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Well, it seems to be official... HITnRUN will be a series of releases and for what it's worth... I'm excited for it. Comprised of mostly one-off internet tracks, "HITnRUN" Phase Two" is an almost polar opposite of "HITnRUN Phase One". In the first phase, we saw Prince working in a musical genre he's not entirely comfortable with... Electronic pop. With Joshua Welton at the helm producing, the material was radically different for most Prince fans. You could hear current music production trends all throughout and it felt like they were trying to be part of the current pop market. Create a product more appetizing to a younger generation. I think the effect it had was something of a backlash.
Most die-hard Prince fans didn't like it. In fact, I think I've read more negative comments about this record online than any of his previously. On the other hand, those of us who enjoy innovation and experimentation were pleased to see him branch out and try something new. Let's face it, with a musician of Prince's caliber, there's not a lot of ground he hasn't covered. Hearing him commit to a sound like this was interesting and exciting.
"HITnRUN Phase Two"... Well, that's a different story altogether. At this point in his career, Prince is the undisputed king of funk. Even funk pioneers like George Clinton stand in his shadow. With the passing of James Brown, the godfather of soul, Prince takes his place at the head of the pack when it comes to Funk/Soul/R&B... He's so good at what he does, funky ditties roll off the cuff. He can record a track in a single day funkier than almost anything any current artist could produce with years of effort. It's just that easy for him.
In light of this, releasing an entire album of groovy tunes seems almost effortless. It's almost a love/hate relationship. Fans want to hear the masterful Prince doing what he does best, but then go on to judge him for being stuck in a rut and lacking innovation. In so many ways, "HITnRUN Phase Two" fits this description. It gives the fans the funky jams they were looking for on "HITnRUN Phase One", but doesn't branch out into unknown terrain.
Personally, I love both records. And I could't be happier with the direction I feel this project is going.
I've had a digital copy of this album for quite awhile now. I only just received my physical CD. Considering how long this music has been playing on my iPhone, I think it's appropriate to discuss my opinions. So here goes...
Right off the bat, the album starts with a track previously released online. 'Baltimore' is a song Prince released in response to the Freddie Gray incident. Gray was a young man in Baltimore who was arrested for possession of an illegal weapon. He died while in police custody and fueled the current crisis in the US about police brutality and prejudice. There's a lot of hostility and anger brewing among Americans who view events like his death as a great social injustice that needs to be addressed. Obviously, this young man's death struck Prince deeply and he expressed his opinion through song. You would expect a protest song. A call to arms. Something radical and angry. Instead, you get a mid-tempo groove with a simple melody calling for peace and understanding. He's hurt by the injustice... He wants change... But he wants a peaceful change. One motivated and fueled by love rather than anger or hatred. No doubt many will view this song as weak or ineffective. For someone like me, it mirrors my own point of view and I'm glad he chooses this path. The older I get, the more I realize LOVE really is only solution. The only answer. Oh, and I love the song.
'Rocknroll Loveaffair' is next and this song is similar to many previous Prince grooves fueled by a rhythmic guitar line. It bursts forth in a blaze of horns and settles into a solid beat. This track reminds me of 'When You Were Mine' and 'Little Red Corvette'. It's all about a romance and tells a story almost like a fairy tale. It's another strong track and also one that saw an earlier release as a one-off internet cut. Still, it's a good one! '2 Y. 2 D.' is number three and is the first on the record that didn't have a previous release. However, it did make appearances during live sets for a couple of years prior to this disc. Still, you wouldn't know that unless you were A) at the show and heard it there or B) you had a bootleg of a show and heard it there. It features a fuller band sound with the NPG Horns in full effect. This one is a tight example of how Prince has assumed the place of James Brown. Those soul horn blasts are the kind of punctuation only Brown was capable of using effectively. And P just swaggers through the track with all the confidence of an heir apparent. I think this is a phenomenal number, but it's not my favorite on the record. If I had to choose the order of my favorite songs to my least favorite, this one would be on the least favorite end of the list.
'Look At Me, Look At U' starts off with a delicate flute line. When the full band blends in, the song settles into a semi-slow tempo and kinda floats along at this pace. It's a lovely number. I think it gets washed away by the previous number. If you listen to it by itself and not in the order of the record, it's more enjoyable. The smooth jazz feel is mellow and sheer ecstasy from start to finish. It's another new track and as far as I know, it wasn't played live prior to this release. It's followed by a more aggressive and rockin' track called 'Stare'. Sometimes, I dislike songs like this one just because I find the subject matter tedious, but on this one, the beat is infectious and Prince doesn't preen or come across as pretentious. He creates another strong groove and settles in to paint across the current making all kinds of musical pictures for the listener to admire. A strong track. 'Stare' did have an internet release prior to showing up on this album. It was part of the additional music you could hear if you bought phase one from Tidal music subscription service. However, you only got snippets. Three in all I think. This is where you hear the song in its entirety.
"HITnRUN Phase One" included an updated version of a popular and well circulated Prince outtake. "HITnRUN Phase Two" does as well. Track number six is 'Xtraloveable'. This track was previously released as an internet only cut. However, its been around since 1982 or 1983. The original version is radically different than the version appearing here. It's hard to say which is better. Initially, I thought I'd lean toward the original because I've always associated it with that era and sound. Yet, the more I listen to the updated released track, the more I prefer it. This is a strong funk workout and it lives up to its reputation.
'Groovy Potential' is next and like most of the album, this was previously available online as a single track. In fact, I remember buying this one among others from the 3rdeyegirl website. This tune starts off so laid back and unassuming... You just glide along with it and sink into the rhythm. The beat jumps at the chorus but quickly settles back down. Just when you think this will be a languid bit of groovy funk, the song builds and erupts. This tune is absolutely amazing! It swells and ebbs like it has a life of its own. Simply put, this is my favorite track on the album. It's pure heaven!!! There's not enough I can say about it. You have to experience it for yourself.
'When She Comes' is a bluesy new number. These sort of blues cuts have appeared on recent Prince albums with alarming frequency. It's OK, but I'm not a huge fan of this kind of blues and I often find these tracks hard to listen to. I'm not a huge fan of the subject matter either. Suffice it to say, my favorite number on the album is followed by my least favorite. 'Screwdriver' is a rock track in a similar vein to 'Peach' and 'Guitar'. These guitar driven rock out's are another specialty of Prince's and I think it's actually a 3rdeyegirl cut. It's another previously released internet single. I won't get too deep into it. The play on words is obvious and even though I like the song, I'm not in love with it. 'Black Muse' is another new tune and it incorporates a strong early Minneapolis Sound vibe. This is another funk workout Prince can generate almost at whim. It's a song that would be easy to dismiss, but if you don't and give it a chance, it's actually quite amazing!
'Revelation' starts off sounding like another blues ballad, but then it evolves into a jazzy heartbeat that settles over you like a warm blanket on a cold night. P has a way with ballads and this song demonstrates why his slow music can be so powerful. It's lovely. It's also a new song. The final track on the album is also new to release, but it was played live with the full NPG line-up quite a few times in the two or three years building up to this release. 'Big City' is a retro-sounding funk number including horns, back-up vocalists and just about everything but the kitchen sink thrown in for good measure. But guess what??? It's brilliant and another incredible track!
This is a solid, strong record for Prince! It has some of the best material he's done on it and I'm excited about it and subsequent phases. I can't wait to see what he'll do next. I'm also happy to have so many of these tracks included in an album and on a physical CD format I can take with me wherever I go.
There's not much more I can say other than I love virtually everything about this project. I love the artwork, I love the overall musical themes he's choosing and the diversity of the material he's releasing. Probably my biggest complaint was the CD release. It wasn't widely publicized and actually hard to find online. The first place I looked was sold out already. People who did find it were buying up copies and selling them on eBay for double even triple the cost. I hate that kind of thing. Otherwise, this is the perfect release. My final words: 2ND IN A SERIES I'M LOOKING FORWARD TO WITH MORE AND MORE EXCITEMENT. A BRILLIANT RECORD!
PRINCE - HITNRUN PHASE TWO
01. Baltimore
02. Rocknroll Loveaffair
03. 2 Y. 2 D.
04. Look At Me, Look At U
05. Stare
06. Xtraloveable
07. Groovy Potential
08. When She Comes
09. Screwdriver
10. Black Muse
11. Revelation
12. Big City
In 1988, A-Ha were already on their way to being a one hit 80's wonder and yet somehow, the band survived and continued to progress through the 90's and beyond. Although they never seemed to capture the media attention and chart success of their first album, subsequent releases were just as good if not better.
"Stay On These Roads" could be considered a large stumbling block in the path of this amazing group. It sorta flopped in the US but fared better internationally. Part of the momentum for the album was the inclusion of the theme song from the James Bond film, 'The Living Daylights.
For me, this is an album that's remained consistent over the years. The songs I love I continue to love and the rest of it hasn't grown on me at all.
Right off the bat you get the title track, 'Stay On These Roads' which is a lovely tune. The music is dramatic and sweeping. It seems to soar and Morten Harket's vocals are absolutely divine. Once again, he sings in his lilting falsetto and reaches something spiritual. As mysterious and dynamic as the first track is, the 2nd one, 'The Blood That Moves The Body' delivers the first real powerhouse number. The song has a tremendous build and an incredible vocal arrangement. There's a brilliant tempo on this number and it holds up quite effectively. The third track represents the final piece of this album's power trilogy. 'Touchy!' is the pop masterpiece of the trio and gets you moving and tapping your feet along with the beat. It sounds like something Alphaville would've recorded, but it's still great here. It's got a beat unlike anything else on the record and it's a high point!
From here on out, the album seems to wander less effectively into some strange areas. 'This Alone Is Love' is a pretty tune, but it doesn't grip you as tightly as the previous tracks. It's followed by 'Hurry Home' which is a more effective and enjoyable tune. Next up is 'The Living Daylights' which in and of itself is a force to be reckoned with. As the theme song to a James Bond film, this will be a tune fans of the Bond franchise will identify with more solidly than with the rest of the album. I'm not impressed with it at all. That's kinda the risk you take with a Bond theme song.
'There's Never A Forever Thing' is a minimalist ballad that although Harket's vocals are genuinely pleasing, there's not much to the song. 'Out Of Blue Comes Green' is the next number and I like this song quite a bit although I have to say, it's still not nearly as good as the earlier cuts. Still, it has a gentle breakdown about halfway through that's nice to listen to. The guitar playing is a bit generic, but there's a sweetness to the lyrics and the music that's worth mentioning.
The final two tracks are 'You Are The One' which sounds strangely like something trying to be an early 80's pop hit and 'You'll End Up Crying' which is an almost acoustic orchestral piece. On 'You Are The One', the drum sounds remind me strongly of Roxette and the tempo is so face paced you get swept away and lost in the key changes. 'You'll End Up Crying' is absolutely brilliant and I wish it was up near the front along with the material I feel is stronger and more ambitious.
You hear a huge difference on this album from their previous records. A-Ha is a band who progress with each album. They started off a synth pop outfit and morphed into something more adult contemporary and thoughtful. It's interesting to track this band over the years because their musicianship improves with each record and their writing develops as well.
I find them extremely compelling and even though I'm half and half on this record, I still think it's a phenomenal album and I love the tracks on it I love.
My final words: AN EXCEPTIONAL ALBUM FROM A SMART, DEVELOPING BAND! STILL MORE AHEAD OF THEM FORTUNATELY FOR US.
A-HA - STAY ON THESE ROADS
01. Stay On These Roads
02. The Blood That Moves The Body
03. Touchy!
04. This Alone Is Love
05. Hurry Home
06. The Living Daylights
07. There's Never A Forever Thing
08. Out Of Blue Comes Green
09. You Are The One
10. You'll End Up Crying
Do you know who Candy Dulfer is? If you don't, you should. Her biggest claim to fame is probably her association with Prince as a sometimes band member and touring sax player. She appears in his video for 'Partyman' and also tours with him on occasion. She's one of those smooth jazz R&B sax players. The music is mostly mellow and the beats are always groovy.
This is an interesting compilation for a number of reasons... First and foremost, pretty much everything appears on other releases. You're not getting anything new here. Some artists, when they create a greatest hits or a best of compilation will include new tracks to help boost the sales of the already available material being repackaged. Dulfer includes a remix of 'For The Love Of You' at the end as a bonus track and songs from the "Big Girl" CD which wasn't released officially in the US. However, it's still highly accessible and easy to get. So... Not much there as far as making something exclusive.
Because I have all of this music on other discs and will review those over time, I don't think I'm going to get to heavy into this compilation other than to say it's a strong album. It features stand out tracks by her and there's not a single tune that isn't enjoyable on the disc. There are a couple of songs missing I'd like to see here, but that's almost beside the point. It's still a lovely record and it documents the talents of this Dutch jazz musician in a great way! She's really showcased here.
If you enjoy mellow groovy jazz in the style of George Benson, you'll probably find yourself right at home with this record. There's all of the credibility you'd expect to find from a legitimate jazz musician and the pop sensibility you'd get from an R&B contemporary.
If you're at all interested in Candy Dulfer and you're looking for a place to start, this is it. You'll get an idea what her sound and style is like before moving on to the complication of an entire record.
I think the biggest compliment I can pay this record is one I've already said... There's not a bad track in the bunch and that's an awesome accomplishment when it comes to a Best Of disc. My final words: A GREAT PIECE TO START DISCOVERING JUST HOW SWEET THE MUSIC OF CANDY CAN BE!
CANDY DULFER - THE BEST OF CANDY DULFER
01. For The Love Of You
02. ILU
03. Lily Was Here
04. Pick Up The Pieces
05. 2 Miles
06. Smooth
07. Mister Marvin
08. So What
09. Jamming
10. Bird
11. For The Love Of You (Candy's On And On Mix)
What do I know about Lois Lane? Virtually nothing. So why do I own this disc? Well, that's more predictable. I do know that Lois Lane is a Dutch group and I know when they released their album "Precious" in the US they changed the name of the band to Lois L. because of copyright infringement. Other than that, I don't know much about them before "Precious" or after.
For some reason, Prince connected with this group and worked with them on their album. He contributed two songs; (one of which is a cover of a song he released himself), and produced a number of tracks they'd written. He even played on some of them.
Initially, I had little desire to buy this record when I heard it in the record store. You could listen to CDs before you buy them over in Europe, but I needed this one track because you can't find it anywhere else. So I picked up the single. I later ran across the US version of the album in a used record store for a super low price and decided to invest in the additional material, but this was all I wanted and planned on wanting way back in the early 90's.
This is a 3 track single. The first track is 'Qualified' and it's the one Prince composition I needed for my collection. It's a bouncy number with horn blats for emphasis. Even by Prince standards it's normal fair. I still like it and I believe it's better than most of the music on the album and on this single.
The other two tracks are 'Need A Little Space' and 'So Long'; neither of which are chart topping blockbuster hits. Still, they're not bad either. I hear many qualities I like in this music and although it doesn't reach out and grab me, it's not generic filler material. There's a lot happening in this group's sound for such a straightforward pop outfit. Maybe they need to pair it down a bit and concentrate on developing one clear voice or vision. My final words: NICE SINGLE FOR THE COMPLETE-IST IN YOU, BUT OTHERWISE UTTERLY SKIP-ABLE.
LOIS LANE - QUALIFIED
01. Qualified
02. Need A Little Space
03. So Long
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
