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I have two versions of this disc. The first is the standard CD and the second is the Collectors edition that includes the original CD plus a DVD with additional content. "Some Great Reward" is the 4th album by Depeche Mode. I had the cassette for years, but I didn't buy the CD until the last month of my time in Europe. I bought the CD in a small pawn shop of sorts in a little Austrian town called Dornbirn. My copy is the European release of the CD. I've actually decided to donate it to a friend in Europe who likes Depeche Mode but can't afford a lot of CDs right now. I think I'll ship it over so he can enjoy it.
When you consider Depeche Mode and their history, this is the album where the band settled into its 80's sound. The first record was a Vince Clarke effort and it sounds totally different from all subsequent records. "A Broken Frame" was the album Martin Gore cut his teeth on as lead songwriter and "Construction Time Again" still feels like it has some rough edges with moments of brilliance. "Some Great Reward" is a solid piece of work and releases around this period all sound similar to it. Even though their style continued to evolve over each additional record, this disc is the template of how future recordings would be composed and engineered.
Martin Gore's fascination with German industrial sounds and music seemed to create a working man's New Wave. If bands like Duran Duran and The Human League were the British equivalent to posh music; Depeche Mode were the blue collar working class. With sounds engineered from striking metal or steel barrels... Or any number of industrial products struck to produce a percussive noise; Depeche Mode made a name for itself by producing music based on sounds no one else was using. They became an entity unto themselves.
The first song on this disc is iconic to fans of the band. 'Something To Do' was an anthem of sorts. As a teen in the 80's, (or any generation for that matter), one of the most difficult and annoying aspects of life is monotony and boredom. Not only did the song champion the plight of the working class who "work too hard for so little"... It also focuses on the seeming futility of life. There's nothing to do but work to survive. This bleak observation resonated with fans especially with middle class and working class youth. You can also hear the unique percussion elements throughout this song that the band created through their extensive sound engineering.
The second track is a more melodic number that doesn't rely heavily on metallic percussion. 'Lie To Me' is also the song that gives the album its title. The lyric goes:
"Lie to me
Like they do it in the factory
Make me think that at the end of the day
Some great reward will be coming my way"
Once again, the futility of life is a theme explored. You can also see this song in the cover artwork. A young married couple are standing outside what appears to be a factory or warehouse. The implication is social unions such as weddings or buying a house are the rewards for a lifetime of hard work and slave labor. I quite love the mellow groove and softer feel of this song. In fact, it's one of my favorites.
'People Are People' is up next and this is without a doubt one of the band's biggest hits from the 80's! It was huge! It takes a somewhat naive poke at racism and bigotry; but is still an important statement. I think this song was uniquely positioned for a number of reasons... The 80's would prove to be the first generation who simultaneously had different races and genders as its pop superstars equally. Most kids growing up in the 80's weren't familiar with racism as a reality, but rather a concept. And that's why this song wasn't so much a rallying call to arms, but a reminder not to follow the path of those before us and embrace a concept we didn't understand. Once again, 'People Are People' uses the famous industrial percussion.
The first ballad of the album appears next in the form of 'It Doesn't Matter'. Martin Gore takes over on lead vocals and delivers a sentimental, though strange observation on infidelity and the nature of love. There are some engineered sound patches used in this song, but they're more melodic than percussive. 'Stories Of Old' is the fifth track and once again, there's a heavier focus on melody. The tune deals with an unwillingness to follow the established story book format of life that supposes finding the perfect bride is the ultimate goal of life. Martin and the boys refuse to sacrifice their success and pleasures for the simple possibility of love.
On 'Somebody', Martin returns to lead vocals on what became one of the band's most famous and popular ballads. This sweetly sincere and somewhat naive song pokes fun at its own fragility. It's both something to revile and love all rolled up into one sappy, sentimental expression of devotion. Played almost entirely as an acoustic piano piece, you can hear some distant sounds playing like background noise. Is that the whistle of a train?
'Master And Servant' returns the heavy percussion and delves into the casual nature of sexual intercourse that seemed prevalent during the 80's. Morality had shifted somewhat and Depeche Mode wanted to draw attention to it while comparing it to a flawed system of political and economic wealth disparity.
'If You Want' continues with the high energy of both melodic elements and percussive elements. This song has all the energy of a circus! The music is spinning and at times, carnival-like. It's followed by the final track, 'Blasphemous Rumours'. This is another popular tune among fans and deal mainly with irony and how in the end it must all be a huge cosmic joke by God.
If I were to say this album had an overall theme, I'd say it was a celebration of mundane live and the futility of wanting something more. In the end, you only have what you have. And following the plan of the system won't lead you to ultimate happiness.
It's a complicated look at reality and for young people, it espoused many fears of growing up and what they saw ahead of themselves. Either in the lives of their parents or in the world around them. This is an album that deeply resonates with its listeners but offers little hope. The only true hope was in the music itself. The only real peace of mind is found in the escapism of listening.
I loved this album as a kid and years later, when I listen to it as an adult, I still love it and find it compelling and intricate. As young people, Depeche Mode were a deeply thoughtful group with a view of the world very people could share. My final words: AN EPIC COMING OF AGE ALBUM BY A BAND THAT WAS ALREADY LEGENDARY.
DEPECHE MODE - SOME GREAT REWARD
01. Something To Do
02. Lie To Me
03. People Are People
04. It Doesn't Matter
05. Stories Of Old
06. Somebody
07. Master And Servant
08. If You Want
09. Blasphemous Rumours
DVD CONTENT
01. A Short Film: Depeche Mode - 1984
02. Something To Do
03. Lie To Me
04. People Are People
05. It Doesn't Matter
06. Stories Of Old
07. Somebody
08. Master And Servant
09. If You Want
10. Blasphemous Rumours
11. If You Want (Live In Basel)
12. People Are People (Live In Basel)
13. Somebody (Live In Liverpool)
14. Blasphemous Rumours (Live In Basel)
15. Master And Servant (Live In Basel)
16. In Your Memory
17. (Set Me Free) Remotivate Me
18. Somebody (Remix)
Although I've heard this disc many times before, it's only recently that I got it for myself. My sister, Rachel gave it to me for my birthday! This particular album is the beginning of the android saga of Cindi Mayweather, Monae's alter-ego.
Cindi falls in love with a human, Anthony Greendown and is therefore scheduled for recycle. There are laws forbidding androids to feel. And the opening sequence; which is more of a segue than an actual track is a Public Service Announcement letting bounty hunters know Cindi is a legit target with a bounty on her head. 'The March Of The Wolfmasters' is this disc's equivalent of a starting pistol in a race.
'Violet Stars Happy Hunting!!!' is where the album actually takes off and you get your first exposure to Monae. The drum beat kicks in and it reminds me heavily of Outkast. It's got a classic 50's feel and a live quality that stands out dramatically. It's a great song and sets an outstanding pace for the disc. It's followed by another song that maintains that retro beat and sound. 'Many Moons' continues to showcase Monae's lovely voice and the music on this one is edgy and tense. There's a lot of static pauses and delayed beats that create a sense of urgency and keeps you on the edge of your seat as you groove along with it.
'Cybertronic Purgatory' starts as a quieter experience. You hear a voice vocalizing in the distance and the title makes one think of Romeo fleeing Verona. An exile for love, living in purgatory. It's a soft but lovely number. 'Sincerely, Jane.' starts off sounding like a big band production from a fargone age. The silver screen. But suddenly, the drums kick in and Monae takes the song and turns it into a blockbuster motion picture epic theme song. She's dynamic, flamboyant and expressive all at the same time. The strings and horn builds in this tune are stunning and you can't help but feel a great sense of respect for what this new artist is attempting to create with this sound. It's amazing!
Comparatively speaking, 'Mr. President' by all intents and purposes is dramatically different from the rest of the album. That Motown Soul sound still radiates from the track, but it's got a more pop sensible structure and arrangement. By far, this is the most accessible of all the tracks on the album and it's also my favorite. I think it's wonderful and I love Monae's vocalizing. She proves with this one track she's a voice and a force to be reckoned with. The final track on the disc is 'Smile' and it's a cover of the classic tune written by Charlie Chaplin. I don't recall if he actually recorded and released it. But there you go. Like some long forgotten screen goddess, Monae ends the disc on a lonely, distant sad note bravely facing an uncertain but hopeful future. She couldn't have planned it better. It works out flawlessly.
She has a unique and different vision of music. It's the strength of her lyrics, the power of her music and the expanse of her vocals that promise something different and far-reaching. I personally think Monae is an artist we should all watch carefully in days to come. She's just too darn talented not to.
My final words: THE BEST FRESHMAN EFFORT FROM A NEW ARTIST I'VE HEARD IN YEARS. WITHOUT A DOUBT, BRILLIANT.
JANELLE MONAE - METROPOLIS: THE CHASE SUITE (SPECIAL EDITION)
01. The March Of The Wolfmasters
02. Violet Stars Happy Hunting!!!
03. Many Moons
04. Cybertronic Purgatory
05. Sincerely, Jane.
06. Mr. President
07. Smile
This interesting import single is actually the product of a film soundtrack rather than a Marilyn Manson album which explains the addition of tracks by other bands. Both Mest and Stabbing Westward get a chance to deliver some goods with a track each.
Marilyn Manson starts off the single with a cover of 'Tainted Love' the song made a household name by 80's New Wave band, Soft Cell. Although Manson's version is a lot heavier in the beat and slower in tempo, it's a fairly straightforward rendition. It stays faithful to the arrangement created by Soft Cell and Manson's spooky vocal delivery takes a song that already borders on soft core s&m and turns it into sinister snuff porn. You'll be hiding under the bed after this one. And that's exactly what I think he wanted to accomplish! Well done!
Mest appears next and I know absolutely nothing about this group other than their appearance on this disc. They cover Modern English's 'I Melt With You'. There seems to be a trend in recent films to have newer bands cover 80's hits. That's cool most of the time. Sometimes it isn't. I'm not a huge fan of Mest and what they do here. Whereas the goal would be to make a better version of the older track, they just bang it out in a rather aggressive manner that doesn't recall the original track in a way that will make you remember it fondly. Obviously the original is better.
Marilyn appears again on track number three performing 'Suicide Is Painless'. This is a song that was actually the theme song for M*A*S*H*. Unlike the other tracks on this disc, this song dates all the way back to the early 70's. And Manson delivers what could possibly be the creepiest version of this track ever recorded. Again, they score with an amazing sound. If you like Manson at all, this is one track you need to get your hands on.
The final track is by Stabbing Westward. I saw them open for Depeche Mode once. They did a good job. On track number four they offer up a hit by New Order, 'Bizarre Love Triangle'. New Order is a complicated band with so many musical directions it's often hard to interpret their music. But Stabbing Westward are up to the challenge. They don't stay faithful to the original, but they offer up a grunge tinged version more appropriate for the time and it's actually enjoyable to listen to.
The fact is, even the Mest track isn't bad. It's still fun to listen to. That being what it is, this is a great single to own and if you like any of these bands, I don't know why you wouldn't own it. Of course there's always the chance the songs all show up on other releases but I don't own any.
My final words: MANSON DELIVERS SOME CREEPY COVERS FOR ALL THE GOOD LITTLE BOYS AND GIRLS TO ENJOY!!!!
MARILYN MANSON - TAINTED LOVE
01. Marilyn Manson - Tainted Love
02. Mest - I Melt With You
03. Marilyn Manson - Suicide Is Painless
04. Stabbing Westward - Bizarre Love Triangle
Juno Reactor is a band I discovered on a compilation CD. I can't remember the name of the disc off the top of my head, but the JR song was my favorite on the disc and this was the first CD I bought from them. I found it at a Music Store in Vegas. I recognized the group's name and I decided to buy the single and check out more of their music. Needless to say, I wasn't disappointed. These songs started my fascination with JR and I followed them for years afterward.
This is a simple four track single. There are two actual songs and each one gets two mixes. I'm not going to get heavily into the mixes because they're all fairly straightforward and enjoyable. I will say this much, the mixes for 'The Heavens' are much more dynamic than the album version. This is a subtle song to begin with. It's one of JR's soundscape numbers. You feel this song more than listen to it.
Since both tracks appear on their first album, I'll discuss them in more detail there and just say this is a pretty cool single with great mixes. My final words: NICE SINGLE AND A GREAT ADDITION TO A COLLECTION!
JUNO REACTOR - HIGH ENERGY PROTONS
01. High Energy Protons (Orion Mix)
02. High Energy Protons (Voodoo People Mix)
03. The Heavens (Monolith Mix)
04. The Heavens (Vapour Mix)
I wasn't a big Kylie fan until "Body Language"... I absolutely adore that disc. When I heard this track, I thought she'd released a new album, but I guess it's a greatest hits track with a new song. Since I'm not a fan of her older material, I figured I'd just buy the single for the new song and skip the compilation. I'm pretty sure I made the right choice for my interest in her music.
This is an import two track single. Both are electronica tracks and are similar to the music found on "Body Language". In fact I wouldn't hesitate to include them on a extended version of that album. They'd be right at home.
'Giving You Up' is the first track and the single from the album. It's got the deeper slower beat of the two tracks and it's phenomenal. I quite like it. 'Made Of Glass' is the second track and it's also well written and enjoyable. I'm glad I picked this single up and I hope she records more music in this genre. If you're like me and you've enjoyed this new direction she's taken with her music, by all means, pick this one up. It's worth owning.
My final words: EXCELLENT SINGLE RELEASE WITH TWO GREAT TRACKS!
KYLIE - GIVING YOU UP
01. Giving You Up
02. Made Of Glass
The Crystal Method are a Vegas band who went to LA to get famous. They came out of that same electronic music movement that spawned The Chemical Brothers. In fact, they are most often compared to The Chems. I remember the days of Napster... And Limewire... People used to list TCM tracks as Chem tracks and vice versa. Always somebody who wants people to think they've got something no one else has. Or to trick people into listening to a different group.
I discovered TCM on the local Las Vegas Alternative Rock station. Xtreme Radio actually played them back in the 90's right alongside Nine Inch Nails, Marilyn Manson, Smashing Pumpkins, Soundgarden, Alice In Chains and Nirvana.
Over the years, I've purchased a lot of their material. My opinion of them is a bit skewered. Because they're so heavily compared to the Chems, I get caught up in comparing them as well... Which, is stupid because they're actually very different bands. I think the only thing they might actually share in common is the equipment they use and the fact they're both mostly electronic bands.
The Chems seem to be influenced by math and anthem stadium rock. They're psychedelic. TCM is another creature entirely. With TCM, I hear the distant influence of house music floating in the background, but what really sets them apart is the fact this band is focused on the beat. They're songs are written with rhythm in mind and the beat is often the biggest part of the song. Everything else takes second place. On the other hand, what sets them apart is the soul I hear when I listen to them. They incorporate a lot of R&B/Soul sounds in their songs. From vocalists to beats, you can hear it bubbling up. Let's face it, they're funky. And that's where their edge comes from.
The first song on "Tweekend" is 'PHD' and it's a groove if ever there was one. I think this is a great opening track because it doesn't overload you, but it reeves the engine and gets you going for something more substantial like track #2, 'Wild, Sweet And Cool". This is one of the funky numbers and they don't so much play the song on the album so much as blow it up in your face! This is the game changer song. It immediately flips you on your ear and sets up the rest of the disc. 'Roll It Up' keeps the beat rolling along. This is another great tune and one you could imagine yourself blasting out the window of whatever vehicle you're driving.
'Murder' features former Stone Temple Pilots and Velvet Revolver frontman, Scott Weiland on lead vocals. It's a decent track. I feel like it sorta drops the bottom out of the momentum though. Still, it's got a deep bass sound if you pump your speakers up. The next track is probably the strongest on the disc. 'Name Of The Game' is the reason this disc gets a parental warning sticker so if you're listening to the disc with your kids, you might want to skip this one. Even though the song is kicking and the best on the album.
'The Winner' is a track that starts off slow, but has a decent build and eventually gets the sound back on target. I actually think this song would've been better if they'd put it right before 'Name Of The Game'. You'd have the breakdown bit where everything seems to slow down. This track would gradually bring the tempo back up and the punch of NOTG would've been much more exciting. 'Ready For Action' pounds in like a military maneuver from Call Of Duty. It's just so dang funky once the beat solidifies. 'Ten Miles Back' tones everything down and actually starts off sounding like TCM are sampling sounds from old Casio Keyboards, but then their rich, textured beats jump up and you're deep in the track. I love this one too. The female vocalist is subdued and her levels are perfect for the track. She's singing about something left behind and her vocals can sometimes sound distant. At the pace this track moves, it's not hard to imagine you've left something behind. It's followed by 'Over The Line' and this groove is one for chillin'. You can listen to this number while relaxing and it will get your feet stomping without making you move your butt. It's just a nice, calm groove. Sometimes, these are the best kinds.
'Blowout' is up next and it starts off sounding like the opening theme to a science fiction series. There's some drawn out keyboard notes playing over and over until Boom!!!! The beat drops in and suddenly, you're off! This is another one of those funky beats that make TCM so groovy. It's a driving machine of a beat. 'Tough Guy' is the last track on the disc and as it starts you suspect it may also be the only ballad on the disc. And you'd be partly correct. The track is ambitious in that it's constructed of a series of movements rather than a straightforward beat or song structure. And each one has its own tempo. Still, it's probably my least favorite track on the disc even though I appreciate it the most.
"Tweekend" throws you a final curve in the form of a remix of 'Name Of The Game' as a hidden bonus cut. That's always a treat and I like it when groups do stuff like that. Bonus tracks are always awesome!
I quite like this disc and I like TCM so it's not a huge surprise. I don't think they're doing anything unique or different in electronic beat music. But they are the best at what they do. They're out to make you dance, not challenge preconceptions and that being the case, I think they succeed famously. My final words: GOT NOTHING TO DO THIS WEEKEND? TRY TWEEKEND!
THE CRYSTAL METHOD - TWEEKEND
01. PHD
02. Wild, Sweet And Cool
03. Roll It Up
04. Murder
05. Name Of The Game
06. The Winner
07. Ready For Action
08. Ten Miles Back
09. Over The Line
10. Blowout
11. Tough Guy
12. Name Of The Game (Remix)
My copy of the slip was one I had to order online. I think Trent Reznor gave the album away for free, but if you wanted to own a CD copy, you had to buy it from his website. Which I did. Not only did I buy it in advance, I got the Limited Edition with the bonus DVD.
I later went and saw the tour that accompanied this release and it was phenomenal. I loved every minute of it.
Although I enjoy this album a lot, it's by no means Reznor's best work. It's still above average by any means, but it seems a bit disjointed. At least to me. For collector's and fans, "The Slip" is the 27th Halo.
As with previous releases, "The Slip's" opening track, '999,999' is a cresting wave of sound seguing into the first actual song on the disc. It's an ambient pulse that gradually gets louder until the pulse pounding drums kick in for '1,000,000'. This song makes me think of that moment in life where you look in the mirror and wonder, "How the heck did I get here?" It's the realization things haven't quite happened the way you wanted them to. Even a rock star like Reznor can feel this sense of detachment. It's followed by 'Letting You'; which is basically an outcry against the political lies politicians of the day used to drag the US into another war. He cries in disbelief that even when we know the truth, we let the people who deceive us get away with it and we still follow their direction. It's a song raging against apathy and a battle cry for accountability. In cases like this, I think Reznor is probably one of the few artists who can be political without crossing a huge moral line. Mostly because what he's calling out for isn't revolution or a change in government, he's calling the listener out to hold people responsible for their actions. In other words, we have to stop letting people get away with bad behavior.
In its own way, 'Discipline' continues the theme. This incredible track blazes forward like a funky train rolling down the tracks. He finds himself unable to find a thread or way to organize his thoughts. He finds that in another person. Maybe a sounding board he can share his thoughts with. It's in the sharing that he finds a structure. A way to shape what he's feeling into something more than abstract thought. It's this discipline of his audience/confidant to preserve his sanity. To focus his rage. His anger.
'Echoplex' is a more complicated concept. Live, this was one of my favorite performances of the tour. On the album, it's a thought provoking song. It seems to aspect 'Discipline' in a strange way. Where the listener is the one who brings structure to his thoughts, 'Echoplex' is his way of viewing them from the distance of the stage or from his position in live. He wonders just how effective his influence is and just how powerful it could be as well. Interesting subject matter. 'Head Down' kicks in with a stuttering drum track and some distortion ripping over the top of it. I feel like this song is Reznor telling his public that the image we have of him isn't really who he is. It's a facade. A character he plays. It's just a fantasy. But it's not real. This is an idea you hear from other artists like Alice Cooper or Marilyn Manson. I believe it only to a certain degree. The music he creates and shares with the public obviously comes from a very personal place and he shares honest feelings and thoughts. Because of that, it's hard to divorce a character from the real person underneath. I see Nine Inch Nails concerts as being filled with special effects that enhance the reality of the music and the song writer. In that sense, there is a distortion covering him. But what's underneath is still real.
'Lights In The Sky' is a terribly sad song. Of all the tracks on this album, this one feels the most personal. It's a farewell of sorts to a specific person. We may never actually know who, but there are so many metaphors for death in this tune, one can only speculate... This is a simple piano and vocal track. Very effective and minimalist. The next number is the longest on the disc. 'Corona Radiata' is one of the soundscapes he's been working on lately. It could've easily fit on "Ghosts" or on the soundtrack to one of his film scores. It starts off like a note held in an infinite loop. Sound is filtered, and layered around it, but it doesn't change until midway through the song when it devolves into a painfully slow distant beat. It trudges along and sound begins to swell up and surround it. This is a remarkable soundscape. One of his best. The crescendo is magnificent and haunting.
'The Four Of Us Are Dying' builds on a small sounding beat and more subtle noises to create a something that sounds like a satanic carnival rolling into town. There's something sinister moving through this track and it's remarkable. It flows into 'Demon Seed', the final song. He finally realizes what his purpose is. He has to use his influence to destroy the system of control governing our world. He must rage and fight against everything that champions as right that which is actually wrong. And quite frankly, we're given the choice to go along with the ride or get out of the way.
There's an amazing theme running through this disc and I could actually discuss it in depth for hours. Even though I think it pales in comparison to his other works, this is still an exceptional record and shouldn't be discounted. It feels more like a personal period of reflection and epiphany for Reznor. He took it and turned it into music and shared his journey for his fans to hear.
For those of you lucky enough to go for the ride, it's a thrilling experience. For those of you who didn't, you really missed out.
The DVD contains 5 songs from the album recorded live from the rehearsals for the tour. They were filmed in June of 2008. It's a short set, but one that's enjoyable to watch. You see the band perform the music without all the special effects of the live stage. It feels somehow more genuine even though the stage show was incredible.
My final words for "The Slip": WITHOUT A DOUBT AN INCREDIBLE RELEASE! A MUST HAVE FOR EVERY NINE INCH NAILS FAN AND THOSE WHO ARE CURIOUS ABOUT REZNOR'S WORK! AN UNPARALLELED EXPERIENCE!
NINE INCH NAILS - THE SLIP
AUDIO
01. 999,999
02. 1,000,000
03. Letting You
04. Discipline
05. Echoplex
06. Head Down
07. Lights In The Sky
08. Corona Radiata
09. The Four Of Us Are Dying
10. Demon Seed
VIDEO
01. 1,000,000
02. Letting You
03. Discipline
04. Echoplex
05. Head Down
Arcadia was a side project by Duran Duran members Simon Le Bon, Nick Rhodes and Roger Taylor undertaken while the band was on break. The sound of the music is virtually indistinguishable from Duran Duran at the time. I remember reading somewhere that Arcadia was the best Duran Duran album they didn't release. And in many ways, this ranks up there with the best Duran Duran material.
Right off the bat you get the big hit single 'Election Day'. I can't even begin to tell you how often I see this song online listed as a Duran Duran track. People just don't think of it as anything but. This is a fantastic song and to make it even more brilliant than it already is, flamboyant pop diva Grace Jones appears on this track to deliver a spoken word bridge halfway through the song. Her presence takes this track from amazing to A-maz-za-ing!!!!
'Keep Me In The Dark' starts off with some tense Asian sounding chords. It evolves into a full on song with a decent melody and Le Bon delivers a soulful vocal performance. You can hear his yearning and desire. I think this is a great number for showing off his skills as a singer. There are all kinds of blurps and blips throughout the song and they're wonderful. I enjoy the arrangement from start to finish.
Around this same time, Duran Duran recorded a track for a James Bond film, 'A View To A Kill'. I know that was the title of the movie and the song is pretty good. But honestly, 'Goodbye Is Forever' is far and away the best Bond theme song that never was. Not only is it an awesome title for a Bond movie, but it's so thematic. The tune swells and churns through an orchestra synth chord sweeping behind the vocals making the entire song intensely dramatic. I can't listen to this song and not imagine it as a Bond theme. I just can't.
'The Flame' begins with Le Bon singing. Once the music kicks in, you get some interesting sounds but frankly, this is a song I'm not overly impressed with. It's not bad, but it doesn't stand out either. Next up is 'Missing'. This minimal sounding track is light and mysterious. Even the saxophone sounds like a piece of percussion on this number. It all kinda clinks and rolls along while Simon seems to call from a distance. Honestly, this song reminds me of Tears For Fears and I can almost hear them singing.
'Rose Arcana' is a segue introduction to 'The Promise'. It sounds like drums, chimes and gongs playing outside of an ancient Chinese temple. A thin, delicate synth line kicks in and suddenly you're enveloped in sound. Arguably the best song on the disc, 'The Promise' is a 7 minute mood that washes over you like an uncontrolled feeling. Fear, despair, sadness... "Heaven hide your eyes, Heaven's eyes will never dry". It's a piece of musical magic and Sting appears as a guest vocalist backing up Le Bon on the chorus. This pairing is astounding and utterly harmonious. I remember this is a song I heard on an old radio program called "Rock Over London". It came on once a week and would play New Wave songs by British bands. I used to sit in my mom's bathroom holding the radio antennae because that was the only way I could get a clear signal and hear the program. This was one of the songs I heard on that show and I fell in love with it. I bought this album years later because I'd always loved this song and I wanted to have it in my collection. I've enjoyed Duran Duran, but I never felt obsessive about them the way I have with other bands. Still, Arcadia presented me with a chance to jump on and jump back off. I still have some Duran Duran albums I really love and I'll eventually buy them. That's beside the point and I'm rambling now. I just can't think of more good things to say about this amazing song. It's truly a great moment in pop music history.
'El Diablo' is the 8th track on this disc and it starts out sounding like a gypsy violin and then transforms into a pop song with South American flute playing. This song reminds me of the Duran Duran tune, 'Cracks In The Pavement'. I lose interest in it because I actually prefer 'Cracks In The Pavement' to this and 'El Diablo' sounds like a cheap copy to me. I hate to say that because I find the disc very compelling, but I can't get past this one. By far, my least favorite track on the disc.
The final track is 'Lady Ice'. It sorta has a spooky start with a lot of ambient background noise playing over a sustained keyboard note. It's a very somber sounding piece and even the small twinkle sounds that emerge sound sinister. After some dull explosions, the basic song takes shape and you get a swelling synth motif rising and falling behind Le Bon's distant sounding voice. At this point, we feel like we're on a battlefield after the fighting has ended. The chorus almost feels like sun breaking through a dense cloud cover. The tune never breaks with its soft, gradual tempo. It's a fitting final track and for some reason, when I listen to it, the picture on the front cover of the CD seems to make perfect sense. She is the 'Lady Ice' and all of this has happened at her bidding. Everything kinda fades away and you're left wondering if it was all just a dream.
I think Arcadia was a highly effective side project for these band members and it's probably my favorite of all music released by Duran Duran or its members. I think it's brilliant and I highly recommend it. My final words: A SINGLE SHOT OF PERFECTION FROM A BAND OF 80'S SUPERSTARS! NOT TO BE MISSED.
ARCADIA - SO RED THE ROSE
01. Election Day
02. Keep Me In The Dark
03. Goodbye Is Forever
04. The Flame
05. Missing
06. Rose Arcana
07. The Promise
08. El Diablo
09. Lady Ice
Alphaville released an interesting disc with this Singles Collection. It's basically an 8 track EP with 4 songs. Each song appears with 2 versions. The first is probably the band's most popular track. 'Forever Young (Special Extended Mix)' is interesting for a number of reasons... First, it features a new vocal track recording by Marian Gold. It's quite different from the original and the music is arranged with a bolder, fuller sound. It's a great mix and very satisfying to listen to. The second track is 'Red Rose (Single Version)'. This is basically an edit of the album version even though it's a little longer. 'Red Rose' is from the bands second album, "Afternoons In Utopia". Hearkening back to their first album, track number three is the single version of 'Big In Japan'. This is a fairly standard version of the song. The biggest difference you notice is the intro. On the album, it segues from another song and the opening sequence is much louder and dynamic. There are also some slight differences in some sounds. I hear a bit of an echo on this single version I don't hear on the album version.
Track 4 is the long version of 'Dance With Me'. This is another release from "Afternoons In Utopia". The reason this song is a long version is because there are extended instrumental portions between the vocals. Still, it's not bad and it's a great arrangement. There are two album versions appearing on this release and number five is one of them. It's the album version of 'Forever Young'. Once again, this makes perfect sense as this is probably the band's most well known and popular track. It doesn't hurt to include it here in its most noticeable form. I also think it was smart to put the mix first. Listeners just interested in this track will hear the different version and hopefully appreciate the band's musical diversity.
There's a 12" mix of 'Red Rose' up next and the music on this track is much superior to that of the album version. The drums alone make this version so much more enjoyable. There's a much more dramatic build throughout and the climax is more exciting. Probably, the biggest and most exciting track on this collection is up next and it's 'Big In Japan (Remix '88). The music stays fairly faithful, but it takes an amazing song and transforms it into an almost 8 minute musical workout with a variety effects and added percussion. At the end of the disc we get another album version. This time, it's 'Dance With Me' and I don't detect a difference here. I think it's the same.
I'm fairly certain all of the material on this release showed up on vinyl prior to this pressing with the exception of the 'Big In Japan' remix. For most of these tracks, this would be the one and only digital CD release. The only place you could find these versions. With the exception of the album versions of course.
I'm not entirely convinced this release is necessary to the average fan of Alphaville. It's more of a completest release. If you were collecting them, you'd want this one in your collection. Otherwise, I think you can stream or purchase this music online.
My final words on this disc: AN ENJOYABLE LISTEN, BUT NOT NECESSARY.
ALPHAVILLE - THE SINGLES COLLECTION
01. Forever Young (Special Extended Mix)
02. Red Rose (Single Version)
03. Big In Japan (Single Version '88)
04. Dance With Me (Long Version)
05. Forever Young (Album Version)
06. Red Rose (12" Mix)
07. Big In Japan (Remix '88)
08. Dance With Me (Album Version)
I've always had a great appreciation for Deep Forest. Mostly because of their efforts to bring attention to various folk music and world music styles. Also for their attempts to preserve the vanishing culture these musical traditions represent. But I've also loved the music they've released. I enjoy the combination of these diverse native sounds and electronica.
As much as I like the group and considering how often I buy their releases, you'd think I'd know quite a bit about them, but I don't. I know the two main forces behind the project initially were Eric Mouquet and Michel Sanchez. At some point, Sanchez left the project and Mouquet continued on his own. Of course the music is different without Sanchez, but it still has the ring of familiarity you would expect from a Deep Forest record. I think the biggest difference is in the performances of guest musicians on the actual albums. When Mouquet and Sanchez were working together, each song would feature different musicians and singers. Mouquet seems to pick a singer and maybe a few musicians for each album. Where Deep Forest records seemed to focus on different ethnic musical styles, the Mouquet albums seem to focus on a broader, yet more specific international brand. For example, the first three solo releases have been "Deep Brasil", "Deep Africa" and "Deep India". You can kinda get the idea reading the titles of the albums.
Of these three solo records, this is the only one I actually own. And the only one I've actually heard in full. I've streamed parts of "Deep Brasil" on Youtube, but I have yet to hear the entire album.
"Deep Africa" starts off with 'Amber Opening'. It slowly opens with some hypnotic beats and some lovely singing. It transitions to a strange louder, but slow, beat. The way the track opens up is interesting, but I don't really like it. I think it would've been more effective if it stayed subtle and trance-like. 'Dub Africa' is the 2nd song on the record. You hear a female vocalist calling out in an African language and the electronic synth answers with an intense and dense response. Once the beat kicks in, you get a mid-tempo developing built around the call you hear in the very beginning. On par with anything you've previously heard from Deep Forest, this is an amazing track and I love it!
'Mosika' leads off with a strange staggering beat and then punctuates with some horns sounds. Once the vocals kick in, the tone of the song moves into a more emotional direction. The vocalist has a moving voice and he leads the track through some dynamic changes. It builds and ebbs quite naturally. This is another satisfying tune. The next song is 'Yelele' and this one is instantly catchy. It's got a deeper, quicker rhythm and once it kicks in, you have a hard time keeping your feet still. Even though I have no idea what the vocalists are singing or even if I'm pronouncing the words right, I find myself singing along at the top of my voice. I just make the words up of course, but it's a lot of fun. You have a change up between the male and female vocalists throughout the track. This is a song I could hear playing in a club. It's got an amazing beat.
'Bedi' is a slower number. The opening percussion sound reminds me of an old Casio keyboard. One of those Samba sounds. Acoustic piano fills out the sound on this track and the vocalist delivers a touching ballad even if you have no idea what she's saying. In a similar fashion, 'Atali Wowo' comes across as a ballad even though it uses live drumming and a faster tempo. The vocal sampling on this track is reminiscent of earlier Deep Forest work. 'Wasis' is track number 7. At first, you think you're hearing an ambient sound track. This singer reminds me of a voice I've heard on previous songs from earlier albums. It picks up a bit during the chorus, but it reverts back to the slower pace during the verses. It's an enjoyable track and another one I like on this record.
'Zoulawa' is a different number. It has a weird start, but eventually evolves into something more familiar to a Deep Forest fan. The singer here reminds me of Wes Mouataba. 'Ho Mambo' starts off sounding like water and evolves into sounding like stars twinkling. Then it changes into a chanted vocals over a sparse beat. The transitions on this number are unique and quite at odds with traditional dance and electronic music. 'Alaake' has an almost Latin flavor to it. The horns are playful and fun throughout. The vocalist is a woman who chants a nursery rhyme of sorts during the chorus. An interesting tune.
'Lomo' can be described as vocalizing over some mood synth playing. It's a very loose and free form piece of music. 'How Long It Takes?' hearkens back to the first days of Deep Forest. You have some lovely ambient electronic music playing over an fantastic vocalization. The forest sounds are filtering down through the music and when the rhythm develops, it does so organically. The build is extremely well written and executed on this one. I absolutely love this tune. Easily my favorite on the entire disc.
'Tiko' is a slower number with some flute/sax keyboard sounds. It's a nice relaxing bit of music. 'Mosika Ending' is the final track on the album. At least it's listed as such with three additional tracks listed as bonus tracks. As such, it's predominantly built around a vocalization with some aesthetic synth chords played underneath as atmosphere.
'Mawa' is the first of the bonus tracks. It uses a simple beat and piano playing as the background for the vocalist. There are some horn sounds in there as well. This is a dramatic piece in that it creates a very specific vibe and feeling. 'Soweto' is the second bonus cut and this one starts off with some insect-like sounds playing. You also hear what sounds like bird calls. The lilting piano motif is haunting. The vocalist emerges and delivers a gospel fueled plea for tolerance and acceptance. It's a beautiful song! The final bonus track is a mix of 'Dub Africa'. The 'Dub Africa (Gaudi Remix)' starts off rather quiet and trance-like but it builds into a heavier beat. It maintains the trance quality and the groove is nice all the way through.
I hear a huge difference in this music and the old Deep Forest. On this record, Mouquet focuses more on the performances of his guests than on the electronica. There's not as much vocal manipulation. On previous Deep Forest records, the vocals are sampled, manipulated and played almost like the keyboard motifs or drum patches. But here, the performances are more organic. More natural. The rhythms are built around the song structures created by the musicians and singers who contribute to the songs. It sounds more collaborative.
I like this new direction and I think as much as I love older Deep Forest music, I love the evolution. It embraces the music they sought to protect and nurture in a new way. A way that might help it transition to modern times and find a global audience. This is worth finding and buying. I'm definitely going to get the other Deep Forest releases now. If I can find them for sale. My final words: A NEW DIRECTION, A NEW STYLE, A SIMILAR SOUND, A SATISFYING AND PLEASING DISCOVERY.
DEEP FOREST - DEEP AFRICA
01. Amber Opening
02. Dub Africa
03. Mosika
04. Yelele
05. Bedi
06. Atali Wowo
07. Wasis
08. Zoulawa
09. Ho Mambo
10. Alaake
11. Lomo
12. How Long It Takes?
13. Tiko
14. Mosika Ending
15. Mawa
16. Soweto
17. Dub Africa (Gaudi Remix)
Usually, I try not to review a CD I've just bought because I like to give each disc a chance to grow on me. Or maybe I hope for a better understanding of what I'm hearing. But that's not the case with this one. I originally streamed the album and when it was released in stores, I bought it. I guess that's one thing Best Buy is still good for. The occasional CD purchase. Basically, this disc has been in my CD player for a month now and I've listened to it pretty much nonstop. There are two other discs I'm playing fairly regularly too and I'll do both of them in the near future, but this one is the one I want to talk about today.
I haven't reviewed Prince's last disc, "Art Official Age", yet; and the reason for that is I haven't found the way to express some of my feelings about it. There are songs on that disc I think are highly personal to Prince and they resonate very strongly with me. Especially 'Way Back Home'. But that's another review. So let's talk about this disc and how I've responded to it.
First off, although I wasn't looking for it, I found a lot of information on the disc prior to its release. I have enough Prince friends on Facebook that it was impossible to avoid posts people were making about it. I learned one song in particular, '1000 X's & O's' was going to be on it and I was a bit skeptical about it. I originally heard this song years ago as a demo for another artist. Prince had written it for someone else and I can't remember where I heard it online, but I've run across it a few times. At one point, I had a CD a friend had burned with the track on it and I have to say, it was far and away one of my favorite songs Prince has ever written. I was a little nervous to hear it updated as I loved the demo. Many artists update older songs with new arrangements and sounds. Especially for live performances. Sometimes they're exciting and other times, they're a let down. It's a dicey business. Before I tell you what I thought about this song, let's go over the rest of the disc...
The album starts off with samples from a bunch of older Prince songs like 'For You', '1999' and 'Let's Go Crazy' before morphing into 'Million $ Show'. Singer Judith Hill duets with Prince on this number. Prince has this ability to write the most energetic and amazing opening tracks and this one falls right into that category. It's a party track aimed to get your spirits lifted and your body bouncing. It succeeds on all accounts! It's followed by 'Shut This Down'. This is a rather frantic number. The music tempo slows a bit, but there's an intensity in the vocal delivery that hypes the pace and makes it seem almost manic. Prince has done music like this before and I usually like it when he does. This one is no exception.
'Ain't About 2 Stop' is up next and when this one starts, watch out. Rita Ora is the guest vocalist on this track and I have to be honest, the first time I heard it, I didn't like it. Not until the the first time Prince comes in and sings, "I come from North Minny and I never run from any and I ain't about to start right now". That line, just by itself changes the direction of the song. Using that line as a jumping off point, most of the strong musical direction in the song occurs. It's the launching point for changes. It's because of that line I gave the song a chance to grow on me and grow it did. Now, it's one of my favorite numbers on the entire disc.
'Like A Mack'... Well, when I read the word "mack" I was a little concerned. Wasn't mack a slang term from back in the 90's? I always think of that Mark Morrison song, 'Return Of The Mack' or 'Mack The Knife'. Prince is the undisputed king of making some funky workout numbers and this track ends up being one of them. This is the one song on the disc I could actually hear going on for at least two more minutes. The funk is just all over the place! 'Like A Mack' is like "The Walking Dead" except instead of finding yourself surrounded by zombies, you find yourself surrounded by a groove you can't escape. It's absolutely rockin'!!!!
The next number is the one track I think fails on this album and is also the one I just don't understand. 'This Could B Us' originally appears on "Art Official Age". The version on this disc is a remix or a newer version. Compared to the original one from last year, it sounds cluttered. Forced. It feels like someone kept working to make it better and eventually quit. It was perfect as it was and it didn't need to be updated. Plus, I don't understand why it would show up here a year later when so many other tracks we've heard in recent days didn't. Like 'Stare' or 'Free Urself'. Both of those tracks were bonus tracks you could listen to on Tidal if you streamed the album there. 'Baltimore' was another recent song Prince released as a digital single and would've been nice to have on a disc. As would other tracks like 'Groovy Potential'. I honestly feel like this track on this disc is a waste. And I hate to say that because I love this disc. But it's a waste of my money. I already own a superior version. If I wanted a mix, I would buy a single with mixes on it. I sincerely think inclusion of this number was a bad call. The wrong choice.
That being said... 'Fallinlove2nite' is the next number and it made its debut on the Zoey Deschanel television program, "New Girl' during the Prince episode. On that version, Zoey actually appears as a guest vocalist. Her vocals don't appear on this version, but that's almost beside the point. From the moment I heard this track, I loved it and I've wanted to own it in my collection. The fact he released it on this disc is so wonderful I can't even describe my happiness. 'X's Face' is another great number and sounds like a song he's done with 3rdEyeGirl, but I could be mistaken. It's not the best song on the disc, but it's a good one and I love singing along with it. 'Hardrocklover' follows and these two songs kinda appeared online around the same time as digital singles of sorts. 'Hardrocklover' is the superior of the two songs. I guess that's not entirely fair because I like them both.
'Mr. Nelson' is a musical collage including elements of songs from "Art Official Age". You can hear 'Clouds' and 'Way Back Home' in this song. It's mostly an instrumental with an interesting progression. It kinda builds like a train gathering speed. It reaches a climax and explodes into the beat for the next track, '1000 X's & O's'. Remember my little rant about this number at the start? Well, the first time I heard this version I was horrified. I absolutely hated it. And yet, after subsequent listens, I've grown to love it more than the original! This is my favorite cut from the entire album! I absolutely love this song!!!! I love the sentiment, the lyrics, the music, the vocal delivery... Everything conspires to bring your heart to a very specific place; a place where love of your partner is the most beautiful thing in the world. It's like glimpsing paradise and knowing you want to live there. Knowing this is the place where happiness... True happiness is found. I cannot praise this song enough. It's one of the best sentiments expressed in music ever.
'June' is the final number. It's like an abstract musical painting. It captures a single moment in time in one song. Listening to it is like solving a logic problem. You follow the clues, the pieces until you construct a bigger picture and see how it makes a whole. I know that's a vague way of describing this song, but follow the lyrics when you hear it. Follow the journey of the pasta and see if it doesn't make more sense. Personally, I think Prince was born right on time.
With a single exception, ('This Could B Us'), I love this record from start to finish. Some bands/artists lose their edge when they get older. There have been times during Prince's career when I've thought he was headed in that direction. But every time I think he's starting to get washed up, he releases something like this and the brilliance of his mind, his talent puts him right back up at the top of my musical list. This is a great record! Unfortunately, I think Prince has reached a time in his life where young people aren't discovering him. His core audience is where his sales will continue. I may be wrong, but I don't see the youth of today latching on to someone of his musical talent and intelligence. He's beyond the modern sound. Even with an updated techno feel provided by Joshua Welton, Prince is ahead of his peers.
My final words on this album are: A GLOWING, BRILLIANT RELEASE REAFFIRMING PRINCE'S TALENT, ABILITY AND MUSICIANSHIP.
PRINCE - HITNRUN PHASE ONE
01. Million $ Show
02. Shut This Down
03. Ain't About 2 Stop
04. Like A Mack
05. This Could B Us
06. Fallinlove2nite
07. X's Face
08. Hardrocklover
09. Mr. Nelson
10. 1000 X's & O's
11. June
