Radiohead – Amnesiac
Posted by Sam on July 26th, 2010
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Radiohead’s fifth album is possibly the album that OK Computer fans were hoping for instead of the experimental tunes showcased on Kid A. The 11 tracks reveal the band still embracing their new found interest in experimentalism, yet with more of an eye on the sort of tunefulness that brought the massive response to both The Bends and OK Computer.The much vaunted Knives Out will be the one that brings back those fans which were lost on Kid A, as will the disturbing Morning Bell/ Amnesiac and the first single, the unnerving Pyramid Song.
The great work on Kid A has not been banished however, with Like Spinning Plates and Hunting Bears being standout tracks. The album also reveals a new side to Radiohead with Life In A Glasshouse showing their keenness to embrace a brass section led by the multi-talented Humphrey Lyttelton.
A fascinating album with a rich selection. Not as immediately user friendly as earlier albums, but with just as much depth and passion.
Tracklisting
Disk 1
1. Packt Like Sardines in a Crushd Tin Box
2. Pyramid Songs
3. Pulk/pull Revolving Door
4. You and Whose Army?
5. I Might Be Wrong
6. Knives Out
7. Moring Bell/anmesiac
8. Dollars + Cents
9. Hunting Bears
10. Like Spinning Plates
11. Life in a Glasshouse
Disk 2
12. Amazing Sounds of Orgy
13. Trans-atlantic Drawl
14. Fast-track
15. Kinetic
16. Worrywort
17. Fog
18. Cuttooth
19. Life in a Glasshouse [Full Length Version]
20. You and Whose Army? [Live]
21. Packt Like Sardines in a Crushd Tin Box [Live]
22. Dollars + Cents [Live]
23. I Might Be Wrong [Live]
24. Knives Out [Live]
25. Pyramid Song [Live]
26. Like Spinning Plates
Professional Reviews
Rolling Stone (1/03/02, p.119) – Ranked #10 in Rolling Stone’s “Top 10 2001″.
Rolling Stone (6/21/01, pp.74-5) – 3.5 stars out of 5 – “…Clear proof that the progressive-rock impulse survived the 20th century….full of computerized clicks and hums…and of instruments and voices so heavily filtered they sound alienated even from themselves….It’s like ZZ Top kidnapped by Autechre…”
Spin (1/02, p.76) – Ranked #2 in Spin’s “Albums of the Year 2001″.
Spin (7/01, pp.123-4) – 7 out of 10 – “…Lullabies for the compressed present…abandoning verse-chorus-verse motion to let the tracks just roll out, like bolts of cloth…”
Q (7/01, p.118) – 4 stars out of 5 – “…Similarly shy, textural and embroidered by electronica, but where it differs vitally from KID A is in being 1) better balanced, 2) more emotionally intelligible and 3) even more grimly beautiful…”
Alternative Press (2/02, p.64) – Ranked #1 in AP’s “25 Best Albums of 2001″.
Alternative Press (7/01, p.79) – 9 out of 10 – “…Quintessentially Radiohead, full of existential rock songs powered by Yorke’s delicate, aching, soaring vocals…”
Magnet (12-1/02, p.57) – Included in Magnet’s “20 Best Albums of 2001″.
The Wire (1/02, p.40) – Ranked #18 in Wire’s “50 Records of the Year 2001″.
The Wire (6/01, p.52) – “…It works for as long as you can keep other – weighted, braver, graver – examples or exemplars out of your mind, The moment you summon Jeff Buckley or John Cale, PiL or Can, Talk Talk or David Sylvian, the spell is broken…”
CMJ (6/4/01, p.5) – “…Another adventuresome, aloof, non-rock joint that’s more an album of concepts than a concept album…”
Vibe (8/01, p.160) – 4 discs out of 5 – “…Populated with skittish techno beats, water-damaged samples and the kind of vocal mastery you would hear from a wounded donkey….If genuises are slightly mad, then Radiohead is stark, raving bonkers…”
Mojo (Publisher) (1/02, p.69) – Ranked #10 in Mojo’s “Best [40] Albums of 2001″.
Mojo (Publisher) (7/01, p.104) – “…Deliriously provocative….as splendidly other and awkward as its sister album [KID A]…”
NME (Magazine) (12/29/01, p.59) – Ranked #25 in NME’s 50 “Albums Of the Year 2001″.
NME (Magazine) (6/2/01, p.37) – 8 out of 10 – “…It complements KID A beautifully….the jazz spasms and electronic pulsings, the chill blood, and most of all, the chronic hypersensitivity to the world outside…”
Pitchfork (Website) – “[I]t’s an emotionally resonant and often very warm record.”
U2 – The Unforgettable Fire
Posted by Sam on July 24th, 2010
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THE UNFORGETTABLE FIRE confirmed U2 as one of a handful of bands able to tackle such vast and emotive subjects with dignity and musical integrity. There are few artists capable of writing about religion, war, race, politics, and life with such ferocity and global commercial success. ‘Pride (In The Name Of Love)’, an elegy for Martin Luther King, was a breakout hit, and every track–wrapped in the Edge’s impressionistic guitar splashes–reveals a quartet hungry for the world stage. The production by Brian Eno and Daniel Lanois was a taste of things to come.
Tracklisting
1. A Sort of Homecoming
2. Pride
3. Wire
4. The Unforgettable Fire
5. Promenade
6. 4th July
7. Bad
8. Indian Summer Sky
9. Elvis Presley and America
10. Mlk
Professional Reviews
Rolling Stone (p.75) – 4.5 stars out of 5 — “The transcendent ‘Bad’ is the triumph…”
Q (10/96, p.189) – 5 Stars – Indispensable – “…the making of THE UNFORGETTABLE FIRE witnessed the first signs of a remarkable chemistry between an artfully analytical producer and a peak-of-powers group….simply sounds timeless…”
Q (Magazine) (p.130) – 4 stars out of 5 — “As the transitional work that propelled U2 into the elite stratospheres of global stadium rock, THE UNFORGETTABLE FIRE is aptly named.”
Record Collector (magazine) (p.93) – 3 stars out of 5 — “Brian Eno produces for the first time, helping the quartet make the leap from traditional rock group to something more ambient and adventurous.”
Uncut (magazine) – 3 stars out of 5 — “The Edge’s delay unit ceased to be a mere effect and became an instrument in itself, defining the entire rhythm and texture of songs…”
Midnight Oil – Blue Sky Mining
Posted by Sam on July 24th, 2010
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BLUE SKY MINING continues in the revered Australian band’s tradition of politically charged rock, while expanding on the fuller, accessible sound of the earlier outing. The record features three international hits–the urgent “Blue Sky Mine” (one of many numbers that stays true to Midnight Oil’s working-class empathy), the pensive “Forgotten Years,” and the upbeat “King of the Mountain”–with the latter two songs proving to be some of the most melodic material of the group’s career. Other highlights of the album include “Mountains of Burma,” a track that exemplifies frontman Peter Garrett’s brooding charisma, and “River Runs Red,” which showcases Jim Moginie and Martin Rotsey’s distinctive and underrated guitar playing. Although BLUE SKY proved to be the ceiling of the ensemble’s popularity, Midnight Oil soldiered on until its dissolution in 2002, leaving this record to stand as one of its finest moments.
Tracklisting
1. Blue Sky Mine
2. Stars of Warburton
3. Bedlam Bridge
4. Forgotten Years
5. Mountains of Burma
6. King of the Mountain
7. River Runs Red
8. Shakers and Movers
9. One Country
10. Antarctica
Professional Reviews
Rolling Stone (2/22/90) – 4 Stars – Excellent – “..the album is a stunning issue-driven document of fear, anger and commitment delivered with artful musical restraint and tempered vocal fury..”
Entertainment Weekly – “..Deep, rewarding, sometimes obscure.” – Rating: B-
Q – 4 Stars – Excellent – Included in Q’s list of the Fifty Best Albums of 1990.
Reflex – “..thoroughly enjoyable, socially-awakening entertainment”
Feist – Let It Die
Posted by Sam on July 24th, 2010
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LET IT DIE with an almost voyeuristic atmosphere, akin to hearing someone singing herself to sleep. On the bluesy spiritual “Lonely Lonely,” rhythmic handclaps and sparsely picked guitar accompany Feist’s haunting lilt, invoking the ghosts of Appalachia, while the Bee Gees’ “Love You Inside Out” (here titled “Inside and Out”) is set to an up-tempo disco beat. Feist’s vocal agility enables her to sing straight French cabaret on “Tout Doucement” and smooth, soulful jazz on “Gatekeeper.” The song that will make the tears fall, though, is the 1930s-esque, cinematic piano ballad “Now at Last,” in which Feist dreamily sings “What makes winters lonely?/Now at last I know.”
Tracklisting
1. Gatekeeper
2. Mushaboom
3. Let It Die
4. One Evening
5. Leisure Suite
6. Lonely Lonely
7. When I Was a Young Girl
8. Secret Heart
9. Inside and Out
10. Tout Doucement
11. Now at Last
12. Amourissima
13. Amour Ne Dure Pas Toujours
Professional Reviews
Entertainment Weekly (No. 819, p.88) – “Sly folkie, slow-jazz seductress, sparkling pop pixie–[Feist's] kaleidoscopic talents shift almost as constantly as her attention…” – Grade: A-
Magnet (p.92) – “LET IT DIE brims with sweet melodies, gentle bossa-nova/folk tendencies and polite electronics.”
CMJ (No. 910, p.4) – “[Feist] makes lovely music stripped of trends and obvious cues, channeling dashes of Billie Holiday and all that old-school jazz…”
The Horrors – Primary Colours
Posted by Sam on July 22nd, 2010
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Until PRIMARY COLOURS’ “Who Can Say,” it’s unclear if the Horrors planned on reverting back to their Cramps-influenced garage-goth. Up until that point, it’s all Bauhaus goth-meets-second-wave shoegaze. But the British upstarts have every right to add a wrinkle or two, and taken on its own, PRIMARY COLOURS is a vicious little slab of agit-noise, even if indebted to influences like My Bloody Valentine and Love & Rockets. Singer Faris Badwan carries the group through dissonant rippers like “New Ice Age,” sounding like a human megaphone of misanthropy. COLOURS will surprise fans of their earlier EPs, but is ultimately a more mature and evocative release.
Tracklisting
1. Mirror’s Image
2. Three Decades
3. Who Can Say
4. Do You Remember
5. New Ice Age
6. Scarlet Fields
7. I Only Think of You
8. I Can’t Control Myself
9. Primary Colours
10. Sea Within a Sea
Professional Reviews
Q (Magazine) (p.q) – 4 stars out of 5 — “Like epic closer ‘Sea Within A Sea,’ which plunges joyously into the unknown, this euphoric phantasmagoria might just alter your reality.”
Pitchfork (Website) – “The Horrors’ shoegazer makeover aside, the real story here is Badwan’s growing confidence as a singer, and his willingness to sound more scared than scary.”
Record Collector (magazine) (p.90) – 4 stars out of 5 — “The eight-minute closer, ‘Sea Within A Sea,’ is easily the best thing here, switching from a Silver Apples drone to something very close to Portishead’s own ‘The Rip,’ without ever feeling overlong…”
The Drones – Havilah
Posted by Sam on July 21st, 2010
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Australian punk-blues act the Drones clearly worship at the altar of fellow Aussies like the Birthday Party, Nick Cave & the Bad Seeds, the Triffids, and the Scientists, all of whom blazed the musical trail the Drones follow. But HAVILAH proves that the Drones are no mere slavish copycats: their take on this brand of dark, sludgy blues rock is awash in noisy desperation and the mortal dread in singer-guitarist Gareth Liddiard’s heavy-lidded delivery. Powerful, cathartic, and exciting.
Tracklisting
1. Nail It Down
2. Minotaur
3. Drifting Housewife
4. I Am the Supercargo
5. Careful As You Go
6. Oh My
7. Cold and Sober
8. Luck in Odd Numbers
9. Penumbra
10. Your Acting’s Like the End of the World
Professional Reviews
Spin (p.79) – “Sidewinding bass lines and slashing guitar help pull together ballads of marital woe, epic rock-outs, and rousing takes on regret.”
Mojo (Publisher) (p.110) – 4 stars out of 5 — “[T]his cleaner-sounding set finds the quartet’s elemental power now yielding to poise, their speaker-bleeding blues and jagged riffs leavened by folk shimmer and country jangle.”
Pitchfork (Website) – “[T]he Drones are a high-velocity garage-blues act — something Gun Club with punk swapped out for capital-H hard rock.”
Kaiser Chiefs – Off With Their Heads
Posted by Sam on July 21st, 2010
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Less than two years after the release of their 2007 sophomore album, YOURS TRULY, ANGRY MOB, the Britpop act Kaiser Chiefs shook off that record’s lukewarm reception and issued the fine back-to-the-drawing-board outing OFF WITH THEIR HEADS. Aiding the band in their sonic shift is in-demand producer Mark Ronson, who gives HEADS an immediate and layered aesthetic much in the vein of his work with Amy Winehouse and Lily Allen. In fact, Ms. Allen, who has been known to cover the Chiefs, pops up on the Madness-like “Always Happens Like That,” one of the album’s high points, along with the driving, New Wave-tinged “Never Miss a Beat.”
Tracklisting
1. Spanish Metal
2. Never Miss a Beat
3. Like It Too Much
4. You Want History
5. Can’t Say What I Mean
6. Good Days Bad Days
7. Tomato in the Rain
8. Half the Truth
9. Always Happens Like That
10. Addicted to Drugs
11. Remember You’re a Girl
Professional Reviews
Rolling Stone (p.126) – 4 stars out of 5 — “OFF WITH THEIR HEADS is great British pop in the dynamic lethal-irony tradition of the mid-Sixties Kinks, the early Jam and, with that vintage-New Wave tone of Nick Baines’ keyboards, XTC’s 1979 album, DRUMS AND WIRES.”
Rolling Stone (p.91) – Ranked #21 in Rolling Stone’s 50 Best Albums Of 2008 — “[With] ingenious hooks and irresistible surge…”
Alternative Press (p.146) – 4 stars out of 5 — “‘Addicted To Drugs’ is brilliant, from its cheeky quotes of Robert Palmer’s ‘Addicted To Love’ to Wilson’s darkly comic portrayal of junkies in love.”
Mojo (Publisher) (p.104) – 3 stars out of 5 — “[T]heir third album is again packed with the sort of boisterous melodies and niggling synth-hooks that can top charts and fill stadiums.”
Clash (magazine) (p.121) – “‘Half The Truth’ somehow pulls off a charming Blackpool pier sound and even concludes with a little unexpected grime.”
Uncut (magazine) – 4 stars out of 5 — “The album opens with the incendiary ‘Spanish Metal,’ a riot of sludgecore guitars and medieval harmonies, and continues with ‘Like It Too Much’…”
Grateful Dead – American Beauty
Posted by Sam on July 19th, 2010
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AMERICAN BEAUTY was an instant classic when it was first released November of 1970. It is among the most satisfying and enduring of the Grateful Dead’s studio recordings, expanding as it does on the engaging mix of country, blues, and folk materials they first coined earlier in the year with WORKINGMAN’S DEAD.
The musical vision of the Dead is more sharply focused on AMERICAN BEAUTY–from the serene reflection and compassion of the opening “Box Of Rain” and the earthy mysticism of “Ripple,” to the sensual rock of “Sugar Magnolia” and the anthemic proto-boogie of the closing “Truckin’.” But then, every tune on AMERICAN BEAUTY has attained a classic resonance, both from decades of steady airplay, and the way the Dead seemed to continually revive these popular standards for their concert repertoire.
Also available with WORKINGMAN’S DEAD on one cassette.
Tracklisting
1. Bohemian Rhapsody
2. Friend of the Devil
3. Sugar Magnolia
4. Operator
5. Candyman
6. Ripple
7. Brokedown Palace
8. Till the Morning Comes
9. Attics of My Life
10. Truckin’
Professional Reviews
Rolling Stone (12/24/70, p.52) – “…the album is American beauty of the best possible kind….A complete contentment shines through the vocal work….The instrumentation is rich with sound that moves through, under and into the listener…”
Mojo (Publisher) (p.153) – “It’s a near perfect set of songs, most becoming mainstays of their repertoire.”
Roxy Music – Avalon
Posted by Sam on July 19th, 2010
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From 1975’s SIREN through the rest of Roxy Music’s albums and his concurrent solo work, Bryan Ferry was leading up to AVALON. The last Roxy Music studio album (it was followed by numerous collections, both live and otherwise), it is the perfect culmination of Ferry’s constant striving for the ultimate sophistication. On AVALON, the styles that the band had explored in the past–funk, jazz, and rock–come together to create a texture of remarkable subtlety. The title track is Ferry’s finest moment. His suave voice turns the romance all the way up, while the band plays in a smooth, light jazz-funk groove and guitar notes shimmer like the sun on water.
“While My Heart is Still Beating” features Andy Mackay’s saxophone drifting in around Phil Manzanera’s languid guitar lines. “True to Life,” a ballad shot through with reverberation, is the kind of song aching to be played late at night with the lights off. From the almost jaw-dropping elegance of the opening track, “More Than This,” to the closing “Tara,” a sparse, evocative instrumental, AVALON is Roxy Music’s masterpiece.
Tracklisting
1. More Than This
2. Space Between, The
3. Avalon
4. India
5. While My Heart Is Still Beating
6. Main Thing, The
7. Take a Chance with Me
8. To Turn You On
9. True to Life
10. Tara
Professional Reviews
Rolling Stone (11/89) – Ranked # 31 in Rolling Stone’s “100 Best Albums Of The Eighties” survey.
Q (12/99, p.158) – 4 stars out of 5 – “…A demi-monde of exhausted, ruined glamour is conjured by the title track….AVALON is their weary goodbye and as a farewell letter from a national treasure, it’s a bittersweet treat.”
Uncut (9/03, p.126) – 4 stars out of 5 – “…The sounds on this, the biggest-selling album of their career, are as avant-garde as anything they’d ever done, just more subtle…”
Mojo (Publisher) (1/00, p.108) – “…a coherent piece of work with a high strike rate….sparkling pop…”
Mojo (Publisher) (9/03, p.123) – 4 stars out of 5 – “…AVALON, in its indistinct beauty, said everything Ferry needed to say about sophisticated pop for grown-ups…”
Bruce Springsteen – Born in the USA
Posted by Sam on July 17th, 2010
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It’s almost hard to believe now that for the first decade of his career Bruce Springsteen was a gigantic cult artist; a musician who could sell a couple of million records and fill hockey rinks, but who was was no more likely than Elvis Costello to get airplay on pop radio.
BORN IN THE USA was the album on which he flexed his muscles (literally) and changed all that. With song titles and choruses that seemed to reflect all that was good and strong in America, belying songs that were about everything that was going wrong, BORN IN THE USA was one of those cultural events that resonated with just about everybody–from both Republican and Democratic politicians, to Vietnam veterans (the title-track was a brutal account of a vet’s homecoming), to social critics who found layers of meaning in these tales of disillusioned America, to dance-music DJs who found palpable beats in the dark passions of “Dancing In The Dark” and “Cover Me,” to fist-raising pop fans who turned seven of these songs into top-10 singles and kept BORN IN THE USA in a year-long battle for the top spot on the album chart. It was as if no other album mattered that year.
Musically, BORN IN THE USA was as lean and muscular as Springsteen himself, trading in the E Street Band’s over-the-top saxophone-and-piano sound of old for a sleeker, forward-driving guitar-and-synthesizer feel (foreshadowing a future in which long-time sax sidekick Clarence Clemons would be gone, and mild-mannered pianist/synth-player Roy Bittan would emerge as a full-blown collaborator). Continuing in the vein of NEBRASKA, the songs were plainspoken, folk-derived tunes, although this time they leapt into big, sing-along choruses. And, seemingly, the whole world sang along.
Tracklisting
1. Born in the U.S.A.
2. Cover Me
3. Darlington County
4. Working On the Highway
5. Downbound Train
6. Im On Fire
7. No Surrender
8. Bobby Jean
9. Im Goin Down
10. Glory Days
11. Dancing in the Dark
12. My Hometown
Professional Reviews
Rolling Stone (12/11/03, p.116) – Ranked #85 in Rolling Stone’s “500 Greatest Albums Of All Time”
Rolling Stone (11/89) – Ranked #6 in Rolling Stone’s “100 Best Albums Of The Eighties” survey.
CMJ (1/5/04, p.14) – Ranked #7 in CMJ’s “Top 20 Most-Played Albums of 1984″
