Monaco / Music For Pleasure

Music for Pleasure

Monaco was a side project of New Order bassist Peter Hook. Together with David Potts, the only remaining member of Revenge, the band was formed in 1995. The group is best known for the 1997 single “What Do You Want From Me?” and the album from which it was taken, Music for Pleasure, which sold over half a million copies. Hook and Potts currently perform together in Peter Hook and The Light.

The Analysis—-

What Do You Want From Me?—-Of course, I have to admit that the entire reason I fell in love with this band was because it sounded like New Order. There was nothing new from the band and I took it as a substitute. But after numerous listens, you realize the genius of the band…the vocal harmonies, the incredible contagious hooks. The bass is there of course…but the pop fundamentals are incredible…this is a brilliant track…fitting in with the Brit-pop crowd with no problem.

Shine—-Literally, still after all of this time….this song still takes my breath away. At the time this was released….things going on in my life..I felt this track was written just for me. The Hook bass line is present but understated at times…the synth line is magical…the vocal a near Bernard copycat…this still can make me tear up…this is a magical moment for me. The emotional vocal delivery tears my heart out…wow!

Sweet Lips—-The intro to the track is an airy Dance Floor stomper complete with a female singer in the back drop taking things to an even higher level. The unity of voices come together to make it a quasi Gospel stomp through feel good dance floor music. Hook gives the baritone vocal while Potts keeps things light with his magical voice…and then it all comes together to make it a joyous  ‘Come To Jesus’ track that still makes me smile.

Buzz Gum—-The intro to the song sounds like a soundtrack and then becomes a huge Oasis sounding track that somehow manages to still give me goosebumps. The wall of sound is incredible..the Brit pop sound is in place…the feel of the 90’s is everywhere. This is the best song Oasis never sang. The instrumentation is fantastic…Potts sounds so comfortable…this is just wonderful. My God when that trumpet plays at the end…..I’m done!

Blue—-Incredibly beautiful strings open the track…followed by a miraculous lonely vocal from Potts that seems to dig right into my soul. The huge swells of music are just incredible…I sit back and wonder what history would have looked like if New Order had recorded these songs…it would have been historic. This is the saddest and most uplifting track I have heard in years…it reeks of emotion….sadness and the positive. Just a miracle.

Junk—-Not a favorite track of mine, but it fits on this release like a glove. When the synth line kicks in it gives the song a sense of purpose and you feel a bit energized. Hook and his bass line are always there…even if underneath everything that is going on. This is fantastic…I take back my earlier words. Hook has a way of playing bass like few have ever have….the melody is all formed by the deep tones…just incredible.

Billy Bones—-Introducing a slight Ambient sound, the track begins quite airy and atmospheric. Hook enters with his bass line and the Potts delivers a forlorn vocal that brings sadness and desperation to your ears. This is wonderful…placed in just the right spot to make you step back and think about things. I love this.

Happy Jack—–Easy guitar and an addictive bass line come together to produce everything that New Order were not at the time. Potts opens up his mouth and gives his best spot on Gallagher impersonation. For me, I wonder, why was this release not huge? This is a genius of an album. The melody line on this song is as brilliant as anything that was being produced at the time.

Tender—–A bit odd for me….the intro to the song did not catch at first…then the female vocal began and made me think of the other off-shoot band….The Other Two…..lol…always making comparisons right? This is pleasant…I like the feel of it…but it is not a song I turn to on a regular basis.

Sedona—-Swells of music, and the release ends as magically as it began. You can feel the anticipation building as you hear the track forming with the addition of sounds hear and there….when you get those first Hook strings you feel comfortable. The track becomes alive and makes me joyous once again….just in the literal happiness of the feel of the music. A magnificent end to a very over looked release.

*****out of 5

 

 

 

Mike Score / Zeebratta

Zeebratta

Michael Gordon “Mike” Score (born 5 November 1957)[1] is an English musician. He is best known as the keyboardistguitarist and lead singer of the new wave bandA Flock of Seagulls. He released a solo album on 1 March 2014 titled Zeebratta.

The Analysis—-

All I Wanna Do—-Let me say right out of the gate, I just ‘discovered’ this solo release the other day…..I was really blown away. I never even knew it existed but since obtaining it, I have indulged at least 50 times. I will never understand why this did not get ANY attention. This opening track is by far what I consider the masterpiece of the release.  This contains every element that made AFOS such a hit in the 80’s. Score delivers a timeless vocal that belies his age. The melody line of the song is contagious as hell. I can’t gush enough about this song…this is pure perfection. Check out the video at the end of the post.

Somebody Like You—-This 2nd track is almost as magnificent as the first. such a strong melody line…aided by the synth from Score produces a classic throwback sound that takes me right into the glorious 80’s. The vocal is clean and crisp and full of emotion. This is a spectacular track that is released back in the band’s heyday would have been a bona fide smash hit. This is brilliant.

Angel—-A fabulous synth line that reminds me of the opening strains of Safety Dance, I still sit here amazed at how crystal clear and perfect Score’s vocal delivery is. This is upbeat…very reminiscent of the glory days…but fresh and showing all the advances in technology.  This is fantastic. There is even a quasi-bagpipe interlude!!!

Xtacy—-Atmospheric and deeper in tone, the synth lines swirls around your head. The vocal is less melodic…almost a spoken word delivery that reminds me of a 80’s Industrial Starter track. Dark and dense….but still fantastic. A great actual guitar solo mid point in the song….Excellent.

The Girl With Black Eyes—-The intro to this track is a bit irritating….the high pitched synth line could easily be omitted. Score delivers a stellar vocal that is magical…once the high pitch disappears and the melody line becomes more apparent, I found myself sucked right back in the mastery of the vocal. The lyrics are intense..the mood dark….just wonderful!

Poor Boy—-More straight forward in the ‘rock sense’, the guitar introduces that song right from the onset. The vocal is WAY removed from the front of the song….placed way back in the mix of shuffling synth lines. This has a lot of layers…which is why I like it so much. This is really nice.

Take Your Time—-A bit of a weaker track, but every release has those right? I love the synth line that runs through the song…the voice is a bit too mellow fro me…I wanted that stronger delivery that attracts me so much. This is still contagious in chorus and melody…and we do get some forceful vocals as the track continues.

I Call Your Name Out—-Delivering an almost trance like feel to the song as it opens up, Score is back in the forefront of the track. This reminds me of material from Story Of A Young Heart. The pulsating beat…mixed with the shuffling synth line gives the song a lot of variety. I like this a lot.

Catsong—-With a gentle reverb filled intro, the vocal is quiet and delivered with a bit of humor to me. This is an odd song for me..it really gives me a different feel…I really think this is about a cat…lol

Home—-This is just brilliant! The swirls of emotions that the synth line produces are incredible…then Score begins to sing…delivering that magnificent dis-embodied feel that makes you feel like he is removed and cold. This has an infectious shuffling quality to the music…and the voice is fantastic. I love this.

Love In—-This has a really nice jaunty feel to it…hand claps and an upbeat flavor that makes you smile. the vocal is a throwback style that reminds me of something I can’t quite put my finger on. This is fantastic…Score seems to be really enjoying this music…that makes everything even better. This has a definite 60’s feel to it…and many references as well.

Money—-A fantastic programmed keyboard line runs through the entire track…giving a very consistent feel to the song. I love that voice…I am just amazed how fresh and wonderful he sounds. This reminds me a lot of classic Depeche Mode…the strange synth and the escalating chorus…I love it.

Valentine—-Again, jaunty and delivery a contagious melody line, this track fits well with the rest of the material on this release. I like the vocal delivery…of course. Score has a way of singing that sounds so sincere…but has a purity to it. The bass line in the song propels it…and the revolving synth line provides the miraculous melody line. The occasional beat breaks in the song keeps everything interesting.

Wasteland—-Sorry to see this release end, hoping that maybe someday, there is still fresh new music inside of the man. This leaves me a bit empty…the song has a desolate and lonely feel to it…but it is still wonderful. There is a bit more guitar noise on this track…a nice surprise….the vocal slow and steady…matching the feel of the lyrics.

****3/4 out of 5

 

 

 

 

 

 

The Smiths / The Queen Is Dead [Deluxe Edition]

The Queen Is Dead (Deluxe Edition)

The Smiths were an English rock band formed in Manchester in 1982. The band consisted of vocalist Morrissey, guitarist Johnny Marr, bassist Andy Rourke and drummer Mike Joyce. Critics have called them the most important alternative rock band to emerge from the British independent music scene of the 1980s. Q magazine’s Simon Goddard argued in 2007 that the Smiths were “the one truly vital voice of the ’80s”, “the most influential British guitar group of the decade” and the “first indie outsiders to achieve mainstream success on their own terms”. The NME named the Smiths the “most influential artist ever” in a 2002 poll, over the Beatles.

Based on the songwriting partnership of Morrissey and Marr, the group signed to the independent record label Rough Trade Records, on which they released four studio albums, The Smiths (1984), Meat Is Murder (1985), The Queen Is Dead (1986) and Strangeways, Here We Come (1987). Four of their albums (including three studio albums) appeared on Rolling Stone‘s list of the 500 Greatest Albums of All Time. They have also released several compilations, and numerous non-album singles. The Smiths had several singles reach the UK top 20 and all four of their studio albums reached the UK top 5, including one which hit #1. They won a significant following and remain cult favourites, although they had limited commercial success outside the UK while they were still together. The band broke up in 1987 due to internal tensions and have turned down several offers to reunite.

The band’s focus on a guitar, bass, and drum sound, and their fusion of 1960s rock and post-punk, were a repudiation of synthesiser-based contemporary dance-pop – the style popular in the 1980s. Marr’s guitar work, using a Rickenbacker, often had a jangle pop sound reminiscent of Roger McGuinn of the Byrdsand influenced later Manchester bands including the Stone Roses and Oasis. Morrissey’s complex, literate lyrics combined themes about ordinary people with mordant humour. In 2014 and 2015, they were nominated for induction into the Rock and Roll Hall of Fame.

During 1985 the band completed lengthy tours of the UK and the US while recording their next studio record, The Queen Is Dead. The album was released in June 1986, shortly after the single “Bigmouth Strikes Again“. The single again featured Marr’s strident acoustic guitar rhythms and lead melody guitar lines with wide leaps. The Queen Is Dead reached number two in the UK charts, and consisted of a mixture of mordant bleakness (e.g. “Never Had No One Ever”, which seemed to play up to stereotypes of the band), dry humour (e.g. “Frankly, Mr. Shankly”, allegedly a message to Rough Trade boss Geoff Travis disguised as a letter of resignation from a worker to his superior), and synthesis of both, such as in “There Is a Light That Never Goes Out” and “Cemetry Gates”.

The Analysis—-

Disc One: The Remaster

The Queen Is Dead—-Beginning with the trademark refrain of Dear Ole Blighty, I question what new I can add to the remarkable reviews of this record over numerous years. I have been a life-long fan of this band…reveling in the British humor, the disdain for the Monarchy and he subtle jabs at Prince Charles. Marr delivers such a fantastic melodic guitar on this track…the drums are a standout…all seeming to wrap around Morrissey’s golden throat…a pure masterpiece.

Frankly Mr. Shankly—-A classic track wrought in a subtle sense of British humor much like Girlfriend In A Coma, this has a tendency to land in your brain and stay there…even when you want to dismiss the beat that drives the song. Short, sweet and full of humor…I never tire of this.

I Know It’s Over—-From the very moment i heard this song, it became a favorite of mine on this release. It is sad..intense…described my feelings at the time perfectly and had a magical subtle 50’s feel to the entire thing. This was magical and I was so pleased to see it preformed live on what was to be the band’s last outing together. This song…huge and masterful, has left an indelible mark on my soul. Morrissey delivers a vocal that is heartbreaking and magical. My God….that voice is like velvet.

Never Had No One Ever—-Morrissey treads familiar ground on this track…full of self pity and the wrath of loneliness, any one is able to wrap themselves around the feel of the song. The sharp tones from Marr’s guitar are incredible…the slow plodding drums add to almost funeral feel of the song. This is magical.

Cemetery Gates—-The British accent really shines on this track does it not? I was pleased when Morrissey began to preform this song again on occasion during his live shows. The music is jaunty and brings to mind the mood of some of the material from Meat Is Murder. Morrissey calls to mind his heroes….Keats, Yates and of course Oscar Wilde. The sardonic and very dark humor of the song is exquisite. It hold the test of time very well.

Bigmouth Strikes Again—-The first proper single released from this record. This is full of a humor that is always underlying the bands songs. The masterful guitar sounds Marr produces are just incredible. You actually feel a bit of bass line on this track…and the drums although pushed to the back of the mix are so important to the feel of the song. Johnny literally makes his guitar sing as well as Morrissey. This is fantastic.

 

The Boy With The Thorn In His Side—-I would suppose Morrissey would fancy himself as the boy he warmly sings about on this track. The music that Marr produces conjures up a certain warmth and comfort…the song swells with a subtle beauty that is still wonderful in sound today. Another magical moment from the band that wanted to rule the world.

Vicar In A Tutu—-This song still conjures up in my brain some kind of silly clip from a black and white B-movie comedy. I’m sure the true meaning of the song probably sailed right over my head…I’m not much for British humor and entendres….it is still a wonderful snippet of hilarity in the history of the band.

There Is A Light That Never Goes Out—-Legend has it that this was a last minute addition to the record and really was not planned. The fact that it is still one of the most beloved Smiths compositions speaks to the genius of the band. This is so nice to hear now that Morrissey preforms it regularly in his solo outings. The music and the voice….manage to come together and create this magical moment that spoke to the kinship of these two genius minds. A beautiful, poignant moment in musical history.

Some Girls Are Bigger Than Others—-Another of those tracks I’m not sure whether to take seriously or not. The instrumentation of the song is what does it for me though. Marr delivers a shin, jangly guitar that drives the song. The lazy but important drum line is masterful…matching perfectly with the bass line. This is magical.

Disc Two: Demos and B-Sides

The Queen Is Dead/Full Version—-Omitting the intro of Dear Old Blighty, the classic huge drum intro opens the song and delivers a fairly true to form rendition of the actual recorded track. The guitars from Marr goes on a bit longer…giving a slight psychedelic feel to the song…but for the most part this what we got in the end.

Frankly Mr. Shankly/Demo—-Not really sure the purpose of the inclusion of these so called demos…..there is very little here that is different…it is just a redux of the material we all have. This seems wasteful and a rip-off when so man other things could have been included.

I Know It’s Over/Demo—-No blaring differences on this demo…there are some subtle word differences and it seems like the phrasing from Morrissey is a bit different than on the final cut. Still haunting and beautiful…amazing how good the demos actually were.

Never Had No One Ever/Demo—-Not much variance here..although the song does seem to move at a bit of a slower pace than the final version. The subtle differences are not worthy an entire disc…just my opinion. I do rather love the horns at the end of the song…competing with Morrissey for the spotlight. Very odd ending….I take back the need for necessity of inclusion here….I was surprised.

Cemetery Gates—-Crisp and clean despite being a demo…I notice the heavier bass line right at the onset. Marr seems to have a sound that was pushed back a bit…that would later change. It is an alternate version…that I quite like a bit.

Bigmouth Strikes Again/Demo—-This version sounds very muted and lacking of the crisp clean version that would become the single. Morrissey phrases a bit differently and the music has a darker tone….Marr would brighten up the final cut a bit. There are longer interludes between verses….it is interesting to hear.

Some Girls Are Bigger Than Others/Demo—-Offering a really crisp and alternative view into this track, I can’t ignore that bright and jangly guitar introduction that Marr delivers. This is a brilliant piece of music…crashing cymbals and a good minute before Morrissey is even present. Brilliant!

The Boy With The Thorn In His Side/Demo Mix—-Brilliant…but offering very little in variance from the original…..sounds like a redux of the same song.

There Is A Light That Never Goes Out/Take 1—-Again, this pretty much sounds like the track that landed on the original. This just all seems like unnecessary filler to me….are there no unreleased tracks from this band?

Rubber Ring/Single B-Side—-Jaunty and fun, this track really never got the attention that it deserved. I love the vocal delivery from Morrissey…when she delivers that lazy refrain as the chorus…it still brings a smile to my face. Again, I notice the drums and the crisp high notes from Marr…this is a masterpiece.

Asleep/Single B-Side—-Perhaps one of my favorite tracks from this band…it came at a time when my depression and desire to not be here anymore were at a peak..it was like Morrissey was speaking to me directly. This is a romantic look at leaving…but it is delivered with beauty and expertise.

Money Changes Everything/Single B-Side—-Bright and incredibly shiny, this showcases every element of the band in a well defined way. Of course you have Marr…who never made a misstep….but the bass line is huge on this instrumental….and you realize how important the drums were to the entire feel of the band. No wonder they wanted their 25%!!! This is fantastic.

Unloveable/Single B-Side—-Another under-rated track to spoke to the Morrissey persona in a magical way…this should have been front and center on a proper release. This is beautiful in feel…true to the direction of the band…and an important part of the Morrissey mystique. This is a classic and wonderful track.

Disc Three: Live In Boston

How Soon Is Now—-For me personally, this is the most important song The Smiths ever recorded. Meant to be a B-Side, who could imagine it would become a cornerstone in the band’s career. The layers and layers of emotional guitar are just as important as the pleading vocal from Morrissey. This is a moment in history…a perfect snapshot for many who instantly fell in love with the enigmatic Morrissey.

Hand In Glove—-Travelling back to the early days of the band and the magical almost rock-a-billy feel that greeted us with this very first single from the band. This was such a magical time for me as I discovered British bands and the alternative to Hair Metal that was so prevalent. This is triumphant.

I Want The One I Can’t Have—-There was a true part of my immature self that convinced me Morrissey sang this song just for me. Adolescence and young adulthood is full of wanton feelings that are never returned and this song spoke directly to me. Fuckin Brilliant!

Never Had No One Ever—-Playing very well live, the audience seems to lack a bit of a response…but at the time this was all brand new. Morrissey is able to perfectly reproduce record to live….a true plus for the band.

Stretch Out And Wait—-Besides the title track, this is perhaps my favorite track from Meat Is Murder. Again, considering the time and place the song ha a unique meaning to me…calling all of the loneliness and wanton lust from my very soul and making me feel like someone really understood.

The Boy With The Thorn In His Side—-Again. lacking a bit of audience response, the song plays very well live….Morrissey delivers a spot on vocal that is the best I have ever heard. This is brilliant.

Cemetery Gates—-Brilliant….Marr brings his jangle to the live setting with pure perfection. The drums in this live setting are perfect…maturity makes you pay attention to what is going on onstage…the band is playing so tight and masterful. This was a golden time.

Rubber Ring/What She Said/Rubber Ring—-With a slight lazy pace to the music, everything seems so relaxed and fun as the song begins…the bass guitar really standing out then the barrage of drums as What She Said begins to take shape. Delivered with a vocal urgency that makes me break out in goosebumps, this is perfect.

Is It Really So Strange?—-Never a favorite track of mine, it seems like these little tracks that were emerging were beginning to show the weather taking place inside of the band. This is an acceptable rendition…it still stands up well…I have always felt it was a bit uninspired.

There Is A Light That Never Goes Out—-Morrissey sounds literally pitch perfect as he delivers this track that would become so important to the legions of fans that embraced the band to this day. This is perfection in every way….Marr….the drums….the emotional voice….it’s truly a perfect storm.

That Joke Isn’t Funny Anymore—-Another classic track from the Meat Is Murder sessions, this plays so well live…the sentiment of the song..plays perfectly into the ‘Morrissey World’…..this live version is a bit different…slower and with a few different chords…but still masterful and as meaningful as ever.

The Queen Is Dead—-The huge drum intro gets a fantastic crowd response. Live this song travels much faster than the recorded version…Morrissey seems almost exhausted trying to keep up with the blistering pace. This is so much more muscular and powerful…I love this live rendition.

I Know It’s Over—-Ending this live performance in the best way possible, this allows for a gentle cool down for the audience and reminds us why we love the band so. I could not possibly conjure up a better ending for this show…masterful…beautiful and haunting.

*****out of 5

 

 

 

 

KMFDM / HELL YEAH

Hell Yeah

KMFDM (originally Kein Mehrheit Für Die Mitleid, “loosely” translated by the band as “no pity for the majority”) is an industrial band led by German multi-instrumentalist Sascha Konietzko, who founded the group in 1984 as a performance art project.

The group’s earliest incarnation included German drummer En Esch and British vocalist Raymond Watts, the latter of whom left and rejoined the group several times over its history. The trio recorded the band’s earliest albums in Germany before Konietzko and Esch moved to the United States, where they found much greater success with seminal industrial record label Wax Trax!. German guitarist Günter Schulz joined in 1990; both he and Esch continued with the band until KMFDM broke up in 1999. Konietzko resurrected KMFDM in 2002 (Esch and Schulz declined to rejoin) on Metropolis Records, and by 2005 he had assembled a consistent line-up that included American singer Lucia Cifarelli, British guitarists Jules Hodgson and Steve White, and British drummer Andy Selway. Konietzko and Cifarelli moved back to Germany in 2007, while the rest of the band stayed in the U.S. In addition to these core members, dozens of other musicians have worked with the group across its nineteen studio albums and two dozen singles, with sales totaling in excess of two million records worldwide.

Critics consider KMFDM to be one of the first bands to bring industrial music to mainstream audiences, though Konietzko refers to the band’s music as “The Ultra-Heavy Beat”. The band incorporates heavy metal guitar riffs, electronic music, samples, and both male and female vocals in its music, which encompasses a variety of styles including industrial rock and electronic body music. The band is fiercely political, with many of its lyrics taking stands against violence, war, and oppression. KMFDM normally tours at least once after every major release, and band members are known for their accessibility to and interaction with fans, both online and at concerts. Members, singly or working together and with other musicians, have recorded under many other names, primarily Watts’ Pig, Konietzko’s Excessive Force, and Esch and Schulz’s Slick Idiot.

Hell Yeah is the twentieth album by KMFDM, it was released on August 18, 2017, on earMUSIC and KMFDM Records.

The Analysis—-

Hell Yeah—-A contagious and remarkable dance beat opens this track. The sound transports me back to the awakening of the Industrial sounds and movement of the 90’s. This is a bit tame to me though….not quite as aggressive as usual….but catchy as hell….it seems like the creative juices are still in flow on album number 20!

Freak Flag—-Again, this is full of the 90’s style beats and direction that defined the band in it’s heyday….the step backwards, with all of the available technology available today, is a bit disappointing. As always, the chorus of the song…steered by the ever present female vocal shapes the direction of the song. This is nostalgic in sound…..and offers little new in sound.

Oppression 1/2 /Total State Machine/Oppression 2/2—–I don’t dislike this record…..but with everything that is going on in the world today, I expected more anger and ire. After the mundane intro, the music does open up into a fantastic gallop of noise that makes me inwardly smile. The words fascist and hate appear throughout…..perhaps they got the message….this shaped up to be a great track. A single for sure!!!!

Murder My Heart—-The lead off single from this release, this is a but tame and generic at the onset. I’m amazed at the lack of aggression and anger on this release. This is a’love song’ that leaves me less than impressed and inspired.

Rip The System V. 2.0—-This is more like it…..the song opens up with more aggressive beats, the female vocal disappears and Sasha delivers line after line of everything that is wrong in the world today. This is accessible….but meaningful enough to restore some of my faith in the band. This reminds me of Nitzer Ebb.

Shock—-Returning to a mundane and predictable sound, the music that plays underneath is the songs saving grace. The beats give off an urgency that steers the song despite the female love tale that ensues in the song. I love the sharp and direct beats.

Fake News—-Everything  I hoped this song would be and more. Fantastic lyrics that are timely and important…..a beat that drives the song to a pinnacle of excitement. A chorus that will live in the front of your brain for days….send this to that Trump guy will ya!!! This is fantastic.

Rx 4 The Damned—-I don’t embrace the female vocal of the song right away…but it really grows on you. This is the aggression and anger that I have been hungry for. When the voices join together for the chorus, the song becomes literally magnificent. I really like this…….all the noise I needed and more.

Burning Brain—-Continuing is the same vein as the previous track, the second half of this release far outweighs the beginning. Sasha delivers a vocal that borders on angry dementia that brings a huge smile to my face. This is the KMFDM I wanted from the very onset. Incredible!!!

Only Lovers—-Ugh…..not at all what I wanted…..this sounds like a dated Motels song. I hate the mood shifts…..just when the band finds a groove…..than this!!!????? Just crap….

Glam, Glitz. Guts & Gore—-Ending the release much better than it started, the band delivers a scathing and blistering musical backdrop that literally blows your head off. This is aggressive….driving……forceful and full of biting vocal. I freakin’ love this song. A masterpiece this one. Leaves a great taste in my mouth.

***3/4 out of 5

 

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

*****

 

 

 

 

Roger Waters / Is This The Life We Really Want?

Is This The Life We Really Want? [Explicit]

George Roger Waters (born 6 September 1943) is an English singer, songwriter, bassist, and composer. In 1965, he co-founded the progressive rock band Pink Floyd with drummer Nick Mason, keyboardist Rick Wright, and guitarist, singer, and songwriter Syd Barrett. Waters initially served as the group’s bassist, but following the departure of Barrett in 1968, he also became their lyricist, co-lead vocalist, and conceptual leader.

Pink Floyd achieved international success with the concept albums The Dark Side of the Moon, Wish You Were Here, Animals, and The Wall. By the early 1980s, they had become one of the most critically acclaimed and commercially successful groups in the history of popular music; by 2013, they had sold more than 250 million albums worldwide. Amid creative differences, Waters left in 1985 and began a legal dispute with the remaining members over their use of the band’s name and material. They settled out of court in 1987, and nearly eighteen years passed before he performed with them again.

Waters’ solo work includes the studio albums The Pros and Cons of Hitch Hiking, Radio K.A.O.S., Amused to Death, and Is This the Life We Really Want?. In 1990, he staged one of the largest and most extravagant rock concerts in history, The Wall – Live in Berlin, with an official attendance of 200,000. As a member of Pink Floyd, he was inducted into the U.S. Rock and Roll Hall of Fame in 1996 and the UK Music Hall of Fame in 2005. In the same year he released Ça Ira, an opera in three acts translated from Étienne and Nadine Roda-Gils’ libretto about the French Revolution. Later that year, he reunited with Pink Floyd bandmates Mason, Wright and David Gilmour for the Live 8 global awareness event; it was the group’s first appearance with Waters since 1981. He has toured extensively as a solo act since 1999 and played The Dark Side of the Moon in its entirety for his world tour of 2006–2008. In 2010, he began The Wall Live and in 2011 Gilmour and Mason appeared with him during a performance of the double-album in London. As of 2013, the tour is the highest-grossing of all time by a solo artist.

Is This the Life We Really Want? (stylised as is this the life we really want?) is the fifth studio album by English rock musician and former Pink Floyd bassist and vocalist Roger Waters, released on 2 June 2017 by Columbia Records. It is his first studio album in nearly 25 years since Amused to Death (1992), as well as his first solo album in 12 years since Ça Ira (2005). On 20 April, the single “Smell the Roses” was released.

The Analysis—-

When We Were Young—-I approached this long awaited release with trepidation, optimism and wonder. The opening strains of this track….just bits of soundbites and effects reminds me of the wonderful Radio KAOS….the words from Waters portrays perhaps the feelings of million Americans……and then we move into….

Deja Vu—-The wonderful strains of Waters vocal and the familiar musical sounds belie the passage of time and put me right back in the center of the time I most cherished as a youth. Waters sounds like a young man as he sings and delivers line after biting line of fear….sadness and despair that belies the world we live in. This is magnificent…timely and incredibly rue. You go Roger!!!!

The Last Refugee—-Again with effects that are very Floyd in nature, the deep sound of the song transports you to the darkness and despair of many people in this day and age. Waters never fails to hone in on the pulse of the human race and repeat to everyone hat no one is truly saying. This is beautifully constructed and delivered in the voice of a much younger and driven man…..no disappointment here,

Picture That—-Delivered with venom and urgency, Waters reminds us what it means to truly care and be afraid of what we are facing and enduring. The sound is just classic….very Floyd, yet still pure in the waters feel as well. The effects that ride through the song are never a distraction…only adding to the intensity of the meaning and emergency of the song. Just magnificent.

Broken Bones—-So reminiscent of material from The Wall, what really amazes me is the classic and timeless quality of Waters and his voice…his song construction and his sentiment that seems to bite me to the bone. The huge swells of music and the anguished voice makes me sad and desperate to make a change. I love this release…this is pure perfection for me. Bullshit and Lies…….right Roger!

Is This The Life We Really Want?—-With a sickening Trump soundbite, there is little doubt about the density and despair of this record. The release as a whole…is a political statement we should be making…but instead a Brit is doing it? The message here is clear….the rich are feeding from all of those who are struggling and attempting to find the american Dream….because now…..the American Dream is a Nightmare.

Bird In A Gale—-Full of angry effects right from he start, the frantic tone of the music leads you on a trail of impending doom and desperation. The backdrop effects are convoluted at best but serve their purpose as it sets the tone for the world we live in.  Waters moans and pleads his way through the song…leaving you with a desperate and ghostly feel.

The Most Beautiful Girl—-With a beautiful sense of melody…..the strains of the piano usher in the track that is led off by a vocal that does indeed sound sad and a bit aged. The tone of the song leaves you feeling sad for the beautiful girl……maybe Melania…..

Smell The Roses—-I have listened t this lead off single over and over…but I can’t seem to get my mind wrapped around the feel of it. I don’t like the delivery…perhaps the too bluesy edge to it. I love the vocal…but the song is flat for me.

Wait For Her—-Gently introduced by the slow strumming of Waters and the ghostly piano, again…..another track that would fit perfectly on The Wall…the mood seems little different and not much improved. The sadness echoes through my brain and makes me want to steer clear of the news for a bit….life is desperate enough.

Oceans Apart/Part Of Me Died—-Retaining much of the melody line from the previous track, this sounds so full of sadness and despair…Waters delivering line after line of introspection and slight despair. I wallow in the dark feel of the record….it seems to fit my mood as well. This is masterful….wonderfully constructed…beautifully intricate….and magnificently dark.

*****out of 5