lunes, septiembre 30, 2024
Primicia: Beaches
domingo, septiembre 29, 2024
New Music: Mirrors
New Music: Not Now Kids
viernes, septiembre 27, 2024
New Music: Lights Camera Action
New Music: The Lighthouse
New Music: Ejército De Salvación
Rocktrospectiva: The Engaging "Antics" Turns 20
Rocktrospectiva: The Wonderfully Synth Album "Forever Young" Turns 40
Rocktrospectiva: The Melancholic "Spring Hill Fair" Turns 40
jueves, septiembre 26, 2024
The Re-Issue: Thompson Twins's "Into The Gap" 40th Anniversary Edition
The album stands as one of the band's most successful albums, emblematic of the synth-pop era's peak. The album features hit singles like ‘Hold Me Now,’ ‘Doctor! Doctor!,’ and ‘You Take Me Up,’ which highlighted the band's knack for creating catchy, synth-driven pop tunes. At the time, Thompson Twins were a leading force in the new wave movement, and the album peaked at number one on the UK Albums Chart and selling over 1 million copies in the US. The album's success was bolstered by the rise of MTV, where the band's visually striking music videos played a crucial role in their global appeal. "Into the Gap" encapsulated the spirit of 1980s pop culture, combining innovative sound with a strong visual identity, making it a defining record of the decade.
Both physical formats feature digitally restored artwork and new liner notes, written by John Earls and features contributions from all three band members. The LP format, on desirable red vinyl, lovingly recreates the original release, complete with fold-out insert; the triple CD format includes 30 bonus tracks, 12 of which are previously unreleased and a 24-page booklet.
"Into The Gap" was the Thompson Twins’ fourth album and their second as a three-piece of Tom Bailey, Alannah Currie and Joe Leeway. Like its predecessor, Quick Step & Side Kick, it was co-produced by the much missed Alex Sadkin.
There are three formats of the 40th anniversary of Into The Gap on offer: a 3CD deluxe with 30 bonus tracks, a red vinyl remaster (album-only) and the SDE-exclusive blu-ray. I’m pleased to say that the blu-ray includes all 30 bonus tracks in stereo (cassette mixes, single edits, B-sides, 12″ mixes) as well as offering the 1984 album in the following streams:
- David Kosten 2024 Dolby Atmos Mix (48/24)
- David Kosten 2024 5.1 Mix (96/24)
- David Kosten 2024 Stereo Mix (96/24)
- David Kosten 2024 Dolby Atmos Instrumental Mix (96/24)
- David Kosten 2024 5.1 Instrumental Mix (96/24)
- 2024 Stereo Remaster (by Frank Arkwright) (96/24)
- 1984 Original Stereo Mix (48/24)
1. Doctor! Doctor! (2024 Remaster)
2. You Take Me Up (2024 Remaster)
3. Hold Me Now (2024 Remaster)
4. Day After Day (2024 Remaster)
5. No Peace For The Wicked (2024 Remaster)
6. The Gap (2024 Remaster)
7. Sister of Mercy (2024 Remaster)
8. Storm On The Sea (2024 Remaster)
9. Who Can Stop The Rain (2024 Remaster)
10. Let Loving Start**
11. Nurse Shark (Instrumental)
12. Out Of The Gap**
13. Passion Planet
14. You Take Me Up (Instrumental Remix)
15. Doctor! Doctor! (Phil Thornalley Mix)
Disc 2
1. Leopard Ray
2. Doctor! Doctor! (Cassette Mix Version)
3. Panic Station (Day After Day)
4. Down Tools
5. Hold Me Now (Cassette Mix Version)
6. Funeral Dance (No Peace For The Wicked)
7. Compass Points (The Gap)
8. Still Water (Storm On The Sea) (Edit)
9. Hold Me Now (Pete Hammond Mix)**
10. Sister Of Mercy (Pete Hammond Mix)**
11. Doctor! Doctor! (Single Edit)**
12. Doctor! Doctor! (Edit)**
13. Sister Of Mercy (Single Mix)**
14. You Take Me Up (Single Edit)**
15. The Gap (Single Mix AKA AOR Mix)**
Disc 3
1. Hold Me Now (Phil Thornalley Extended)**
2. Hold Me Now (Pete Hammond Extended Mix)**
3. Let Loving Start (12" Version)
4. Out Of The Gap (Megamix Extended Version)
5. Sister Of Mercy (12" Version)
6. Sister Of Mercy (Pete Hammond Extended Mix)**
7. The Gap (Club Remix Version)**
8. You Take Me Up (Machines Take Me Over) (12" Version)
9. You Take Me Up (High Plains Mixer) (US 12" Remix)
** Denotes previously unreleased and new to CD
New Music: Alone
New Music: The Unloving Plum
Rocktrospectiva: The Rare And Fan Only "My Iron Lung EP" Turns 30
Rocktrospectiva: The Definitive "Protection" Turns 30
New Music: Ready To Go Home
Rocktrospectiva: The Noisy And Heavy "Monster" Turns 30
Released on 26 September 1994, "Monster" was the ninth studio album by American indie rock band R.E.M., produced by Scott Litt, the album was an intentional shift from the style of their previous two albums, Out of Time and Automatic for the People, by introducing loud, distorted guitar tones and simple lyrics. The album spawned four singles "What's The Frequency, Kenneth?", "Bang And Blame", "Crush With Eyeliner", "Strange Currencies", & "Tongue".
Recorded in early 1993, pre-production took place at Kingsway Studio in New Orleans under the supervision of Mark Howard, guitarist Peter Buck said that the band wrote 45 songs, including "a whole album's worth of acoustic stuff" which they demoed.According to Howard, the sessions were experimental. The sessions were hampered by several events, including Berry and bassist Mike Mills falling ill on separate occasions, Buck and Stipe leaving to visit family members and the deaths of Stipe's friends, as Kurt Cobain and actor River Phoenix, the band wrote and recorded "Let Me In" in tribute to Cobain and dedicated the album to Phoenix, whose sister Rain provided background vocals on "Bang And Blame".
Unlike R.E.M.'s previous two albums, Monster incorporated distorted guitar tones, minimal overdubs, and touches of 1970s glam rock. Peter Buck described the album as "a 'rock' record, with the 'rock' in quotation marks." He explained, "That's not what we started out to make, but that's certainly how it turned out to be. Mike Mills said: on past albums we had been exploring acoustic instruments, trying to use the piano and mandolin, and we did it about all we wanted to do it. And you come back to the fact that playing loud electric-guitar music is about as fun as music can be. Stipe's vocals were pushed down in the mix. Buck's guitar work on the album was inspired by the tremolo-heavy guitar playing of Glen Johansson of Echobelly, who supported R.E.M. on some of the Monster Tour. The album's music has been described as grunge, alternative rock, and glam rock.
The cover art features a blurred drawing of a bear's head against an orange background. The concept originated when Stipe showed cover artist Chris Bilheimer a balloon he wanted to use as the album cover and told him to play around with. Bilheimer changed the color of the balloon (which was originally green), and re-photographed the bear head. When he was down to the last few frames on a roll of film, he took a few photos without bothering to focus the shots, which he and Stipe ended up liking the best.
Rocktrospectiva: The Rhytmical And Stronger "Big Trash" Turns 35
miércoles, septiembre 25, 2024
Rocktrospectiva: The Masterpiece "The Seeds Of Love" Turns 35
martes, septiembre 24, 2024
New Music: Speyside
Rocktrospectiva: The Epic Live Album "Stop Making Sense" Turns 40
Released on September 1984 "Stop Making Sense" was a live album to accompanied the epic concert film of the same name byhe Americ tan indie rock band Talking Heads, it features nine tracks from the film, albeit with treatment and editing. The album spent over two years on the Billboard 200 chart. It was their first album to be distributed by EMI outside North America.
Rocktrospectiva: The Remarkable And Developped "Some Great Reward" Turns 40
Rocktrospectiva: The Fairly Decent "Tonight" Turns 40
The music has been characterised as pop, blue-eyed soul, dance and rock. Much of the album's sound is the same as its predecessor's, due to Bowie's effort to retain the new audience that he had recently attracted, although some tracks contain R&B and reggae influences. Devoid of new ideas from touring, Bowie wrote only two new songs himself. Three songs, including the title track, were covers of Iggy Pop songs, who was present during most of the sessions and co-wrote two tracks. The title track is a duet with singer Tina Turner. The artwork, featuring Bowie blue-painted against an oil painting backdrop, was designed by Mick Haggerty.
The album was a commercial success due the singles "Blue Jean", "Tonight" and "Loving the Alien", Tonight was a commercial success, reaching number one on the UK Albums Chart, unfortunately the critical reception was poor, with most finding a lack of creativity, due of that, Bowie felt this album wasn't one of this stronger efforts, despite its success, Bowie found himself at a creative stalemate; he realised he no longer knew his audience and later admitted that touring left him devoid of new ideas.
The process wasn't rushed althought it took five weeks, two more than "Let's Dance" recordings, because according to Bowie, there wasn't so much of my writing, during the tour, I hadn't assembled anything to put out, one of the album's major contributors was Iggy Pop, who later said:
"There's a lot more work there than is reflected in just the simple
co-writing credit for two songs and some of the old stuff. The two's new collaborations resulted in "Tumble and Twirl" and "Dancing with the Big Boys".
The album features a guest appearance from singer Tina Turner, who sings a duet with Bowie on the title track, "Tonight". Padgham hated many of the songs, specifically the "too poppy" "Blue Jean" and "Tonight", preferring the "more left-field" compositions that were left off the final album.
The album starts with "Loving the Alien" a very personal bit of writing that he did not feel fitted in with the rest of the album because it is such a dark song amidst lighter fare. Alomar thought the song concerned the Major Tom character from 1969's "Space Oddity", a claim Bowie rejected. The lyrics are religious and politically charged, next one is Bowie's rendition of "God Only Knows" incorporates strings and saxophone, and he sings his vocal in a croo, but is considered one of the worst recordings ever done by Bowie, the reworking of "Don't Look Down" is influenced by reggae music. Bowie had attempted it in different ways, including jazz rock, march and ska, eventually settling on reggae. For "Tonight", Bowie eliminated Pop's original spoken word introduction, believing it an "idiosyncratic thing of Pop's that it seemed not part of my vocabulary", his cover, a duet with Tina Turner, is reggae-influenced; her vocals are placed low in the mix.
The second part starts with "Neighborhood Threat" features a heavier guitar sound than Pop's original, although Pegg says that Bowie's version lacks the original's "doom-laden percussion and wall-of-sound atmospherics". "Blue Jean" is generally viewed as the best song on the album, it is an "uptempo throwback" to 1950s and 1960s artists, particularly Eddie Cochran, next one is "Tumble and Twirl" recounts Bowie and Pop's exploits while holidaying in Bali and Java at the conclusion of the Serious Moonlight Tour. On the cover of "I Keep Forgettin'", Bowie said at the time that he "always wanted to do that song", and finally "Dancing with the Big Boys" is, according to Bowie, about the "little guy" being crushed by "oppressive corporate structures".