manner similar to old 50's pop groups... They keep their songs short and to the point. They're very simple ideas that stay on target. It's an industry accepted and well respected format for pop music. But I often find it leaves me unsatisfied. I know, I'm a freak and I'm often drawn to groups who don't function in a traditional setting.
Over the years, I gained a new appreciation of the tape. I listened to it now and again and always enjoyed singing along and tapping my feet. In fact, I found a song I thought was absolutely brilliant on the record. The band do a cover of the Jimi Hendrix classic, 'Are You Experienced?'. I thought it was amazing. I loved the slight lyrical changes and the brilliant sound arrangement. I realized that Devo are similar to Hendrix in many ways. Hendrix played his instrument in a very free flowing manner and his performances were usually just as free. He gained notoriety for his non-conformist style. By the same token, Devo are as progressive but on the totally opposite end of the scale. Their music is programmed. It often sounds like an equation playing out rather than a song. There's structure, form and a rigid adherence to meter and rhythm. It's this very quality that make Devo appear to be a band perfectly linked to the binary code world of computers, science and electronic music. It's also the very quality that makes what they do with the Hendrix cover so interesting. The song moves from one sort of flow to another.
There's a lot to be said for the organic texture of the lyrics and the vocal performance. Even with the highly structured soundscapes their subject matter isn't quite where you'd expect when you look at them. I see a group I'd expect to hear songs about aliens, technology and mathematics. Instead, Devo tackle some traditional pop themes like love, relationships and various anxieties. There is a sometime foray into science, but mostly, the lyrics could be the natural progression of 50's pop stars in a modern era. I could easily hear old Motown acts sings these tunes.
The CD includes a couple of bonus features. I assume 'Growing Pains' is a single b-side and then there's the remix of 'Shout'. It's probably the worst part of the CD and could easily have been left off. It sounds like it was programmed and performed on a Casio Keyboard your parents would buy a five year old for Christmas. Terrible.
In the end I think it's a fairly decent record. I really enjoy listening to the album in a continuous mode. The songs are certainly different enough not to run together in one long blur, but they don't really stand up and say "Here I am!" If you're a die-hard fan you need this essential record. If you're a casual listener, your dollars would be better spent on a more well-known record with popular singles to boast or a band single compilation. My final words: NICE BUT NOT ESSENTIAL.
DEVO - SHOUT
01. Shout
02. The Satisfied Mind
03. Don't Rescue Me
04. The 4th Dimension
05. C'mon
06. Here To Go
07. Jurisdiction Of Love
08. Puppet Boy
09. Please Please
10. Are You Experienced?
11. Growing Pains
12. Shout (EZ Listening Muzak Version 1)
This will be a totally unfair review because I absolutely love this CD. I picked it up originally because Wendy Melvoin of Wendy & Lisa worked on the disc and I had to have it in my collection. This was my first exposure to Me'Shell and let me tell you, I became an addict. She's phenomenal. From the opening instrumental, 'The Womb', she sets a beat and style that plays throughout the entire disc. It's so different from her debut disc it's scary. She goes on to change her sound virtually every time she releases an album. 'The Way' is an amazing song about racism from a religious standpoint. She wonders how to find appreciation for herself and confidence when the image of God she's constantly subjected to is a white man under who's name her forefathers were enslaved. It's quit astounding. The music is laid back and funky while being completely in tune with the message at the same time. And it just gets better from there, boys and girls. On 'Deuteronomy: Niggerman', she tackles modern day fidelity by proclaiming that all she's ever wanted was a man who could be true. This tune is more in line with her debut record and would have fit in nicely there. Still, it holds up on this release as well.
'Ecclesiastes: Free My Heart' is another beautiful number that's extremely melodic and intense lyrically. The standout number is the next in line. 'Leviticus: Faggot' is a song about being gay and the tragedy many gay kids face by their strict religious surroundings. She tells the story of a boy who embraces a lifestyle he felt was his only option because his fanatic parents kicked him out when they find out he's gay. She broaches the subject and then continues it with 'Mary Magdalene', another beautiful tune in which she expresses her love and commitment to another woman. She imagines them getting married by jumping the broom. An incredible song. 'God Shiva' is a song written with Wendy and is the one tune that while staying religious, opens the listener up to alternate beliefs outside of Christianity. She follows it up with 'Who Is He And What Is He To You' a Bill Withers cover. As a female vocalist singing the song, the tune takes on a very bisexual flavor. She's asking her girlfriend about a guy she's seeing her with. 'Stay', 'Bittersweet' and 'A Tear And A Smile' are all wonderful tunes and even though Wendy only plays guitar on 'Bittersweet', all three songs have a Wendy & Lisa feel to them. The final track, 'Make Me Wanna Holler' is based on Marvin Gaye's 'Inner City Blues (Make Me Wanna Holler)'. She's speaks a lyric over the music telling a story of a troubled youth.
I could really go on and on about this disc in even more detail but I'm kinda pressed for time today and I need to get moving, so I won't babble. But I will say this in closing... If I was stranded on a desert island and I had this cd I'd be a very happy soul. That is if I had a solar cd player. Hehehehe. It incorporates so many elements of music I find intoxicating. I love the juxtaposition of religion with sexual orientation... This album is so important on so many levels. I wish more people would have picked up this disc and embraced Ndegeocello's call to understanding and compassion. She is a true poet and prophet.
My final words: ESSENTIAL LISTENING!
ME'SHELL NDEGEOCELLO - PEACE BEYOND PASSION
01. The Womb
02. The Way
03. Deuteronomy: Niggerman
04. Ecclesiastes: Free My Heart
05. Leviticus: Faggot
06. Mary Magdalene
07. God Shiva
08. Who Is He And What Is He To You
09. Stay
10. Bittersweet
11. A Tear And A Smile
12. Make Me Wanna Holler
Prince jumped on the Hurricane Katrina bandwagon with this little ditty. He donated the profits from sale of this one off single to disaster victims. Both songs are only available on this release. The first track, 'S.S.T.' is a rather uneventful number with plenty of religious references owing to Prince's conversion to the Jehovah's Witness faith. It uses lots of imagery and tries to invoke feelings of guilt in the listener. This song's message is so similar to another track he wrote on the album 'Rainbow Children' called 'Last December'. It basically says, when you look back on your life will you have done the charitable and right thing or will you regret your actions and behavior. He also brings up Sade's 'Sweetest Taboo' song. Hence the title. 'S.S.T.' = Sade's 'Sweetest Taboo'. About the most interesting thing about this track is the instrumental coda the song fades out on.
The second track, 'Brand New Orleans (Instrumental Jam)' is essentially a musical jam based on the coda from 'S.S.T.'. It's over 6 mins long and does get somewhat boring up until the last two minutes when the band really starts to improvise and make some changes to the progression. Still, of the two tracks, it's the more interesting of the two.
It's an perplexing thing to try to review Prince material. I've found there's a difference between critically looking at his music versus that of other artists. When you look at another band, you compare their work to pop culture, their influences, contemporaries and their own compositions. Because Prince's body of work is so extensive, I find myself comparing whatever I'm listening to with his previous efforts. I compare Prince to Prince. Unless he's done something blatant like rip off a current sound or trend. If I compared these two tracks with other artists out making music, I'd have to say they are still quite excellent. I'd still give the nod more to the second track than the first, but he is in a league of his own. My final words: A GUILT FREE SLICE OF MUSIC.
PRINCE - S.S.T.
01. S.S.T.
02. Brand New Orleans (Instrumental Jam)
I think this little single was recorded after Clarke left both Depeche Mode and Yazoo. It was probably around the time he was working on The Assembly project; which he envisioned would feature a different singer on each track. I don't know much about Paul Quinn and truthfully, I haven't done any research on the guy. I felt his vocals were barely adequate. There's nothing about his voice or style that really reaches out and grabs me. Still, I'm guessing it's another one of those collaborations.
'One Day' is a decent song. It sounds a lot like Clarke's earlier material. It's got catchy melody, great rhythm for a mid-tempo ballad and interesting lyrics. Once more, Vince shows he's mastered the skill of writing pop hits. With 'Song For' I'm a little less supportive. The song's ok, but it's not nearly as interesting or diverting as 'One Day'. The lyric drags on about some girl being gone and he goes on and on about her red lips, blah blah... Really unimaginative cliche lyrics there. Quite annoying and sadly, drags the song into obscurity. Seriously, if there was a bigger project in the making with these two, I'm glad nothing became of it. Clarke does much better with highly talented vocalists. My final words: SKIP IT UNLESS YOUR COMPLETING A COLLECTION.
VINCE CLARKE/PAUL QUINN - ONE DAY
01. One Day
02. Song For
03. One Day (Extension)
04. Song For (Extension)
Back in the 80's, Dixie College had a radio station with a very low signal. I could sometimes pick it up in Santa Clara where I lived, but only at night. It was weird. Anyway, the students who DJ'd there played the music they liked and wanted to hear. Sometimes you got one that played cool music and that's how I discovered Big Audio Dynamite. A kid played 'E=MC2' one night. I remember we were sleeping on the deck and I had a radio plugged in listening and when I heard it, I loved the tune. I immediately bought the tape.
Now my initial reaction was one of disappointment. I sorta like 'Medicine Show' but nothing else really spoke to me. I thought I'd wasted money buying a record I didn't really like. Of course upon further listening I eventually found a greater interest and appreciation for what was happening. Big Audio Dynamite is the brainchild of former Clash member, Mick Jones. He created the band upon his departure from the General Public project. The band combines pop, rock, reggae, new wave and funk into an odd blend of energetic music.
The first track, 'Medicine Show' is an interesting number with music that would fit right in with a classic western. They even sample some lines from old western films. It's an interesting approach to the music when you consider the subject of the song. It's about a traveling medicine man selling his miracle tonic scam. That alone makes it fascinating. The mellow beat and straight forward vocal arrangement compliments Mick's vocals quite well. He's not a singer with great range, but he's competent when he stays within his limitations. 'Sony' is easily my least favorite track on the record. Not because of the music; which I actually like, but because the song is random with a Japanese theme and Mick sounds like a whining teenager. 'E=MC2' is absolutely brilliant. As random as the lyrics on this disc are, this particular song is interesting because each line influences the next. 'The Bottom Line' is a great song as far as inspiring you not to give up.
"When you reach the bottom line,
the only thing to do is climb
pick yourself up off the floor
don't know what you're waiting for."
The song ends with Mick singing the line, "I'm gonna take you to part two".
And so it is on cassette now's when you flip the thing over and play the next side. The first song on the second side, 'A Party', is a reggae influenced number with more random lyrics. By the time 'Sudden Impact!' comes on, you start to see formulaic pattern to the way Mick writes lyrics. With no variation in line length and meter, this side is rather uneventful. The same pattern continues on 'Stone Thames' a song about Aids and the decline of promiscuous sexual behavior. The real highlight of side two is the final number, 'Bad'. This track was also featured in the "Ferris Bueller's Day Off" film. 'Bad' actually switches up the verse structure enough to make it different from the other tracks. Musically, it's not as interesting as 'Stone Thames' or 'Sudden Impact!', but the vocal delivery and different sound make it a treat.
I guess I'm mixed when it comes to this record. I really love certain songs and other songs I'm somewhat torn. I love the music, hate the vocals or the lyrics, or vice versa. I haven't purchased anything else from Big Audio Dynamite even though I've seen other releases. I guess this one was enough to fill my ears. I still consider it a classic and every time I think about making an 80's compilation CD, this is always a disc I rip a song from. My final words: MOMENTS OF EXCELLENCE, OVERALL IFFY.
BIG AUDIO DYNAMITE - THIS IS BIG AUDIO DYNAMITE
01. Medicine Show
02. Sony
03. E=MC2
04. The Bottom Line
05. A Party
06. Sudden Impact!
07. Stone Thames
08. Bad
Mannheim Steamroller is a pseudonym of composer Chip Davis who created the group to promote his Fresh Aire records. This particular album is the first holiday release by the group and became so popular it's spawned about a dozen releases since. The approach is rather simple. Davis combines modern synthesizers and electronic instruments with old traditional instruments used in the middle ages to create a fusion of old world carols and hymns with new world technology. It's a fascinating and brilliant combination. Of course this original recording, made all the way back in 1984 sounds somewhat dated today; still it holds up rather well. Especially the more traditional carols played predominately on older instruments.
The first time I heard this record was in a Radio Shack all the way back in the 80's. Of course it was around Christmas time and I think I was out shopping for gifts. Anyway, I heard it and thought it was incredible. I didn't buy it until a few years later when I found it in a clearance sale sometime in March or something like that. I picked it up for $5. and I've enjoyed it ever since.
My absolute favorite track off the record is 'Stille Nacht'; which is German for 'Silent Night'. The song gives me a sad feeling. However, since the holidays are simultaneously my absolute favorite time of year and when I suffer my deepest depression, it fits my mood exactly. As the song ends, there's the sound of sleigh bells jingling to harold the arrival of Santa Claus. I find this touch rather hopeful and sweet. There's something to look forward to after one's endured a difficult period.
I'm also taken by the period pieces. The carols are taken from the 15th to the 18th century and cover a number of western European cultures such as Wales, France, England and Austria. Listening to the spry flutes and harpsichord arrangement of 'God Rest Ye Merry, Gentlemen' always catches my attention. It's followed by a more progressive modern rendition. Both are excellent and it's easy to see why Mannheim Steamroller is the most popular and most requested Christmas music band in the USA.
If you find yourself in the mood for some stimulating and moody holiday music, do yourself a favor and pick up this recording. It's worth the time to track down. I've got other Christmas CDs from Mannheim Steamroller I'll probably review over the next little while. I tend to get caught up in the spirit of the holiday season. But for now, this is a great place to start your collection and listen to a diverting piece of music that's to be respected as much for its musicianship as for its festive sound. My final words: PERFECTLY CRAFTED HOLIDAY EXPRESSIONS.
MANNHEIM STEAMROLLER - CHRISTMAS
01. Deck The Halls
02. We Three Kings
03. Bring A Torch, Jeannette, Isabella
04. Coventry Carol
05. Good King Wenceslas
06. Wassail, Wassail
07. Carol Of The Birds
08. I Saw Three Ships
09. God Rest Ye Merry, Gentlemen
10. God Rest Ye Merry, Gentlemen
11. Stille Nacht
Hit That Perfect Beat! was a wonderful collection of 80's dance hits. Not all of the songs are dance hits on their own. Some of them became popular in the clubs because of remixing or extended releases on singles. Irregardless, this series is important because it brings to compact disc format certain songs that languished in the realm of vinyl for far too long. Some of these tracks are only available on CD through this release.
There are some outstanding tracks here. Especially those by Yaz, Erasure, New Order, Berlin and Trans-X. Most of these songs I have on other releases, but they're quite fun to hear here as well. The Gang Of Four track was a little unexpected but quite fun to listen to in the context of this release. The Kid Creole track is nice as well considering how much I decided not to like them after buying and being disappointed by 'Private Waters In the Great Divide'. I couldn't imagine this band would release anything worth hearing. So hearing an old dance hit of theirs was a nice move away from disliking them so much. The next five tracks are the strongest and would be the encouraging factor for someone considering buying this compilation. However, bands like Yaz and Erasure have these mixes already released on multiple formats through Mute Records. It's still fun to have them here.
The last couple songs by the Europeans and Peter Schilling respectably are the least interesting and quite dull. They are the tracks that really weaken and bring down this first volume of the series. Another drawback is the continuous play format of the disc. The intention is to create a club DJ feel, but it actually draws back from the individual tracks. At times, it's nice to just let the continuous stream wash over you while you're listening but for the most part I find myself wishing I could rip the tracks individually.
All in all, this is an interesting idea and with literally hundreds of vinyl only mixes and tracks out there, this collection could have gone on forever. It could have also branched out into other 80's sounds like the Minneapolis sound or the more pop oriented sound. Maybe someday, someone will pick it up and try it again. I'll be waiting. My final words: GOOD FUN FOR EVERYONE!
HIT THAT PERFECT BEAT! - VOLUME 1
01. Gang Of Four - I Love A Man In Uniform (Long Version)
02. Kid Creole & The Coconuts - Endicott (Extended Remix)
03. Yaz - Situation (Extended Version)
04. Erasure - Who Needs Love (Like That) (Mexican Mix)
05. New Order - Blue Monday (Razormaid Remix)
06. Trans-X - Living On Video (Vocal Remix)
07. Berlin - Sex (I'm A...) (12" Remix)
08. Europeans - Animal Song (Cross Country Version)
09. Peter Schilling - Major Tom (Coming Home) (Club Version)
Have you ever heard of Oglio Records? Probably not. I doubt they've done anything beyond this short lived series. And that's a shame really. The second and final volume in this series is just as exciting if not more exciting than the original. The strength of this collection is the release of material on compact disc that wasn't previously available. Most of these mixes were released by the bands on vinyl single back in the days before CD. Certain bands, like Men Without Hats still haven't had their back catalog transferred to CD. There's also some obscure stuff here as well.
Starting with 'The Safety Dance' by Men Without Hats, this is the extended club mix of the song. It's quite fun and definitely worth the purchase. Danny Elfman's 'Gratitude' is an interesting song. I wasn't aware he'd released solo material. So this was a discovery for me. Adam Ant's 'Room At The Top' is a nice addition. It's a newer single, coming out in the late 80's. For the most part, his whole album was kinda throwaway. This was one of the only songs worth having and you get the 12" mix here.
This version of the Pet Shop Boys 'West End Girls' is the original recording with Bobby Orlando. Outside of Orlando's own multidisc single release of this track and subsequent mixes, it's a hard version to track down. It's nice to have it on this release. I'd never heard of The Belle Stars but I like the song 'World Domination'. It's a fun track. The Dead Or Alive track is a mix that also appears on a version of their own record. They used it as a bonus cut on a CD release. I've always loved 'Weird Science' but I've never owned a copy of the track before this disc. It's another great song I'm happy to have. I wasn't a huge fan of The Fixx, but I do enjoy this mix of the song.
And finally, you have Bronski Beat's 'Hit That Perfect Beat' after which the series was named. This is an amazing song that I first heard on an old radio program called Rock Over London. So all in all, it's an exciting and fun disc to have. The tracks are sequenced together in an attempt to give it a DJ club feel. That's probably my one complaint about the disc. Better by far to let the songs stand solely on their own and enjoy the mixes. Still, this is a series I'd have enjoyed seeing continue. My final words: GOOD CLEAN FUN!
HIT THAT PERFECT BEAT! - VOLUME 2
01. Men Without Hats - The Safety Dance (Extended Club Mix)
02. Danny Elfman - Gratitude (Extended Dance Version)
03. Adam Ant - Room At The Top (Extended Mix)
04. Pet Shop Boys - West End Girls (Original Bobcat Version)
05. The Belle Stars - World Domination (Extended Version)
06. Dead Or Alive - You Spin Me 'Round (Like A Record) (Performance Mix)
07. Oingo Boingo - Weird Science (Extended Dance Version)
08. The Fixx - One Thing Leads To Another (Special Remix Version)
09. Bronski Beat - Hit That Perfect Beat - (12" Remix)
