R.E.M.—-Part Lies Part Heart Part Truth Part Garbage 1982-2011 [Pt. 2]

Part Lies, Part Heart, Part Truth, Part Garbage: 1982-2011 [Explicit]

The Analysis—-

Disc Two:

Everybody Hurts—-Continuing with a track that again brought worldwide attention to the band, Stipe sounds literally crushed in his vocal delivery. The heaviness of the song lyrics are matched perfectly with the understated style of guitar and gentle drums. A true favorite track of mine.

Man On The Moon—-Fun and a bit lighter than the previous track, I have always loved this song. he duel vocals are remarkable….raising Mills and his talents to a whole new level. This is brilliant….addictive and remarkably fresh for the time we are in now. I love this song.

Nightswimming—-Such an odd and rather ominous intro, Stipe enters with his melody heavy vocal that gives the song it’s very structure. This is a remarkable track…beautifully stark and full of an indescribable intensity and beauty. A true standout.

What’s The Frequency, Kenneth—-Such a joyous and noisy track. I remember falling in love with this the first time I heard it. The electricity from the instruments are just phenomenal. The driving guitar line is incredible….the tone of the song urgent and intense…..just fantastic.

 

New Test Leper—-Sedate and delivered with a beautiful understated acoustic guitar, Stipe sounds almost defeated and broken in his vocal delivery. This is a strong track…..truly accessible but very Indie at the same time.

Electrolite—-Really almost an extension of the previous track, this carries the same feeling over. The lyrics are intense…the music understated and the vocal delivery almost heavy with a certain sadness. he understated elements of the song make it even more powerful for me.

At My Most Beautiful—-Piano heavy and still understated in the instrumentation, this has an almost ghostly feel to it. The simple strains are powerful….the vocal pushed to the back of the mix making you feel a sadness and heavy emotional feel. This is dark but beautiful.

The Great Beyond—-I don’t really feel a familiarity with this track….it seems naked and uninspired to me….I’m left with an empty feeling from the starkness of the song. Not a throw a way……but not a favorite either.

Imitation Of Life—-Returning to a more familiar and accessible sound, this sounds like an invigorated band that decided to return to the sound the fans fell in love with. This is much more pleasant…sounds inspired and had an addictive chorus that is just brilliant.

Bad Day—-Electric and almost with a funk line in the underbelly, this sounds like a throwback to It’s The End Of The World….delivered in the same urgent feel and jerky jaunty guitar. Stipe sounds a bit hollow…like the freshness of the band really had left him.

Leaving New York—-Again sedate and delivered with an odd style vocal that really never resonated with me….like Stipe thinks he is in a stage play or something. This is not on my list of favorite tracks by any means. Only the chorus saves the song for me…..

Living Well Is The Best Revenge—-The electricity and urgency side of the band returns in a fiery display of guitars and drums. Stipe sound possessed as he delivers his lines fast as lightening and with a renewed purpose. This is a fantastic, noisy track.

Supernatural Superserious—-Perhaps one of the last truly meaningful and powerful tracks from the band before the demise, the electricity of the band is in full force. Mills returns on the backing vocals and fills out the song remarkably well. This is a huge track for me….I love Mills voice and the melodic quality of Stipe’s singing.

Uberlin—-With a nice throwback sound to the mid 90’s, this track sounds much better to me now listening back on it. The understated instrumentation seems to wrap itself around the emotional feel of the lyrics. Really a beautifully constructed song.

Oh My Heart—-This for me…..is just a mess. The attempt to deliver a Spanish style feel to the guitar falls flat. Stipe sounds like he is singing in another room. Even the addition of Mills can’t even come close to saving this song.

Alligator_Aviator_Autopilot_Antimatter—-A nice vigorous feel to the electric side of the band, the music has an urgency that is nice…but there is so much happening here that it all comes about as a musical mess full of chaos and incongruity. I really don’t like this. Even Kate could not save this.

A Month Of Saturdays—-Empty and uninspired. Naked and without form……a band that has lost direction…..Stipe sounds bored and tired.

We All Go Back To Where We Belong—-The swan song is a pretty but uninspired track that leaves me sad to see them go…but happy to know that they knew when the inspiration was gone. This is pretty…..but really does not resonate with me.

**** out of 5

 

 

 

 

R.E.M / Part Lies Part Heart Part Truth Part Garbage 1982-2011

Part Lies, Part Heart, Part Truth, Part Garbage: 1982-2011 [Explicit]

R.E.M. was an American rock band from Athens, Georgia, that was formed in 1980 by drummer Bill Berry, guitarist Peter Buck, bassist/backing vocalist Mike Mills, and lead vocalist Michael Stipe. One of the first alternative rock bands, R.E.M. was noted for Buck’s ringing, arpeggiated guitar style, Stipe’s particular vocal quality and obscure lyrics, and Mills’ melodic basslines and backing vocals. R.E.M. released its first single—”Radio Free Europe“—in 1981 on the independent record label Hib-Tone. The single was followed by the Chronic Town EP in 1982, the band’s first release on I.R.S. Records. In 1983, the group released its critically acclaimed debut album, Murmur, and built its reputation over the next few years through subsequent releases, constant touring, and the support of college radio. Following years of underground success, R.E.M. achieved a mainstream hit in 1987 with the single “The One I Love“. The group signed to Warner Bros. Records in 1988, and began to espouse political and environmental concerns while playing large arenas worldwide.

By the early 1990s, when alternative rock began to experience broad mainstream success, R.E.M. was viewed by subsequent acts such as Nirvana and Pavement as a pioneer of the genre. The band then released its two most commercially successful albums, Out of Time (1991) and Automatic for the People (1992), which veered from the band’s established sound and catapulted it to international fame. R.E.M.’s 1994 release, Monster, was a return to a more rock-oriented sound, but still continued its run of success. The band began its first tour in six years to support the album; the tour was marred by medical emergencies suffered by three of the band members.

In 1996, R.E.M. re-signed with Warner Bros. for a reported US$80 million, at the time the most expensive recording contract in history. Its 1996 release, New Adventures in Hi-Fi, though critically acclaimed, fared worse commercially than its predecessors. The following year, Bill Berry left the band, while Stipe, Buck, and Mills continued the group as a trio. Through some changes in musical style, the band continued its career into the next decade with mixed critical and commercial success, despite having sold more than 85 million records worldwide and becoming one of the world’s best-selling music artists of all time. In 2007, the band was inducted into the Rock and Roll Hall of Fame, in their first year of eligibility. R.E.M. disbanded amicably in September 2011, announcing the split on its website.

Part Lies, Part Heart, Part Truth, Part Garbage 1982–2011 is a 2011 greatest hits album from alternative rock band R.E.M. Intended as a coda on their career, this is the first compilation album that features their early work on independent record label I.R.S. Records in addition to their 10 studio releases through Warner Bros. Records. The double-disc retrospective was released through Warner Bros. on November 11, 2011, and was compiled by the band members. The existence of the compilation was revealed simultaneously with the group’s announcement that they were disbanding on September 21, 2011.

The Analysis—-

Disc One:

Gardening At Night—-Beginning with the trademark style of guitar twang the band was know for in the early days,  the vocal from Stipe enters displaying his unintelligible vocal style that always lest everyone guessing as to the true lyrics and meanings of the songs back in the burgeoning days of the band. The jaunty feel of the song is addictive and instantly recognizable….still filling me with a joy and reminder of the beginning of what we all called Alternative.

Radio Free Europe—-Perhaps recognized as the first proper release from the band, this was a landmark recording for me. I instantly fell in love with the band and the mystery that surrounded the meaning of the songs. The energy of these early recordings still manage to bring a smile to my face…instantly making me appreciate the genius of the band and at the same time mourn the passing of true legends. This is addictive…accessible and damn pleasant to listen to…..when Mills joins in on the chorus….the song is unstoppable.

 

Talk About The Passion—-Beginning with the unmistakable guitar sound that the band always managed to deliver, Stipe enters with a melancholy vocal that always seems to wrap itself around my very soul. here were times in my youth when I was sure the man was constructing these emotional masterpieces designed for my dark and needy moods. a true wonderful memory of youth, sadness, struggle and an underlying joy.

Sitting Still—-A song I was not really familiar with my title alone, it is one of those songs that when you hear the beginning chords you say….ah yes…that one. Again, there are times when Mills enters on the vocal and rounds out the sound of the song. I love the urgency, the pleading feel of the vocal and the remarkable jangly feel of the music.

So. Central Rain—-Tracks like this….from perhaps my favorite R.E.M. release, remind me of a care-free, employment free, alcohol filled summer of complete abandon and a deepening dive into everything Alternative and out of the mainstream. Stipe still delivered lyrics that were open to interpretation and implication and just left enough of the dial to appeal to the youth of the day. Fantastic.

[Don’t Go Back ToRockville—-full of Country inspired guitar strumming, the song opens up further upon the chorus  and becomes a frenzied romp that is even pertinent these days. I love the lazy drawl that Stipe manages to deliver throughout the entire song. There is a deep underlying tone to the song that is magical….and then Mills starts to sing with Michael on the chorus and the song becomes a masterpiece.

Driver 8—-Driving and seemingly filled with a bass driven aggression, Stipe again delivers a slurred type of vocal that seems to dissolve during what could be the most important lyric. Mills takes a bigger part on the vocal on this track and really serves as foreshadowing of how important his vocal would become later in the band. This is a driving, bass filled angst ridden journey that I still love.

Life And How To Live It—-This is a nice example of the slow but steady evolution of the sound of the band. Although much of the lyrical content is still a mystery. the sharpness and ability of the band seems to improve with every song on this compilation. These were the finest days of a classic and brilliant band.

Begin The Begin—-This release started for me a progression that the band continued until it’s demise. The music was brighter and filled with messages for the listener to grab a hold of. The lyrics were clearer and the music was filled with an aggressive delivery that seemed to help the message be conveyed to the listener. This was a brilliant track.

Fall On Me—-With an almost Alt-Country intro, the band introduces a addictive mellow sound that propels your mind to struggle with the lyrics, draw your own conclusions and fall in love with the blended vocals from Stipe and Mills. A truly shining moment from the kinds of Alternative.

Finest Worksong—-I love the propulsive feel of the guitar on this song. The riff sounds like it is always progressing but manages to stay in one place. Again we get remarkable blended vocals and a huge masculine bass line that still sounds incredible now. I really consider this one of my favorite tracks from the band.

 

It’s The End Of The World As We Know It—-Jaunty and fun right from the onset, the song travels at an amazing pace. The lyrics come at you so fast and furious….it is hard to keep track of all he doom that is being delivered. Another track that still stands the test of time remarkably well.

The One I Love—-One of the songs responsible for propelling this beloved Indie band to world wide success, The band stayed true to their sound and message…I guess the time was just right for the band to burst from the underground, so to speak. Laid back and gentle until the heavier chorus guitar line, Stipe sounds remarkably fresh and driven…sincere and positive in delivering his message.

Stand—-For me this has always been a track that has a slight silly side to it. The lyrics and clear and simple…the guitar is basic and understated. The chorus is addictive and will live in your brain for a long time. Addictive and fun.

Pop Song 89—-Another track that for me at least, has a slight Alt-Country feel to the under belly of the melody line. The crisp clarity of the vocals are a big change from the early days. The message is quasi-political and the melody line damn pleasant.

Get Up—-Aggressive with sharp burst of guitars and great drumming, the mixed vocal brings an automatic smile to my face. Sometimes I prefer the Mills vocal over Stipe. This is a fine progression in sound and direction.

Orange Crush—-Another landmark release for me, this was a nice throwback in sound to the earlier days of the band…the duel vocals…the jangly guitar and the vocal urgency. This was also a period when I think Mills started adding vocals even more to the band’s songs…giving the sound a pleasant fuller sound. Remarkable still today.

Losing My Religion—-Another track that really pushed the band and sales into the upper reaches of the universe. The track is pleasant enough but at this pint suffers from overplay. I don’t have complaints about the song, I’m just tired of it.

Country Feedback—-Bringing the Country leanings of the band into the front of the sound, I love the talk delivery of the vocal…..it tends to give the song a haunting feel that still manages to give me goosebumps. This is wonderful to hear again.

Shiny Happy People—-The joining of vocals from Stipe and Kate Pierson was pure genius. The blend is perfect and created a magical musical moment in history. The jangly feel of the music is true to the sound of the band….but the elements of Stipe, Mills and Pierson makes this a masterpiece.

The Sidewinder Sleeps Tonight—-Never a true favorite of mine, I still love the basic elements of the song. The sound is true to form,,,Stipe sings with an urgency that is nice to hear….The range of vocal styles are great…the chorus falls flat for me though

*****

 

 

 

 

Black Sabbath / The Dio Years

The Dio Years [W/Bonus Track]

Black Sabbath: The Dio Years is a 2007 compilation CD of material from recordings made during vocalist Ronnie James Dio‘s tenure in the band. The CD contains full album length, remastered tracks culled from all three studio albums: Heaven and Hell (1980), Mob Rules (1981), Dehumanizer (1992), and the live album Live Evil (1982). It also contains three new recorded songs: “The Devil Cried“, “Shadow of the Wind”, and “Ear in the Wall”.

The Analysis—-

Neon Knights—-You notice, with many of the Dio compositions with the band, that the trademark heavy sludge of Ozzy era Sabbath is missing. This sound is clearer and crisper…and delivered with a much faster pace. Ronnie sounds remarkable…that trademark vocal and lyrical imagery reminding me how much I miss the man. This is a fantastic track…the ebbs and flows are remarkable…still allowing for the Iommi bass line but making it more accessible.

Lady Evil—-A great drum intro to the song ushers in a nice throwback sound to 80’s Heavy Metal. Ronnie delivers lyrics that were to become trademark to his career….mystical and magical. The band lends a hand on the chorus…filling out the track. The musical clarity is fantastic…I can almost see Ronnie on the stage with his wide arm gesturing that he was known for.

Heaven And Hell—-With a bit of return to the classic Sabbath sound, this has a remarkable melody line that will stick in your head. The intro leads to the clear and crisp vocal from Dio….painting a picture that flows right through your headphones. There are magnificent power chords on this track that are all in the right place….they magically fall away to allow for the vocal…and the chorus is huge. I love this version of Black Sabbath. The track gives way to an all out jam session that speeds everything up to a frantic pace…..but Ronnie never falters. Extraordinary.

Die Young—-Seeming to offer up a bit more band technology with the intro to this track, the music swirls and swirls to reach the apex of the beginning. The guitars and drums enter and the track is off to a nice faster pace and energy. The imagery that Dio paints with his lyrics are unlike any songwriter at that time. The energy of the song is incredible…as are the ebbs and flows of the music. Dio almost whispers the intro to the chorus….giving everything a mystic feel….and then we return to magical Metal.

Lonely Is The Word—-Beginning with a huge blast of guitars, the slow sludge of early Sabbath compositions are missing…even though you feel Iommi through the entire track. This has never been a favorite track of mine, but it stands on its own if for nothing but the soaring vocal from Dio.

The Mob Rules—-Again with the crisp guitar sound beginning the song…and then the growl from hell as Dio kicks off the track. The song is really fast…with a damn catchy melodic line flowing through the entire thing. Tony has a very prominent and loud bass line that plays through the whole track…but never drowns out the crisp modern guitars. This is just fantastic….

Turn Up The Night—-Returning to a deeper bass heavy melody line, the chug chug of the Iommi sound is nice to hear. Dio sounds so good on this track…you notice you can catch every single word that he utters which is remarkable for Heavy Metal. There is a literal wall of sound playing through this track…but every section shines and no one suffers.

Voodoo—-Again, the power chords are strong when the song begins but fall away to allow for the train like bass to drive the song. This has never been a favorite track of mine…and even here on this collection it sounds a bit dated and stuck in time. Thank God for the remarkable vocal….keeps me coming back.

Falling Off The Edge Of The World—-With an odd really tender beginning, Dio begins his vocal in an almost tender manner. The swirling string lines are accompanied by a strong drum intro but the track is very slow to really start. I really didn’t expect to hear that familiar Sabbath sludge to come out of the slight beauty….but the murky darkness is there…then the crisp guitars enter and send to track off to a fast pace as you feel everything brighten up. There are many moods and shifts on this track…the one wonderful constant is Ronnie’s voice.

After All [The Dead]—-Beginning the trio of my favorite tracks from Dio era Sabbath, this track really hearkens back to the early days of the band with the deep, slow and methodical sludge that the band was known for. Dio enters with a vocal that I can really hear Osbourne singing to be honest. The track is huge…with constant down shifts on the bass that remains a constant despite it. It is the simple part of the song when Dio utters…’After All’ that makes the track for me. This is a masterpiece.

TV Crimes—-Back to a full and dramatic rhythm section with the steam engine bass playing leading the track. The vocal is fantastic…Dio is so clear and concise and sounds so big for such a little guy.  The energy of this track is contagious as hell….giving you the urge to just sit and jam the fuck out. This is one of the bands best concoctions in my opinion. It has the best of everything that made this band a monster.

I—-Hands down, my favorite Dio-era Sabbath track. I love the vocal inflections…I can see Ronnie on the stage with his remarkable gesturing…and his ability to take over a stage with his presence. The remarkable bass line that begins the song…is classic Sabbath…while Dio rises above it with his voice. The guitars enter and the song becomes so large. This is fantastic….I could listen to this song over and over and over again. Everything about it is classic!

Children Of The Sea [Live]—-A classic and oft played version of this track, this could have well been a classic Dio track….indeed he played it many times live when he was on is own. This is trademark Dio fodder….the remarkable thing is the power of the voice…even in a live setting…rising well above the instruments and filling the audience with the grandiose track. The melody line is fantastic…and transcends so well live…..just incredible.

The Devil Cried—-Recorded during the re-vamped Dio era Heaven And Hell and towards the end of the legends life, this is still magnificent.Its hard to believe when you listen to the track that 1] Dio was ill and 2] that the band ever took a break from recording. The sound is much fuller….but ebbs to allow for the mystical and magical vocal to enter. Dio just sounds magnificent….crisp and clear…even though you recognize some double tracks going on. But the track as a whole from Musicality to song content…..is a true winner.

Shadow Of The Wind—-Deeper in sound and energy, Iommi has a bass style that is so huge…the sound literally shakes my headphones. The sludge and slow stepping pace of the music hearkens back to classic Sabbath sound…..but Dio makes his mark none the less….double tracked vocals are a surprise…and the lack of energy is a bit apparent….but a great track none the less.

Ear In The Wall—-Faster and full of undeniable energy, this starts quick right out of the gate. The drums are huge…and the bass chug chug chug is incredible. Dio sounds a bit less than inspired…but he delivers regardless…..again we have double tracked vocals…which on 13 was a new thing…but leans towards Ronnie’s declining health. This is really nice….but not a favorite of mine.

****1/2 out of 5

 

 

 

The Human League / Anthology-A Very British Synthesizer Group [Deluxe]

Anthology - A Very British Synthesizer Group (Deluxe)

The Human League are an English electronic new wave band formed in Sheffield in 1977. After signing to Virgin Records in 1979, the band released two albums and a string of singles before attaining widespread commercial success with their third album Dare in 1981. The album contained four hit singles, including “Love Action“, “Open Your Heart“, and the UK/US number one hit “Don’t You Want Me“. The band received the Brit Award for Best British Breakthrough Act in 1982. Further hits followed throughout the 1980s and into the 1990s, including “Being Boiled“, “Mirror Man“, “Fascination“, “The Lebanon“, “Human” (a US No. 1) and “Tell Me When“.

The band began as an avant-garde all-male synthesizer-based group. The only constant band member since 1977 has been vocalist and songwriter Philip Oakey. Keyboard players Martyn Ware and Ian Craig Marsh both left the band in 1980 to form Heaven 17. Under Oakey’s leadership, the Human League then evolved into a commercially successful synthpopband with a new line-up including female vocalists Joanne Catherall and Susan Ann Sulley. Since the mid-1990s, the band has essentially been a trio of Oakey, Catherall and Sulley with various sidemen.

Since 1978, the Human League have released nine studio albums, four EPs, 30 singles and several compilation albums. They have had five albums and eight singles in the UK Top 10 and have sold more than 20 million records.

The Analysis—-

Disc One—-

Being Boiled [Fast Version]—-Now…..I will be the first to tell you that I have been a fan of this band for a very, very long time…..but in the same sentence I will tell you that I never paid much attention to the very early works of the band. I thought most of it was rudimentary and frankly unappealing. The best thing Phil ever did was to include the girls in the band and round out the sound of his deep baritone voice. Of course, this track is essential in the history of the band. If this is indeed the fast version, God help us…it is slow, plodding and dark. But the remarkable synth sounds made from such early equipment still remains. The writing was on the wall…this is not the best…but it still plays rather well.

The Dignity Of Labour Pt. 3—-This track has some shinier and brighter synth lines in it…and the pace is a bit more acceptable to me. The missing link is the shine that later material had to it. This is full of space sounds and a dense landscape that is had to grab hold of…..when the piano synth enters, the song becomes brighter…but the dredge is hard to escape from.

Empire Human State—-A nice rhythmic synth line propels this track along at a dance floor pace. The vocal is lone and distant to me….I think the best thing the band ever did was add the girls. The lyrics are shit,,,just pure nonsense and lackluster. I really don’t like this very much…this sounds like Thomas Dolby in kindergarten.

Only After Dark—-Ugh…..I really don’t care for this very much either. The redeeming think about this is the overdubs that combine the vocals  delivered on two different plains…a higher tone and the deep baritone…leading to a landscape of built in harmonies…a shape of the things to come.

Nightclubbing—-This is much in the same vein as the previous ‘singles’ that were released by this band…there is an overriding tone of synth darkness and deep dub sounds that really never appealed to me. The synth effects seem to be on a constant loop that just keep repeating themselves in a monotonous toneless manner. Phil rarely has any vocal inflections and this is really awful to me. Not ready for Nightclubbing!

Boys And Girls—-A dark atmospheric synth opens the track, the big difference is the higher tone of Oakey’s voice…giving the song a lighter feel. The double track vocal adds to the fuller more bright sound of the track…giving the band a seemingly new life and tone. This is much more accessible, and the lyrics really lean towards the crowd that was gravitating to the band….disenfranchised and stigmatized. This is nice.

The Sound Of The Crowd [Instrumental]—-I really would have preferred the version of this track with lyrics. This is not strictly an instrumental but almost like a dub version of the original. You notice the brighter synth tones almost immediately….of course there is a dark underlying tone…but the song was the future of the band…brighter….positive and damn accessible. I love this…a whole new beginning for the band.

Hard Times—-Brighter and full of classic synth sounds of the 80’s, the girls make their appearance and the band takes a dramatic turn toward higher success. The synth sounds are so contagious and the mix of Oakey and the ladies sounds almost like a totally different band. The song is huge in my head phones…taking me back to a time when New Wave was just emerging and we misfits had finally found a band to fall in love with. The slight out of tune synth line makes the track even more charming.

Love Action [I Believe In Love]—-Beginning with an odd synth line that almost meows at you, the layers of sound are fantastic through the headphones. Phil lends his trademark baritone…but the tone just seems lighter and more accessible. The main melody line that pops up in the song will stay in our head and makes me want to pull out all of my old classic vinyl from the 80’s…just fantastic.

Open Your Heart—-Hands down…no argument, my favorite track ever from The Human League. The vocal is extraordinary, the slight out of tune delivery adds to the charm of the song. The energy of the synth line bends my heart into folds. The ladies add to the mix…but it is Oakey at his finest here. This is a classic track that never received the attention it deserved. This IS The Human League!!! You can’t ignore the fantastic synth lines and the jubilant feeling that it gives off…even if the song is not really a happy one……I just love this!

Don’t You Want Me—-Perhaps this song, above all others at the time, helped to define the 80’s synth and New Wave movement. The song still sounds fresh and appealing all of these years on….with a instrumental line that is contagious and ageless. This is the band at the peak of their career…when the cross over to the US was in full swing. A great, great song….but not the best the band ever released…..just the best known.

Mirror Man—-To say that expectations were high after the success of Dare would be an understatement. The band delivered above par music with the release of the follow up EP….short in content…but full of quality singles. The die hard fans snatched it up…..MTV followed it closely…but the band found it hard to keep its place after Don’t You Want Me….for me…the songs like this from that EP were better quality and stand the test of time even better.

You Remind Me Of Gold—-The synth lines of this track are so lively and jaunty…you can’t help but fall in love with it. Phil enters with his trademark baritone and the ladies join him and give the track the warm softer element that it needs. I love all the squeaky lines of the keyboards…this is fantastic…at times the song almost becomes noisy….fantastic.

[Keep FeelingFascination [Extended]—-A shining moment in the bands career for sure. I have some remix versions of this song, where the bass level was so intense the speakers almost shut it out altogether. This is as contagious and catchy as anything the band has ever done. The opening synth lines that mimic Church organs open up to hat huge thumping bass line and the swirls of synth in the background that sneak up on you. The vocals are exquisite…the melody line….unforgettable. This is wonderful. Phil ups his vocal…the overdubs are incredible. Just a fantastic track.

The Lebanon [7″ Version]—-Politically charged at the time and very timely. This track carries a sadness to it….even though the music tries to override that sentiment. The lyrics at the time were very appropriate and could apply to anywhere in the world in this day and age that we live in. This is a pretty intense song when you listen to all the words…but loses some of the power because it is so damn pleasant.

Louise [DJ Edit]—-I really love this song…..being one of those people involved with someone from very far in my past…the song touches me…because real life reunions like this are very possible. The deep tone of the vocal is remarkable….and the combination of all the voices at certain times and certain words give the song a remarkable contagious and romantic feel. This is just a wonderful reminder that anything is possible.

Disc Two—-

Life On Your Own [Single Version]—-This is phenomenal…..the deep bass that propels that song..perfectly matched with the higher tones of the synth line. A slight odd song lies underneath of the whole thing…giving the song a weird flavor that finds a place in my heart. Phil delivers the chorus in his upper register that takes this song to a whole new level. This is just incredible…so nice to hear again.

Human [Extended Version]—-A song that really gave The Human League a second life in the mainstream listening community. Not a favorite track of mine, but it still plays very well today and catches the band at another creative high. The synth line and the bass deliver an unforgettable melody that still manages to pop up in my memory listening bank from time to time….funny….I have a 45 pressing of this song.

I Need Your Loving [DJ Edit]—-Noisy and less melodic, it appears The Human League thought they could copy Prince and deliver a funk fueled dance floor track that really falls flat for me. This is lackluster and the band sounds incredibly bored to me. This did not age well…it plays no better today than it did upon release. I really have disdain for this…..ugh!

Love Is All That Matters [DJ Edit]—-Returning to a more accessible sound somewhat with this single, the funky overtones are still evident. The melody of the song…provided by the ladies voices really give the track the familiar and friendly sound that we are accustomed to. Phil sounds a bit bored with the entire affair…so I still affirm that the main melody and success of this track was the responsibility f the girls….and they deliver very well.

Heart Like A Wheel [William Orbit Remix]—-Helping to add to the nine lives theory, this track helped to bring attention back to a foundering band that needed a new listening base. This is jaunty, happy and full of energy. The synth line is playful and full of energy. The combination of the voices throughout the entire song help to make it sound fresh and invigorating. This is a wonderful track….fantastic!

Soundtrack To A Generation [Edit]—-Odd at the onset, the jaunty almost New Order like synth line takes the song to a nice place. Phil delivers a vocal that sounds a bit strained and forced…..really not the best the band had to offer, I could think of a few other songs that could have taken this ones place. The shout B-52’s like delivery is not the band that we love…this is a waste really.

Tell Me When [Edit/Remastered 2003 ]—-This is a slick return to the shiny and accessible pop lines that the band did the best with. Phil sounds re-invigorated and the ladies are present as always. The pace of the song hearkens back to the early days of the band…this is driving and forceful…but melodic and damn catchy at the same time. The chorus of the song is the key…and it stands the test of time very well. This is wonderful.

One Man In My Heart—-This is fantastic….letting the ladies really have a spotlight on the trademark and necessary vocals that made this band huge. The melody line that runs through this song are almost Do-Wop inspired and make you feel a happiness that you can’t explain. Although Phil does add vocals…this track belongs to the ladies and they shine like an indelible star!

Filling Up With Heaven—-Not sure how I really feel about this song…..at the time of recording, technology was/is so advanced but it seems like the band is still using the same Korg’s and Moog’s that they always used. All of the mass vocals on the chorus are confusing and disjointed and the higher tone keyboards are awful. This just sounds uninspired.

Stay With Me Tonight—-Propulsive synth lines send this moving at a nice pace…then the vocal hits you . At the beginning, Phil barely sounds like himself….but the familiarity emerges. To me, this song is the complete opposite of the last entry…there is so much technology going on that it threatens to drown the band and the necessity of their voices. This is unorganized and messy.

All I Ever Wanted [Radio Edit]—-Not sure why this is here at the end of the release…perhaps a re-issue was in order for the anniversary of the band. This is classic in sound…the deep wavy bass synth is wonderful. The ladies add to the dissonant vocal from Phil…when he breaks into the higher tones it is much warmer and approachable. Nice…but why? Oh…this was from 2001……joke!

Night People [2016 Edit]—-I love this track…this is such a fun and jaunty track. The synth lines are contagious as hell….the vocal is full of echoes and memories of the old days if you will. This is just fantastic…reminding me of the material from Fascination. I love the energy, the sentiment and the mood.

Never Let Me Go—-This is the sound again of a re-invigorated band. he deep deep bass that runs through the underbelly of the song is just fantastic. The ladies lend a vocal line that sticks in your cerebellum…refusing to let go for hours after a listen. This is melodic…huge and driving. I love this…there is just life after life for this band.

Sky [Radio Edit]—-The latest proper new release from the band, this is deep and intense. The melody line that runs through the track is classic and wonderful. I like the combination of the voices and the slight overlays from Phil. This is nice…not the best of the band…but a damn valiant effort showing us that this band is still alive and well. Very Nice!

**** out of 5

 

 

 

 

Gary Numan / Here In The Black- Live At Hollywood Forever Cemetery 2016

Everything Comes Down to This (Live at Hollywood Forever Cemetery)

Gary Anthony James Webb (born 8 March 1958), better known as Gary Numan, is an English singer, songwriter, musician, and record producer. Born in Hammersmith, London, he first entered the music industry as the lead singer of the new wave band Tubeway Army. After releasing two albums with the band, Numan released his debut solo album The Pleasure Principle in 1979.

Most widely known for his chart-topping hits “Are ‘Friends’ Electric?” and “Cars“, Numan achieved his peak of mainstream popularity in the late 1970s and early 1980s, but maintains a loyal cult following. His signature sound consists of heavy synthesizer hooks fed through guitar effects pedals, and he is considered a pioneer of commercial electronic music.

The Analysis—-

I Am Dust—-To have the chance to see Numan live is a pure joy and indescribable experience. On the stage, Numan sheds his Asperger’s and becomes a type of human monster…flailing around on the stage and delivering his darkest sounds possible thanks to new technology and mastery of years of experience. This release, recorded on Halloween, wrapped up the US jaunt of his Here In The Black tour…..it is fitting we begin with this track off Splinter. The crowd is jubilant, and the sound is impeccable…you catch every groan from the synth lines and every nuance that was captured in the studio. Numan sounds literally possessed by the music…..making you feel ice cold and incredibly excited at the same time. This is exquisite.

Metal—-A constant track in Numan’s live shows, this goes way back to the early days of his career. The amped up version plays so well live…you could never tell the date or the age of the song. The guitars are aggressive while still maintaining the irresistible synth line of the original. Numan delivers his trademark whine of a singing voice that brings a smile to my face no matter how many times I hear this.

Everything Comes Down To This—-My favorite track from the Splinter release, I was super excited to see that this was included in the live set. This is not a happy song…I think there were some problems going on during the recording of Splinter with his marriage. But live this is even more intense and devastating. The groans and effects that come from the synths are just amazing….the huge guitar burst make the song a huge masculine love song…Numan pleads for forgiveness and second chances. This is just fantastic.

The Fall—-A huge guitar intro brings out the crashing synth line and beefs up this track like you can’t believe. The aggressive Industrial style keyboards are better than Trent has managed in years. Numan enters with his ghost like vocal and the song settles into a damn catchy melodic affair. This is triumphant. I never gelled with the Jagged CD…but this track is awesome.

Here In The Black—-One of the most mysterious and majestic songs Numan has recorded in recent history, the escalating synth line drives the song and the crowd to near mania. The whispered delivery of the vocal is full of echo’s and a built in atmosphere all of its own. This is just brilliant….it plays so well live….that synth line is to die for.

Films—-Stepping way back in the Numan catalog, films is another track that always lands on my favorites list….along with M.E. The vocal delivery is what makes this song so fantastic….Numan’s whine and the updated synth lines making the song even more powerful. I guess you can tell….I love this man.The original feel of the song is firmly intact…but the added crash of the synths provide an update that makes it even more powerful.

The Calling—-Slowing down the tempo provides a bit of a cool down for the crowd and Numan delivers this incredibly dark rack with mastery. His vocal is so clear and powerful…rising over all of the effects to allow you to feel the loneliness…the despair and the pain. the stage literally swells with emotion as the song progresses…your headphones will literally sob with this delivery. A master!!!

Down In The Park—-It is hard to breathe new life into such an aged track that has been played literally thousands of times. It is always nice to hear this again…but due to overplay it looses some of the shine for me. Consider the age of the track and the story it told way back when, it is phenomenal it still plays so well. A true classic.

Splinter—-The slow and almost maddening build up to this track fills you with anticipation. the sound of this is odd…lots of chants going on in the backdrop of the song and a slight Oriental feel to the music. Numan turns towards his disdain for God for the basis of this song…it plays well and sounds incredibly fresh. The instrumentation that the live band brings to these songs are just incredible…..a fantastic dense depressing track.

Dead Son Rising—-Beginning with a higher tones synth line and a clear and distortion free vocal, Numan delivers this mundane track with a new and fresh approach live. I love this version….the mystery of the track seems to swirl around the stage as the synth becomes almost maddening with repetition. I like this…but sometimes skip over this during casual listening.

A Shadow Falls—-Returning to the deeper synth line, the surprise is when Numan opens his mouth and sings a note which you seldom hear. I am accustomed to the deeper baritone of his voice and to hear him stretch to catch these notes are mesmerizing. This is slow…melodic and full of intensity. Just about perfect.

Lost—-Quiet and introspective, I think this further solidifies the assumption of some personal problems going on in recent years with Gary and Gemma. This is so sad, touching and personal…I can’t imagine what it must be like to play this live and on display for everyone to hear and share. This is phenomenal….getting this piece of him seems like a treasure. The huge burst of energy at the end of the song further cements the urgency and the plea……just incredible.

When The Sky Bleeds—-This is not a favorite track of mine…but the melody line of the song is impossible to ignore. Numan delivers a vocal that is clear and soaring…begging for a reason to continue with life and needing hope. The aggression kicks in and then ebbs….causing you to almost sit on the edge of your seat the entire song. A masterful delivery.

Unforgiven—-Powerful guitars soar above the multi layered synth lines and give this an almost soundtrack feel. Numan enters with his plaintive and begging vocal that makes you pay attention to every single word that is uttered from his psyche. This is intense….dark and driving. A masterpiece of a song that plays better live then on record.

Love Hurt Bleed—-Another track from Splinter that is in the vein of driving NIN synth  lines and Industrial style rock. Numan fits in perfect….delivering his vocal between aggressive bursts of music…this has such a huge backbone…..and the recent trademark Numan sound is all over this track. A masterpiece.

A Prayer For The Unborn—-Sad and introspective with a horn effected synth line, the slight crunches from the other keyboards provide a stark landscape of music for Numan to muse over. This is intense….it has always touched me and made me somewhat sad. That Numan is willing to share such personal moments from his life seem like a privilege to me. This will always remain a favorite track of mine.

Cars—-Over thirty years on, and with major reworking, this track still plays well live. I can’t imagine how sick Numan must be of this song…but he delivers it like it was the first time he has ever preformed it. This is a classic…defining the 80’s….reworked and defining the new Numan generation.

I Die; You Die—-Delving way back in time once again, Numan again manages to stay true to a generation that adored him and still deliver to the generation that view him as a modern God. This has all the trademark synth lines of the original recording…but the huge driving drums add beef and masculinity Numan sounds in such clear voice…you can’t help but pull out old records and give them a re-listen.

Are ‘friends’ Electric?—-One of, if not the oldest track in this song list, this is essential Numan. The song still carries the same alienated feeling and the mastery of the emerging synth machines at the time…but are beefier and so much larger. This is a classic track….I can never tire of this ever……Numan does a great job re-working this.

My Last Day—-Ending this phenomenal show, Numan allows for a slower and darker tense track to say goodbye. This is a gentle ode to his children and perhaps to his fans as well. This is momentous and brilliant. Tender and leaving you walking to your transport shaking your head and whispering to yourself that you have viewed a God in his element.

***** out of 5

 

Sigue Sigue Sputnik / 21st Century Boys-The Best Of Sigue Sigue Sputnik

21st Century Boys - The Best Of

Sigue Sigue Sputnik were a British new wave band formed in 1982 by former Generation X bassist Tony James. The band had three UK Top 40 hit singles, including the song “Love Missile F1-11” and “21st Century Boy”.

The Analysis—-

Video Trailer Mix—-I suppose this small intro is to remind us that SSS were above all else a multi-media experiment and a very visual band. As I recall, they were the first and probably only band to sell commercials that appeared in between songs on the first proper release. This mash-up of songs basically prepares us for what is ahead.

Love Missle F1-11—-Perhaps the bands best known work, this Moroder produced single embodies the late 80’s sound with spacey synths, sound effects…manipulated vocals and a constant familiar guitar from Tony James. The track is an extravaganza of sound and textures and still plays very well today.

Hack Attack—-The synth line that runs through the under belly of this track seems very Moroder inspired also, reminding me of some classic Disco songs from the late 70’s. The effects are all over the place…the song moves from speaker to speaker in an extravaganza of sound and constant effects. The vocals are almost done in a dub manner….hit and miss with the effects really being the star of the show. This really does sound excellent in headphones and once again is rather timely.

21st Century Boy—-A huge single for the band overseas, this band was never really a well-known entity here in the states. The musical track is a bit noisier…with James really adding more guitar than usual. The effects are all in place…the music from this band rarely deviated from the very first single…so every track suffers a bit from the ‘sameness’ effect. The hits package almost plays like one very long song. It is the innovation that is remarkable.

Buy EMI—-This track really does have a bit of a different sound to it, although the band never steers to far from the trademark sound. With a nod to their record company EMI, this almost reminds me of something Gen. X might have done. There are some nice chord changes in the song that mix up the sound but the synth line is always present. I rather like this track.

Rockit Miss USA—-With a fantastic spoken word intro….including a cameo from Clint Eastwood, the band quickly falls back into familiar territory that mimics the earliest sounds of the band. The effects very upfront…the vocal effects bouncing back and forth and the far back guitar from Tony James always present…seeming to play the same melody over and over. This is not a bad track, but the sound is so predictable. There is little room for variance with this band.

Teenage Thunder—-Coming back at you with the predictable synth line, the vocal begins a bit more subdued and pushed to the back of the mix. The guitar is more present and a bit varied than on previous tracks…this almost plays like a modern synth punk rock track. I love this song.

Suicide—-Darker at the onset, this has a slight different heavier synth line if you will. The low hum that runs through the track gives everything a darker feel. The vocal is again in a dub style that floats behind all of the effects…and the guitar sounds fuzzier and more intense. Not a favorite…rather tedious to get through.

Massive Retaliation—-Borrowing a huge bass line from the rap world, a synth line that reverberates your head and a beat that is different from previous tracks makes for a really great track. This envelops all of the classic sounds of the band but with the use of sampling gives us something really large and different. I had forgotten about this song….really fantastic!!!

Sex Bomb Boogie—-With a really nice guitar intro, the song quickly dissolves back into the familiar and constant synth that plays through most every song from this band. The lack of variance is a bit tedious…but the effects that are layered upon layer make things tolerable. This is a chore after a few songs…but the whole concept of the band was rather brilliant.

Success—-This is so much jauntier, if you will. The synth line is huge and encourages a mass of voices to sing along with the almost joyous feel of the song. This is brilliant…..the pace of the song is increased and the movement is incredible…I really love this track…another song I had almost forgotten about.

Frankenstein Cha Cha Cha—-Another track that offers a nice guitar intro before dissolving into the familiar synth line, this seems to be the same song that we heard earlier with different lyrics. The track plays almost exactly like Sex Bomb Boogie…but the words are a bit different. The chorus is a nice affair…but the self rip-off is evident.

Dancerama—-This has a darker more ‘revolving’ synth line that is quieter and a bit different for the band. To say this is subdued is an understatement. This is nice production placement…it serves to break up the ‘sameness’ effect from this band….allowing you a cool down and a look at the more introspective part of the band. Tony James gives a nice guitar solo mid-point…this is nice.

Barbrandroid—-With a futuristic intro, the classic voice that did all of the commercials for the band introduces the song. This is again, more subdued and sedate with that swirling synth line that makes you think of Moroder and Summer. The deep spoken word is throughout the track and this has a more chill, experimental feel to it. Again, the song placement is brilliant…really breaks up the release.

Albinoni vs. Star Wars [Part I]—-Light and airy at the onset, this is again a bit more low key and filled with huge atmospheric synths that almost sound orchestrated. The airy feel and the light pleasant melody is in sharp contrast to the earlier things we have heard on this release. This plays like a film score….freakin’ brilliant. Mid point is the Tony James guitar…but it never takes from the airy and intense feel of the track.

Albinoni vs. Star Wars [Part I & II]—- Not differing from what we heard on the previous track, I would have rather they included Jayne Mansfield instead of a redux of this track…until the midpoint of the song! It becomes alive and sounds like every fantastic 80’s band that you keep hidden from your friends. This is brilliant…a nice mix of trademark sounds and a laid back mellow sound that you can really listen to over and over again. Fantastic!

Rio Rocks—-Returning to full throttle SSS sound, the synths are back in full swing. The track sounds a bit under produced…the crisp sound with all of the effects are not as present. This plays like a rather dated punk rock anthem that you can sink your teeth into. This is a lot of fun and a bit dated….but still sounds fantastic!

Aliens—-Again, the synth line on the opening of this track is much brighter and less muddled with mass effects…..giving the band more substance and to me credibility in the talent that was there. This is lighter and with more air…..building and building with an almost pretty melody line.

Love Missle F1-11 [Westbam Remix Short Version]—-Removing the loud synth line, this remixed version makes the song a bit more dance floor friendly with the predominate bass line and allowing for contrast between this and the original. I much prefer this…the mid point of the song becomes very alive with a fuzzy synth while removing the vocal to the back of the mix. This is outstanding!

Sputnik Advert—-Just  a short advert for EMI…..classic SSS!

**** out of 5