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Jane Child came on the scene like a bullet. She arrived and caused all kinds of controversy. Mainly because of her unique appearance. Her record label gushed about her production skills and songwriting abilities. Jane plays all her own instruments, arranges, produces, etc. etc. While that might have been true, they missed the most important aspect of the disc. She wrote excellent music. It took a long time for Jane to follow up that first disc. When 'Here Not There' finally came out, I was living in Europe. I missed it initially, but picked it up after I got home. I think the biggest shock to me was how much a departure this disc is from her freshman effort. It's also the reason the disc failed to make as great an impact. Props to her for taking such an awesome artistic leap, but sad in that it didn't achieve the same success as her self-titled disc.
From the outset, Jane lets you know this is something completely different. 'Mona Lisa Smiles' is about bisexual flirtation and desire. It keeps a mischievous tongue-n-cheek word play throughout. Still, the implication is obvious. In a certain way, it sounds like the previous effort, but the music is more complex and challenging, incorporating a harpsichord sound with an Indian flare. It's like watching a child grow older through musical progression. That being said, 'Do Whatcha Do' sounds like a track from the first disc rather than something from 'Here Not There'. Irregardless, it is easily one of the most accessible and exciting tracks on the disc. An obvious single pick. Some guys named Ricky Hyslop and Brian Hyslop contribute two tracks to the disc. 'Monument' and 'Step Out Of Time'. Both tracks are fueled with power guitars and have a hard American rock edge to them. Sadly, both have a generic quality not even the vocals of Child can disguise. The ideas are sound and interesting, but the musical progression is mundane. Jane could have saved herself some difficulty by not including these numbers. Their presence on the disc serves to disrupt the musical continuation as a whole. It's a major part of the reason the disc as a whole sounds all over the board.
'All I Do' is more typical Jane material. It's closer to her style and brings us back to the unusual tone of the 'Here Not There' material without sacrificing the integrity of her solid songwriting. 'Sshhh' also follows in this fashion. 'Here Not There' seems to have classical music influencing it's direction. The more complicated musical progressions seem heavily based on classical themes. 'Perfect Love' is another song that would have been right at home on her first disc. The difference here is in the rhythm section and the instrumental motifs. They fit more in with popular music at the time even though they maintained that signature JC sound. 'I Do Not Feel As You Do' is interesting and has a waltz-like quality to it.
'Heavy Smile' is another throwback of sorts. Except she incorporates some rhythmic changes more in line with the classical style with changes happening on a third count rather than a fourth. It's funky, but thoughtful at the same time. And highly unusual. 'Calling' is more bubbly and fun. Like 'Perfect Love', it falls in line with then current pop sounds yet still has that offbeat vocal delivery.
Both 'Sarasvati' and 'Here Not There' are amazing pieces of music. 'Sarasvati' is based on Buddhist scripture and is extremely challenging musically. The transformation from musical powerhouse to ethnic rhythm segment is incredible and thoroughly enjoyable. It's the biggest departure of the entire album and completely changes everything. It's simply brilliant. 'Here Not There' is a haunting number with lyrics that are vague and open enough to invite speculation and interpretation. To me, the ultimate message of the song is finding satisfaction where you are. In other words, finding a way to see the greener grass on your own side of the fence.
Ultimately, I find this record extremely satisfying. I got more music from Jane... Heard a new direction... Expanded my own appreciation for sound and balked at the lack of response to an artist that should have gained more recognition and appreciation for her work.
I've heard she's continued to release music on her own label. I'm gonna have to check that out and see if I can find any of it. I'm interested in hearing more from her. She certainly is worth listening to. My final word: EXTREMELY SATISFYING.
JANE CHILD - HERE NOT THERE
01. Mona Lisa Smiles
02. Do Whatcha Do
03. Monument
04. All I Do
05. Sshhh
06. Perfect Love
07. I Do Not Feel As You Do
08. Heavy Smile
09. Calling
10. Step Out Of Time
11. Sarasvati
12. Here Not There
Like most people my age without older siblings, my first exposure to Sting and The Police happened around the time 'Synchronicity' was released. Of course 'Message In A Bottle' was floating around the radio and it popped up on MTV. I kinda liked what they were doing, but not enough to buy anything they were putting out. Sting was a voice and to this day, I still consider him more of a vocalist than a song writer. I know many people would disagree with me and I also know he writes most of his own material. That being said, I've never found his writing particularly interesting.
Oddly enough, Stewart Copeland has become a figure of interest to me. Since The Police disbanded, Copeland started working from his home studio and has created a highly stylized sound of music. This material first appeared on the "Spyro The Dragon" video games by Insomniac. Later, he contributed this sound to the hit television series, "Dead Like Me". I absolutely love this material. It's delightful! Simply delightful.
But enough rambling, let's discuss this CD... So I bought 'Reggatta De Blanc' at a used CD store for something like $1.75 back in the early 90's. I was mainly drawn to the disc by the inclusion of 'Message In A Bottle'. I'd heard another Police song, 'Murder By Numbers' recently but wasn't certain of the title. I thought 'Deathwish' might be it and on the strength of that speculation decided to try it out. Big mistake. Aside from the first track, there isn't anything else on the album suited to my taste. There are clever song ideas and some interested instrumentation here and there, but nothing to keep me pinned to my seat.
To be fair, I listened to this disc for the past three days, letting it play in the background over and over again, trying to find something diverting about the other 10 songs. Aside from the occasional interesting bit here and there, I'm not impressed. At the time, The Police were making this hybrid New Wave/Reggae sound. There was also a sense of experimental jazz in there somewhere as well. It certainly possesses a great deal of efficiency production wise and can at times sound effortlessly flawless. Still, I couldn't find a reason to invest heavily in the songs whether it be subject matter or melody. It didn't cross over.
My final word: DISAPPOINTING. This is one you should definitely save your money on and purchase individual tracks rather than buying the whole disc. Or better yet, skip ahead to the band's more polished production. It could hardly be a crime to miss this one.
THE POLICE - REGGATTA DE BLANC
01. Message In A Bottle
02. Reggatta De Blanc
03. It's Alright For You
04. Bring On The Night
05. Deathwish
06. Walking On The Moon
07. On Any Other Day
08. The Bed's Too Big Without You
09. Contact
10. Does Everybody Stare
11. No Time This Time
"The Rocky Horror Picture Show" gained cult fame sometime in the 70's by becoming a hit with late night film goers. The audience eventually took up an interactive role with the film. Stories of which are legendary and continue to this day; giving this movie the status of having the longest theatrical run in the history of film.
Richard O'Brien wrote the musical stage script, the musical score and co-wrote the screenplay for the film adaptation. He also appears in the film and sings on the soundtrack as the character Riff Raff. The music is highly integrated into the storyline of the film. Even though it's essential and primary to the plot, they do stand up on an individual listening. For the most part. You can easily put the character in a situational context while listening to the lyrics even if you'd never seen the film. Written in the tradition of 50's rock n' roll with a bit of 70's mixed in, the songs are also awesome because the film stars sing the tunes in character. Not all of the cast are great singers. But the lack of talent only serves to heighten the fun. You can easily listen and sing over the top of the vocal talent and still have an enjoyable experience.
Bless his transsexual heart, Tim Curry delivers the performance of his career as the evil villain of the piece. His campy performance offsets the tongue-in-cheek numbers like 'Sweet Transvestite' and 'I Can Make You A Man' while at the same time delivering a sincere and genuine performance on the enduring anthem numbers 'Fanfare/Don't Dream It' and 'I'm Going Home'.
Since I was too young to really appreciate the social implications of this film and soundtrack, I'm left to speculate as to what it was actually like when it came out. I'm guessing songs about cross-dressing and alternative lifestyles weren't within the traditional scope of suburban America at the time. I imagine this soundtrack as being a rallying cry for those living underground or non-traditional lives. It championed and gave voice to so many who felt oppressed or ignored by society.
By today's standards, the music would be considered tame. Yet I suspect it still serves as inspiration for artists looking for an unorthodox perspective or who feel trapped and unable to express their true potential.
As a whole, I enjoy listening to this record. I like certain songs more than others, but even the ones I'm not particularly fond of I enjoy when I watch the film. It truly embodies the rebel rockers of the late 50's. It is a classic record. And easy to get into even if you haven't experienced the film. After all, it's just a jump to the left! My final words: UNORTHODOX CLASSIC.
THE ROCKY HORROR PICTURE SHOW - ORIGINAL SOUNDTRACK
01. Science Fiction/Double Feature
02. Dammit Janet
03. Over At The Frankenstein Place
04. The Time Warp
05. Sweet Transvestite
06. I Can Make You A Man
07. Hot Patootie - Bless My Soul
08. I Can Make You A Man: Resprise
09. Touch-A, Touch-A, Touch Me
10. Eddie
11. Rose Tint My World
a. Floor Show
b. Fanfare/Don't Dream It
c. Wild And Untamed Thing
12. I'm Going Home
13. Super Heroes
14. Science Fiction/Double Feature: Reprise
15. The Time Warp (Remix 1989 Extended Version)
16. The Time Warp (Music - 1 = Background Track + U Mix)
Back in the early 80's after Vince Clarke left Depeche Mode, he was contemplating his next move as a musician. Along with Eric Radcliffe, he came up with the idea for The Assembly. The band was going to record each song with a different vocalist. Sadly, the only officially released tracks from the project appear on this release. 'Never Never' features Feargal Sharkey on lead vocals. The single is fairly straight forward. It has the standard version of the song, standard version of the b-side and then two extended versions. Extended versions were extremely popular back then.
'Never Never' is a pleasing number. It's nothing remarkable considering Vince Clarke's body of work both to date and afterwards. And yet it possesses a tender fragility in the emotional vocal delivery by Sharkey. You can hear the resignation in his voice. A quiet defeat. It's very touching. The extended version contains additional music mostly at the beginning of the track. The introduction is quite long, yet serves to accent the message rather effectively.
'Stop/Start' is an instrumental piece. Clarke did a number of these pieces in those days. Each one of them could easily be pop songs if lyrics had been written and this one is no exception. It's got a wonderful beat and is enjoyable to listen to. The differences between the regular and extended versions are minimal, making both versions fairly similar.
Considering the enormous back catalog of Clarke compositions and his continued work in music, you have to admire these foundation tracks that even now sound lovely and inspiring. If you can locate this single, it's worth a listen. A very enjoyable piece of synthpop history! My final words: ENJOYABLE CLASSIC!
THE ASSEMBLY - NEVER NEVER
01. Never Never
02. Stop/Start
03. Never Never (Extended Version)
04. Stop/Start (Extended Version)
My first exposure to Marcella Detroit happened while living in Europe. Shakespear's Sister had a huge hit on the radio with 'Stay'. I was immediately taken with her voice. If you know me, you know I don't usually take interest in vocalists. I did really get caught up in that song. Enough to buy the album years later and when I discovered she was more than just a legitimate voice, but a songwriter and musician as well my interest grew. I bought 'Jewel' without hearing a single song from the disc.
My continued impression of the disc is favorable, though I do find it inconsistent. The cover tunes, although probably appropriate, are somewhat lackluster and really don't fit her. Marcella has a magnificent powerful voice. She's also got an off beat dark writing style. On this record she tries to blend that with Motown sounding R&B styles with varying degrees of success. In my opinion, she would have fared better focusing on developing her own original sound rather than integrating Motown. She covers Sly And The Family Stone's 'I Want To Take You Higher' using a bluesy 90's beat. However modern the music sounds, the vocals are mixed so far back in the track there's no power and the club layers only serve to slow the beat further. Ashford And Simpson's 'Ain't Nothing Like The Real Thing' is performed with Elton John. Once again, the vocals are mixed back on the track and the music is so subdued there's no intensity. I suspect both of these tracks were recorded in the same session.
The rest of the disc is broken up between some really interesting and different songs with those Detroit arranges with the Motown feel. 'I'm No Angel' and 'You Don't Tell Me Everything' are both songs with that straightforward Motown drumming. 'I'm No Angel' also incorporates Detroit's interesting lyrics and some great vocals.
The title track, 'Jewel' is an amazing number with tense vocals and an urgency you can almost cut with a knife. The vocal distortions create a feeling of confinement and apprehension. It's because of this mood, the song is effective. As she changes keys and maneuvers through the song, Detroit evokes a feeling of Old English chamber music. It's an odd but completely satisfying number. 'I Believe' sounds like something from "The Crying Game", but it's a very pretty if unremarkable number. 'Perfect World' has an interesting drum motif and though the lyrics are somewhat cliche, it's still an enjoyable tune. 'Art Of Melancholy' is a masterpiece. Truly something original and exciting. The vocal delivery is powerful! 'James Brown' is lackluster and would have served better sung by someone in a lower register. A song she should have donated to someone else. 'Detroit' is a brilliant tune. Not only is it awesome for her, it could easily have been a major staple for other artists. It's got an amazing drive. It's one of those tunes with lasting potential.
'Cool People' is probably my favorite track on the disc. Both this song and 'Prima Donna' are songs that fit neatly into the Marcella Detroit sound. 'Prima Donna' features some Beatles sounding background vocals. 'Out Of Mind' has the feel of a 1950's ballad. I could picture this song being played at a high school formal with couples waltzing sweetly across a gym floor. I really enjoy this song. The chorus is beyond sweet and sentimental.
So my overall opinion remains inconsistent, but amazingly brilliant at times. An amazing talent showcasing some of the things that should have made her one of the biggest names in the business. If you can find it, you should certainly try it. My final word: INCONSISTENT.
MARCELLA DETROIT - JEWEL
01. Jewel
02. I Believe
03. Perfect World
04. Art Of Melancholy
05. James Brown
06. Detroit
07. Ain't Nothing Like The Real Thing
08. I'm No Angel
09. I Want To Take You Higher
10. You Don't Tell Me Everything
11. Cool People
12. Out Of My Mind
13. Prima Donna
The one thing I've always loved about Marilyn Manson is what I call the great "galloping" drum beats they sometimes use. Adam and the Ants championed the loping drum sound back in the 80's and Marilyn picked up the banner for the 90's and 2000's. But that's not the only reason. I've also been drawn to the theatricality of this group. So much outrage over something so simple minded.
Marilyn Manson is one of those people who woke up one morning, looked out the window on his suburban neighborhood and said, "I'm gonna write and perform music based on everything a mother would hate." The band and songs were conceptually created to upset parents. In that sense alone, Marilyn Manson is a social experiment in modern parent/child relationships.
As a "Best Of" compilation, 'Lest We Forget...' fails to achieve a true "Best Of" title. I've always thought if you really wanted to create a "Best Of" record you'd let the hardcore fan base choose the tracklist. These are the people who would really have a say in what the best songs by the group actually are. In the grand tradition of record company formula releases, the "Best Of" is actually a single disc collection of released singles and oddities. But hardly represents the band's best work.
For the most part, I genuinely like the majority of the songs on this release. Marilyn Manson falls into a category of music I like to call "Go-Go Metal". Bands who use industrial beats and sounds, combined with new wave synthesizers, power chord guitar work and a theatrical approach to live performance. I've enjoyed bands in this genre for a long time. They have so many elements of entertainment I find exciting.
Considering I have all of Manson's albums, going through this disc song by song will be kinda pointless. Better by far to focus attention on the tracks that are safely assigned strictly to this release. The cover tunes are the most obvious. Depeche Mode's 'Personal Jesus' makes an appearance and the arrangement is fairly faithful to the original version. Of course the very subject matter and lyrics make it perfect for Manson's character to perform. In fact, after listening to his version, Martin Gore would have done better donating the tune to Manson first time around. It easily fits his image more than it ever fit theirs. And that's from a die-hard Mode fan.
Although Soft Cell's version is also a cover of the 1964 Gloria Jones classic 'Tainted Love', it's the first version of the song to gain any notoriety. Based on it's success, other bands have recorded the track or sampled Soft Cell's arrangement. From my understanding, Manson recorded this song for a movie soundtrack that used popular artists of the time covering 80s classics. Another track worth drawing some attention to is the cover of the Eurythmics classic 'Sweet Dreams (Are Made Of This)'. Although it appears on a regular album, it's interesting to see it among a compilation containing to many cover tunes.
I think I'd be interested in seeing Manson release an all cover tune record. He's done some brilliant covers. Like the cover of Danny Elfman's 'This Is Halloween' from Tim Burton's "The Nightmare Before Christmas" or David Bowie's 'Golden Years'. He's also performed live cover versions by other artists such as Madonna's 'Like A Virgin'. That would be an interesting CD.
My final word: TWO THUMBS UP. I quite like what's happening here. Great disc with some awesome tunes. Would be better if was titled 'Lest We Forget The Singles Of', but that's being nit picky (even if it is accurate).
MARILYN MANSON - LEST WE FORGET THE BEST OF
01. The Love Song
02. Personal Jesus
03. Mobscene
04. The Fight Song
05. Tainted Love
06. The Dope Show
07. This Is The New Shit
08. Disposable Teens
09. Sweet Dreams (Are Made Of This)
10. Lunchbox
11. Tourniquet
12. Rock Is Dead
13. Get Your Gunn
14. The Nobodies
15. Long Hard Road Out Of Hell
16. The Beautiful People
17. The Reflecting God
Clannad is an interesting band. Most Americans will recognize them as family members and former band of New Age celebrity, Enya. 'Banba' is an interesting album for a number of reasons. It shows more variety than some of their previous albums. You get some standard folk sounding material, a few adult contemporary numbers and some film scoring. It's a lovely blend and shows just how versatile Clannad can be.
My favorite songs are 'The Other Side', which has a catchy infectious hook that just doesn't quite, 'Banba Oir' a delicate yet peaceful song and 'I Will Find You'. 'I Will Find You' is similar in style to Clannad's arguably most famous track, 'Theme From Harry's Game'. It contains all of the depth and sincerity of the film and expresses itself in an intensity one can literally feel. There's great power there.
The other songs are all strong material. Certain ones are pleasing, others not so much, but one can't deny the talent here. The band is in perfect form and the vocals are flawlessly delivered for a perfect disc.
My personal tastes aside, I think this is easily one of Clannad's most accessible albums and one of the most popular with fans. You can't go wrong giving this disc a chance. My final word: HAUNTING.
CLANNAD - BANBA
01. Na Laethe Bhi
02. Banba Oir
03. There For You
04. Mystery Game
05. Struggle
06. I Will Find You (Theme From 'The Last Of The Mohicans')
07. Soul Searcher
08. Caide Sin Do'n Te Sin
09. The Other Side
10. Sunset Dreams
11. A Gentle Place
