Beat Happening's final LP is also their best: concluding the emotional and musical progression begun with the minimalist innocence of their earliest work, You Turn Me On is a mature record of tremendous breadth and complexity. Where once the trio's songs were brief and bouncy, the nine tracks here are epic (several top out at over six minutes) and ambitious; produced in part by ex-Young Marble Giant Stuart Moxham (an obvious influence), the record's full, deep sound belies its bare-bones performances -- "Teenage Caveman" sports booming, primal drums perfectly suited to its title, while the propulsive "Noise" manufactures the illusion of a bassline where none ever existed. The most democratic record in an output founded on egalitarian ideals, You Turn Me On offers Heather Lewis' strongest songs ever -- her hypnotic nine-minute "Godsend" is the LP's heart and soul -- and she and Calvin Johnson even trade verses on the closing "Bury the Hammer." As for Calvin himself, his solo contributions are exceptional -- the spartan opener "Tiger Trap" is an evocative heartbreaker, and the title track is a fire-breathing corker. A masterpiece. Source: [AMG]
Beat Happening - Tiger Trap
Track Listing 1. Tiger Trap 2. Noise 3. Pinebox Derby 4. Teenage Caveman 5. Sleepy Head 6. You Turn Me On 7. Godsend 8. Hey Day 9. Bury the Hammer
The Black Soul Gentlemen bootleg offers an okay radio broadcast from an Italian show during the Afghan Whigs' Gentlemen tour. The performance is decent, if a bit somewhat meandering, which pretty much comes with the territory of most Whigs shows. Singer/guitarist Greg Dulli injects enough barbs from to keep things interesting in lieu of the mediocre recording. Battling a language barrier and introducing "Retarded" to an inactive crowd, he muses, "This song is from our first record called Up in It. You ever heard of it...on Sub Pop? Does anybody care? No? Okay." Quality-wise, there's an uneven emphasis between the guitars of Dulli and Rick McCollum, and John Curley's bass gets completely lost from time to time. A major deciding factor in the purchase of Whigs' bootlegs is the covers; on most occasions, the track listings provide no indication of what they might be, since the Whigs often incorporated verses and snippets into their own material. Add uninformed bootleggers to the pot, and there you have the lack of info. Such is the case here. A fair amount of the lyrics to the Spinners' "I'll Be Around" is tucked inside of a breakdown during "Turn on the Water." Lyrics from Prince's "When Doves Cry" gets mixed into a nine-minute version of "You My Flower." And to a much lesser extent, Dulli throws in a couple lines from Dr. Dre's "Nuthin' but a 'G' Thang" during the Supremes' "My World Is Empty Without You," as well as Madonna's hop-to-it snips from "Into the Groove" and "Express Yourself" during a rip-roaring "Miles Iz Ded." As far as the overall set list is considered, it's favored toward Gentlemen, with a fair amount of attention paid to the records that preceded it. Source: [AMG]
The Afghan Whigs - Gentlemen
Track Listing 1. If I Were Going 2. Debonair 3. Turn on the Water 4. Gentlemen 5. Be Sweet 6. My World Is Empty Without You 7. When We Two Parted 8. Retarded Dulli 9. Fountain and Fairfax 10. Come See About Me 11. You My Flower 12. What Jail Is Like 13. Tonight 14. Miles Iz Ded
Put Sleepy Eyed in your CD player, hit play, and prepare to be amazed -- "Tangerine," the lead-off cut, signals the brief but welcome return of "Dinosaur Jr. Jr." with two-and-three-quarters minutes of charging neo-grunge guitars and galloping drums, the likes of which you haven't heard from this band since Birdbrain. But, of course, Buffalo Tom sound a lot tighter, stronger, and more confident when they dig into the big shaggy dog rock than they did five years previous, and while they never get quite as rollicking as "Tangerine" again on Sleepy Eyed, cut for cut it's a far more direct and straightforward rock album than anything they'd managed since their creative breakthrough on Let Me Come Over. To some listeners, Sleepy Eyed might sound like a regression, moving back into noisy power trio mode after the more polished surfaces and intricate arrangements of Let Me Come Over and Big Red Letter Day, but play Sleepy Eyed back to back with Birdbrain and you'll be pleasantly surprised by the differences. Sleepy Eyed decisively proves Buffalo Tom write better hooks and better melodies, write smarter lyrics, and even rock harder than when they were still trying to find their way out from under J. Mascis' shadow, and they sound like they're having a great time just turning up the amps and letting rip, especially Bill Janovitz, whose rock-dude guitar outros are a hoot (and this is one band who I cannot begrudge for enjoying themselves every once in a while). On Sleepy Eyed, Buffalo Tom go back to the old neighborhood and show everybody how much bigger and stronger they've become -- it's sorta like a high school reunion, but louder and a lot more fun. Source: [AMG]
Buffalo Tom - Summer
Track Listing 1. Tangerine 2. Summer 3. Kitchen Door 4. Rules 5. It's You 6. When You Discover 7. Sunday Night 8. Your Stripes 9. Sparklers 10. Clobberred 11. Sundress 12. Twenty-Points 13. Souvenir 14. Crueler
On their third release, 1995's Yes, Morphineshied away from the more accessible direction they laid down on 1994's superb Cure for Pain, going for a more challenging (but just as rewarding) direction. While the singles/videos "Honey White" and "Super Sex" did contain a pop edge (and were the album's best), other tracks, such as "The Jury" and "Sharks" pushed the envelope by containing lyrics that sound as if they're stream of consciousness. Like its predecessor, it's a highly consistent album -- even the lesser-known tracks are integral to the album's overall makeup. "Scratch," "All Your Way," "I Had My Chance," "Free Love," and "Gone for Good" all sound like the observations of a broken-down man, steeped in despair. But the mood lightens up on such selections as "Radar" and the title track, plus the aforementioned singles. With nearly all alt-rock bands sounding identical and bashing angrily away at their instruments in 1995, Morphineproved to be in a league all by themselves. Yesis perhaps just a shade less spectacular than Cure for Pain, but certainly not by much. Source: [AMG]
Morphine - Honey White
Track Listing 1. Honey White 2. Scratch 3. Radar 4. Whisper 5. Yes 6. All Your Way 7. Super Sex 8. I Had a Chance 9. The Jury 10. Sharks 11. Free Love 12. Gone for Good
"Who's Gonna Ride Your Wild Horses" began as a demo that the band recorded at STS Studios in 1990. The band worked on it during the formal Achtung Baby sessions, including several failed attempts at Hansa Studios in Berlin. This produced several versions of the song and about a dozenmixes. However, the original demo remained their preferred version. Producer Jimmy Iovine, in particular, expressed his preference for the demo version when lead vocalist Bono played it for him. During the group's time recording in Dublin in 1991, producer Steve Lillywhite was brought on to provide a "fresh pair of ears" and mix the song. The album version most closely resembles the original demo.
Lillywhite recalls that, "They hated that song. I spent a month on it and I still don't think it was as realised as it could've been. The Americans had heard it and said, 'That's your radio song there', because they were having trouble with some of the more industrial elements [of the album]. It's almost like a covers band doing a U2 moment. Maybe we tried too hard." Bono said, "It's a song I feel we didn't quite nail on the record because there was another whole set of lyrics that were dumped and I wrote those quickly and off we went." The band later released an alternately arranged "Temple Bar Remix" as the single, the version of the song they most prefer. The band also has claimed they find the song difficult to perform in concert. Bassist Adam Clayton said, "It's a great torch song, with melody and emotion, but I don't think we ever captured it again and we have never really been able to play the song live."
Single release When the covers to "Even Better Than the Real Thing", "The Fly", "Who's Gonna Ride Your Wild Horses", and "Mysterious Ways" are arranged, a picture of the band members driving a Trabant is formed. The single included Bono's solo version of Can't Help Falling in Love, which was recorded in STS studios in Dublin on 29 June 1992 for the movieHoneymoon in Vegas. Source: [Wikipedia]
U2 - Who's Gonna Ride Your Wild Horses
Track Listing 1. WHO'S Gonna Ride Your WILD HORSES (Temple bar edit) 2. Paint it BLACK 3. SALOMÉ (Zooromancer remix) 4. CAN'T help falling in LOVE (Triple peaks Remix)
Loops of Fury is a non-album EP from The Chemical Brothers in 1996. It reached #13 on the UK charts. It stayed for one week. The title track exemplifies the squelching synth lines and hard-hitting drums that became the Chemical Brothers' sound of the late 1990s and would be the blueprint of their tracks for years to come. It was used in the PlayStation game wipE’out 2097 and appeared on the accompanying wipE’out 2097 Soundtrack album. It was also included on the bonus disc of Singles 93-03, and as a B-side to the Japanese edition of “Setting Sun”. "Get Up On It Like This" was included in a reworked form on the subsequent album Dig Your Own Hole. Source: [Wikipedia]
The Chemical Brothers - Chemical Beats
Track Listing 1. Loops of Fury 2. (The Best Part of) Breaking Up 3. Get Up on It Like This 4. Chemical Beats (Dave Clarke Remix)
This is the album that rocketed the Wannadies to stardom internationally. Thanks to start-stop dynamics of the romantic power-pop single "You and Me Song," the band managed to find success on both sides of the Atlantic; in the U.K. the song hit the charts at the height of the Brit-pop movement and in the U.S. (where this album was never released) the song was featured in a prominent scene of the movie Romeo and Juliet. The magic of this album doesn't stop there, though. In fact, "Be a Girl" is a tour de force that lasts throughout the album's entire 11 tracks. Beside "You and Me Song," there's "Might Be Stars," another huge U.K. hit that is, without a doubt, one of the best songs ever written about being a rock star. Other highlights include the pure-pop mania of "Love in June" and "New World Record," a punchy, loud, arena-ready stomper. The guitars are noticeably louder on this disc, and the pace barely relents before "Kid," a gut-wrenching power-ballad, sends the listener away wanting another 11 tracks. This is classic Brit-pop from beginning to end -- a life-affirming album that reminds us why rock & roll is so great. (The Japanese version of this album contains a bonus track titled "Oh Oh Let's Go," which is a fine addition to the disc, but the cost is somewhat prohibitive). Source: [AMG]
The Wannadies - You And Me Song
Track Listing 1. You and Me Song 2. Might Be Stars 3. Love in June 4. How Does It Feel? 5. Sweet Nymphet 6. New World Record 7. Dying for More 8. Soon You're Dead 9. Do It All the Time 10. Dreamy Wednesdays 11. Kid
Again working with Alan Moulder but now also using a live drummer on most tracks -- namely Monti from Curve, one of the Mary Chain's many descendants -- the Reids came back strong with Honey's Dead, on balance a more consistent and satisfying record than Automatic. There's a sense of greater creativity with the arrangements, while the balance between blasting static rampage and precise, almost clinical delivery is the finest yet, making the album as a whole the best straight-through listen since Psychocandy. Monti's drumming finally replaces Bobby Gillespie's properly; he's a much more talented musician than the Primal Scream overlord, using the warped funk hits familiar from Curve's work to the Mary Chain's advantage. Even the drum machine-driven cuts work better than before, especially the brilliant, coruscating opener, "Reverence." Burning with some of the best nails-on-chalkboard feedback the band had yet recorded, combined with a whipsmart sharp breakbeat, all it took was the finishing touch of Jim Reid's sneering lines like "I wanna die like Jesus Christ" to make it another stone-cold classic single from the band. Other winners include "Sugar Ray," with beats and melody so immediate and addictive the track was actually used for a beer commercial, of all things, and the steady slap and crunch of "Good for My Soul." If there's a danger in Honey's Dead, it's that the near bottomless pit of reworked melodies and lyrics had almost reached its end -- even the final track, "Frequency," combines both "Reverence" itself with the Modern Lovers' "Roadrunner" -- which made the stylistic shift on Stoned & Dethroned a logical follow-up. William and Jim Reid split all the vocals almost evenly, the former especially shining on the nearly gentle "Almost Gold," the closest the record comes to a sweet ballad. Source: [AMG]
The Jesus And Mary Chain - Reverence
Track Listing 1. Reverence 2. Teenage Lust 3. Far Gone and Out 4. Almost Gold 5. Sugar Ray 6. Tumbledown 7. Catchfire 8. Good for My Soul 9. Rollercoaster 10. I Can't Get Enough 11. Sundown 12. Frequency
As he was promoting the last Sugar album, File Under: Easy Listening, Bob Mould hinted that he was tired of working with a band and was fascinated by the simple, four-track recordings of Sebadoh and Guided by Voices. So, it didn't come as a complete surprise when he disbanded Sugar a year after the release of FU:EL and began working on a record by himself. Bob Mould, his third solo album, was recorded entirely by Mould, but it doesn't sound like a lo-fi project -- it doesn't have the professional production of Sugar's records, but it has all their sonic detail. What has changed is the details themselves. Bob Mould may not surge on waves of loud guitars like Hüsker Dü or Sugar, but Mould is reaching into new territory, using distortion as a coloring device and exploring trancier melodies. And Mould sounds revitalized throughout the album -- although it is clear that this isn't a collection of first-takes, his obsession with making the album entirely on his own makes the music fierce and alive. Mould may be heading further into singer/songwriter territory with each album he releases, but he keeps his music away from stodginess by continually changing his approach and delving into new sonic territories. It also doesn't hurt that his increasingly bitter lyrics are gut-wrenchingly provocative and his melodies are consistently engaging. Source: [AMG]
Bob Mould - Egøverride
Track Listing 1. Anymore Time Between 2. I Hate Alternative Rock 3. Fort Knox, King Solomon 4. Next Time That You Leave 5. Egoverride 6. Thumbtack 7. Hair Stew 8. Deep Karma Canyon 9. Art Crisis 10. Roll over and Die
Having found himself back in the commercial limelight with Gorgeous George, Collins followed it up with the equally -- possibly even more -- delightful I'm Not Following You. Trademark wit blended with passion intact and with key sideplayers drummer Paul Cook and bassist Clare Kenny helping out among many others -- including a wonderfully scabrous vocal cameo by Mark E. Smith on the very disco "Seventies Night" -- Collins tries all sorts of different things and more often than not comes up with the goods. "The Magic Piper (Of Love)" was the understandable lead single, catchy and with more than a little bite to it, drawing from finger-snapping hep-lounge Vegas sources and his own fun lyrics: "My girlfriend she got blotto/Half cut in Santa's grotto/It turns out he's a dirty old man." Add to that some just right flute and a clever brass sample that suddenly turns into an orchestrated sample from the Velvet Underground, and the man still has it. It's one of many joys throughout, with Collins showing a musical heterodoxy that would probably stupefy most other bands or acts. "Seventies Night," for example, is followed up by the sweet orchestration and quick acoustic fingerpicking of "No One Waved Goodbye," a regretful look at a relationship in pieces. There's full-on feedback and pounding drums, there's sly, compressed production touching quirky keyboards and Euro/cabaret arrangements, and even the self-explanatory Hammond-tinged "Country Rock." The hint of wistful nostalgia is often matched by the lyrics, with asides like "I'm going back to my old school/Cause to tell you the truth/All those songs of my youth/Move this old fool." Not many musicians so readily and easily allow for the hints of the passage of time. Leave it to Collins to find a number of ways to do just that. Source: [AMG]
Edwyn Collins - Adidas World
Track Listing 1. It's a Steal 2. The Magic Piper (Of Love) 3. Seventies Night 4. No One Wave d Goodbye 5. Downer 6. Who Is It? 7. Running Away With Myself 8. Country Rock 9. For the Rest of My Life 10. Superficial Cat 11. Adidas World 12. I'm Not Following You
Belle & Sebastian's second record, If You're Feeling Sinister, is, for all intents and purposes, really their first, since their debut in 1996 was not heard outside of privileged inner circles. And If You're Feeling Sinister really did have quite a bit of an impact upon its release in 1996, largely because during the first half of the '90s the whimsy and preciousness that had been an integral part of alternative music was suppressed by grunge. Whimsy and preciousness are an integral part of If You're Feeling Sinister, along with clever wit and gentle, intricate arrangements — a wonderful blend of the Smiths and Simon & Garfunkel, to be reductive. Even if it's firmly within the college, bed-sit tradition, and is unabashedly retrogressive, that gives Sinister a special, timeless character that's enhanced by Stuart Murdoch's wonderful, lively songwriting. Blessed with an impish sense of humor, a sly turn of phrase, and an alluringly fey voice, he gives this record a real sense of backbone, in that its humor is far more biting than the music appears and the music is far more substantial that it initially seems. Sinister plays like a great forgotten album, couched in '80s indie, '90s attitude, and '60s folk-pop. It's beautifully out of time, and even if other Belle & Sebastian albums sound like it, this is where they achieved a sense of grace. Source [AMG]
Belle And Sebastian - Me And The Major
Track Listing 1. The Stars of Track and Field 2. Seeing Other People 3. Me and the Major 4. Like Dylan in the Movies 5. The Fox in the Snow 6. Get Me Away from Here, I'm Dying 7. If You're Feeling Sinister 8. Mayfly 9. The Boy Done Wrong Again 10. Judy and the Dream of Horses
Playboy & Playgirl begins with the kind of collage-heavy imagined soundtrack that marked Happy End of the World; with that out of the way, they get back to the inspired, eclectic popcraft that is their strength. Hookier and more danceable than their previous album, this is a welcome return to songwriting for the dynamic duo. Think Burt Bacharach without the self-pity, with a smidgen of Motown and Stax. Keyboard timbres run the gamut of the Pizzicato imagination from faux-harpsichord to spacy funk. Singer Nomiya Maki puts her unpretentious stamp over everything from Sgt. Pepper's pomp to '60s R&B horns to symphonic dancefloor beats to introspective pastorals. While P5 may be in with the lounge crowd, they never feel superior to their cheesy predecessors; avoiding the sometimes smug, reactionary irony of the new exotica, Yasuharu Konishi's diverse influences are held together by his all-embracing love of the pop spectrum. A joyous record. [Note: Playboy & Playgirl was released in Japan in 1998 under the title The International Playboy & Playgirl Record; Matador's 1999 American release cuts the third track, "International Pizzicato Five Mansion," and substitutes "La Règle du Jeu" later in the album's running order.]. Source: [AMG]
Pizzicato Five - Playboy Playgirl
Track Listing 1. La Depression 2. Rolls Royce 3. A New Song 4. Week-End 5. Magic Twin Candle Tale 6. Concerto 7. Such a Beautiful Girl Like You 8. Playboy Playgirl 9. La Régle du Jeu 10. I Hear a Symphony 11. Drinking Wine 12. The Great Invitations 13. Stars
Definitely Maybe manages to encapsulate much of the best of British rock & roll — from the Beatles to the Stone Roses — in the space of 11 songs. Oasis' sound is louder and more guitar-oriented than any British band since the Sex Pistols, and the band is blessed with the excellent songwriting of Noel Gallagher. Gallagher writes perfect pop songs, offering a platform for his brother Liam's brash, snarling vocals. Not only does the band have melodies, but they have the capability to work a groove with more dexterity than most post-punk groups. But what makes Definitely Maybe so intoxicating is that it already resembles a greatest-hits album. From the swirling rush of "Rock 'n' Roll Star," through the sinewy "Shakermaker," to the heartbreaking "Live Forever," each song sounds like an instant classic. Source: [AMG]
Oasis - Live Forever
Track Listing 1. Rock 'N' Roll Star 2. Shakermaker 3. Live Forever 4. Up in the Sky 5. Columbia 6. Supersonic 7. Bring It on Down 8. Cigarettes & Alcohol 9. Digsy's Dinner 10. Slide Away 11. Married with Children
Junkie XL's debut is often more interesting in theory than in execution; as an attempt to combine rock and electronica on an equal basis, Saturday Teenage Kick is an admirable effort, but too often the ideas simply don't jell. Lacking the dense, complex production of acts like the Chemical Brothers or the Prodigy, the album never achieves the visceral power it's seeking -- it's too dance-oriented for rock listeners, and vice versa. Source: [AMG]
Junkie XL - Saturday Teenage Kick/Billy Club
Track Listing 1. Underachievers 2. Billy Club 3. No Remorse 4. Metrolike 5. X-Panding Limits 6. War 7. Saturday Teenage Kick 8. Dealing With the Roster 9. Fight 10. Melange 11. Def Beat 12. Future in Computer Hell
On Matthew Sweet's early-'90s power pop trilogy of Girlfriend, Altered Beast, and 100% Fun, Richard Lloyd's angular, unpredictable lead guitar functioned as a gritty counterpoint to Sweet's pretty melodies and tales of lost love, giving the music an unexpected depth. Sweet parted ways with Lloyd before he made Blue Sky on Mars, and his departure greatly affects the music. Without Lloyd, the songs are more predictable and the band, even with Brendan O'Brien's warm production, sounds rather canned. However, the music isn't the only thing hurting Blue Sky on Mars -- the songs themselves are considerably more uneven than before, lacking the effortless hooks of its three predecessors. Sweet manages to turn out a handful of good songs -- the swirling "Where Do You Get Love" has an infectious chorus, and "Come to California" has a sunny, Californian feel -- but the simple problem is that most of the songs are colorless, and that comes as a major disappointment after the inspired songcraft since Girlfriend.
Matthew Sweet - Where You Get Love
Track Listing 1. Come to California 2. Back to You 3. Where You Get Love 4. Hollow 5. Behind the Smile 6. Until You Break 7. Over It 8. Heaven and Earth 9. All over My Head 10. Into Your Drug 11. Make Believe 12. Missing Time
Buying time and thwarting bootleggers, Nirvana and DGC released the rarities compilation Incesticide toward the end of 1992. Like any odds'n'sods collection, this is uneven, but that's its charm since it captures Nirvana's character better than any official album. After all, this was a band that was born equally from '70s sludge metal, bubblegum pop, post-punk artiness, and indie rock inclusiveness, each of which are apparent on this collection. There are some non-entities here, particularly on the second side, but the plodding sub-metallic grind was part of their identity, one part of their multi-faceted character. Nirvana meant everything to everyone, from the jangle pop veterans to the garage rock ravers that worshipped the Stooges to stoner metal fetishes and indie rock bed-sits that adopted Sebadoh just as they outgrew Morrissey -- everybody loved Nirvana, and there's something for every kind fan here, thanks to murky sludge, Devo and Vaseline covers, BBC sessions, instrumentals, and limited-edition singles, plus sub-Melvins goop, everything visceral where Bleach was tame. Nevermind doesn't capture this freewheeling indie spirit but Incesticide does, piling on some essentials in the meantime -- the pummeling "Dive," the childhood snapshot "Sliver," the terrific forgotten indie pop tune "Been a Son," and "Aneurysm," perhaps the greatest single song the group ever recorded. Yeah, there's some filler here, but this is the sound of what Nirvana was actually like. Source: [AMG]
Nirvana - Aneurysm
Track Listing 1. Dive 2. Sliver 3. Stain 4. Been a Son 5. Turnaround 6. Molly's Lips 7. Son of a Gun 8. (New Wave) Polly 9. Beeswax 10. Downer 11. Mexican Seafood 12. Hairspray 13. Aero Zeppelin 14. Big Long Now 15. Aneurysm
Such is the evocative power of the humbly crafted toe-tappers that these Minneapolis popsters deliver.... The Vandalias high concept--a madcap band of cartoony heartthrobs bounce through zany adventures involving muscle vans and mini-skirts--is pure guile. But the music is so smartly composed and cheerfully presented, the whole shebang actually achieves an intoxicating celebration of teen-dom. Plus, it rocks wicked good. Source: [Amazon]
Track Listing 1. buzzbomb! 2. Big Red Catalina 2:33 3. Funky Monkey Baby (live) 4. Charity at Home 5. Hey Kari G 6. Anywhere You Go 7. Down 8. Say I'm Sorry 9. These Others 10. No One Told Him 11. The End of the World
No longer the brash, slightly grungy flavor of the month they were in 1992, Songs From Northern Britain finds Teenage Fanclub's trio of singer/songwriters -- Gerard Love, Raymond McGinley, and Norman Blake -- addressing adulthood and responsibility with a bright optimism that sets them apart from many of their contemporaries. From the cheeky yet heartfelt title to the gorgeous cover photographs taken by the band with photographer David Milne in the Scottish Highlands, Songs From Northern Britain is ostensibly a concept album about home and love. Much like the Byrds, the Eagles, and Crosby, Stills, Nash & Young identified themselves with Los Angeles and Topanga Canyon, Teenage Fanclub has become intrinsically linked to Glasgow and rural Scotland. On "Planets," Blake sings, "We're going over the country/And into the highlands/To look for a home." Similarly, on "I Don't Want Control of You," one of the most beautiful affirmations of fidelity in a relationship, Blake writes, "Everyday I look in a different face/Feelings getting stronger with every embrace." The overall effect is a feeling that the members of Teenage Fanclub are happy with who they are and who they love and see these notions as universal ideals. Musically, the album is more arranged than past releases and delves further into a folky, acoustic sound that fleshes out their Big Star fascination with some sweet harmonies à la the Byrds. There is even a slight bit of country twang mixed into these eminently hummable songs. This isn't to say that Teenage Fanclub has gone completely acoustic, though, as "Planets" features the sonic rush of a Moog synthesizer and fuzzy electric guitars rock pleasantly throughout much of the album. While Songs From Northern Britain may be too gentle and subtle for those listeners not willing to give it more than one spin, it is a resolutely beautiful album that will most likely stand as Teenage Fanclub's masterpiece. Source: [AMG]
Teenage Fanclub - I Don't Want Control Of You
Track Listing 1. Start Again 2. Ain't That Enough 3. Can't Feel My Soul 4. I Don't Want Control of You 5. Planets 6. It's a Bad World 7. Take the Long Way Round 8. Winter 9. I Don't Care 10. Mount Everest 11. Your Love Is the Place Where I Come From 12. Speed of Light
House of GVSB saw the band continuing its winning streak, and while arguably it contained no real surprises after the powerful one-two punch of Venus Luxure and Cruise Yourself, it still showed the quartet at the top of its considerable game. The Ted Niceley/Eli Janney partnership once again took charge with no worries, and every last drum hit or aggro bass roar makes its considerable mark. As with the previous albums, some tracks were the unquestioned high points, in this case the opening roar of "Super-Fire," with some of Scott McCloud's best guitar work ever, a controlled blast of riffs, and "TheKindaMzkYouLike," which gives everyone the chance to break out the funky fresh beats in their own style -- feedback and all. The overdubbed chorus of "I'm sinking fast!" followed by another McCloud feedback drone makes for one heck of a conclusion. There are also the sly rhythms of "Disco Six Six Six," which not only benefits from Alexis Fleisig's playing but Janney's strong work on keyboard and McCloud's delivery, which -- instead of mostly being attractively belligerent -- actually shows a tender side. On the seemingly lighter side, the credit for "drum assistance and 808 supplied by Ken Tondre" becomes clear with the skittering opening beats on "Vera Cruz," Janney's squelching keyboard line amusingly offset by McCloud's regular low sighing groan and the full band adding in mostly on the choruses. Janney again has extra fun with falsetto backing vocals at various points, often to gently comedic effect -- the wordless "ah-ah-ah" part on the brutal swing of "Cash Machine" adds a wonderfully strange contrast to McCloud's regular piss-and-vinegar approach. The last track, "Zodiac Love Team," throws in a final curve ball with its echoing, clattering drum loop, almost a throwback to the industrial-tinged origins of the group, but here set in the middle of the band's own film noir feedback style. Source: [AMG]
Girls Against Boys - Super-fire
Track Listing 1. Super-Fire 2. Click Click 3. Crash 17 (X-Rated Car) 4. Disco Six Six Six 5. Life in Pink 6. Thekindamzkyoulike 7. Vera Cruz 8. Anotherdroneinmyhead 9. Cash Machine 10. Wilmington 11. Zodiac Love Team
Will I fall into a cool, cool river?/Or will I fall into a frozen lake?" sings Mark Eitzel on American Music Club's seventh album, summarizing the band's chipper MO: You're gonna fall – just where is the question.
San Francisco follows 1993's major-label debut, Mercury, but this time around the Bay Area quintet offers a more seamless sound, avoiding some of the arty confusion that plagued that record. The songs now flow naturally on dark and weighty pop lines instead of scattering inside "clever" musical arrangements.
Eitzel sings about love, love and more love: "I don't need anyone's love/I couldn't afford it anyway/With my penny's worth of hope/It's not funny, but it's a joke." His deep, breathy voice bends awkwardly in frustration and bottoms out into whispered loneliness. Lines such as "Twist the light so it shines down on us/And wait together for the touch of something more" expose the idealist at the core of every cynic. But SF holds more than just the stuff of daily journals. Eitzel lets his cheap-apartment romanticism ooze in slick, detached vocals. The simple pop lines and slow ballads are filled with stunning guitar work – from spare and distant acoustic to surreal pedal steel and slide to caressing feedback. The rhythms are delicate and sad (occasionally evoking Joy Division), then cocky and catchy, riding freely under the effects of winding bagpipes, jangly tambourines and rushing wind.
AMC's San Francisco does not signal the second coming of Van Morrison or even the Replacements. Instead, it's just pretty music for emotional down-and-outs who still harbor a penny's worth of hope. Source: [rollingstone.com]
American Music Club - Hello Amsterdam
Track Listing 1. Fearless 2. It's Your Birthday 3. Can You Help Me? 4. Love Doesn't Belong 5. Wish the World Away 6. How Many Six Packs Does It Take to Screw in a Light 7. Cape Canaveral 8. Hello Amsterdam 9. The Revolving Door 10. In the Shadow of the Valley 11. What Holds the World Together 12. I Broke My Promise 13. The Thorn in My Side Is Gone 14. I'll Be Gone 15. Fearless (Reprise)
When DGC Records signed Nirvana in 1991, one of DGC's A&R reps expressed the opinion that, with plenty of touring and the right promotion, the new act might sell as well as its labelmate and touring partner Sonic Youth. The surprise success of Nevermind upended previous commercial expectations for Sonic Youth (among other established alternative rock bands), and when Dirty was released in 1992, it was seen by many as the band's big move toward the grunge market. Which doesn't make a lot of sense if you actually listen to the album; while Butch Vig's clean but full-bodied production certainly gave Thurston Moore and Lee Ranaldo's guitars greater punch and presence than they had in the past, and many of the songs move in the increasingly tuneful direction the band had been traveling with Daydream Nation and Goo, most of Dirty is good bit more jagged and purposefully discordant than its immediate precursors, lacking the same hallucinatory grace as Daydream Nation or the hard rock sheen of Goo. If anything, Dirty finds Sonic Youth revisiting the territory the band mapped out on Sister — merging the propulsive structures of rock (both punk and otherwise) with the gorgeous chaos of their approach to the electric guitar — and it shows how much better they'd gotten at it in the past five years, from the curiously beautiful "Wish Fulfillment" and "Theresa's Sound World" to the brutal "Drunken Butterfly" and "Purr." Dirty was also Sonic Youth's most overtly political album, railing against the abuses of the Reagan/Bush era on "Youth Against Fascism," "Swimsuit Issue," and "Chapel Hill," a surprising move from a band so often in love with cryptic irony. Heard today, Dirty doesn't sound like a masterpiece (like Daydream Nation) or a gesture toward the mainstream audience (like Goo) — it just sounds like a damn good rock album, and on those terms it ranks with Sonic Youth's best work. Source: [AMG]
Sonic Youth - Sugar Kane
Track Listing 1. 100% 2. Swimsuit Issue 3. Theresa's Sound World 4. Drunken Butterfly 5. Shoot 6. Wish Fulfillment 7. Sugar Kane 8. Orange Rolls, Angel's Spit 9. Youth Against Fascism 10. Nic Fit 11. On the Strip 12. Chapel Hill 13. JC 14. Purr 15. Créme Brûlèe
After nearly a year of solid touring, the Spin Doctors scored a huge, unexpected success with the incessantly catchy "Little Miss Can't Be Wrong." The rest of Pocket Full of Kryptonite will please fans of that song; the album is full of the loose, leisurely three-chord pop/rock jams the Spin Doctors specialize in. It may be unfair to compare them to the Grateful Dead, but the Doctors often suggest a lighter, more pop-oriented version of that band. While all of the best tracks were issued as singles ("Jimmy Olsen's Blues," "Two Princes," and "Little Miss"), there are still enough good moments on the rest of the album to please anyone who loves the hits. Source: [AMG]
Spin Doctors - Little Miss Can't Be Wrong
Track Listing 1. Jimmy Olsen's Blues 2. What Time Is It? 3. Little Miss Can't Be Wrong 4. Forty or Fifty 5. Refrigerator Car 6. More Than She Knows 7. Two Princes 8. Off My Line 9. How Could You Want Him (When You Know You Could Have Me?) 10. Shinbone Alley/Hard to Exist 11. Yo Mamas a Pajama 12. Sweet Widow 13. Stepped on a Crack
The Afghan Whigs' sound was growing larger by the release during the days on Sub Pop, so the fact that Gentlemen turned out the way it did wasn't all that surprising as a result ("cinematic" was certainly the word the band was aiming for, what with credits describing the recording process as being "shot on location" at Ardent Studios). While Gentlemen is no monolith, it is very much of a piece at the start. While "If I Were Going" opens things on a slightly moodier tip, it's the crunch of "Gentlemen," "Be Sweet," and "Debonair" that really stands out, each of which features a tightly wound R&B punch that rocks out as much as it grooves, if not more so. Greg Dulli's lyrics immediately set about the task of emotional self-evisceration at the same time, with lines like "Ladies, let me tell you about myself -- I got a dick for a brain" being among the calmer points. The album truly comes into its own with "When We Two Parted," though, as sad countryish guitars chime over a slow crawling rhythm and Dulli's quiet-then-anguished detailing of an exploding relationship. From there on in, things surge from strength to greater strength, sometimes due to the subtlest of touches -- the string arrangement on "Fountain and Fairfax" or the unexpected, resigned lead vocal from Scrawl's Marcy Mays on "My Curse," for instance. Other times, it's all the much more upfront, as "What Jail Is Like," with its heartbroken-and-fierce combination of piano, feedback, and drive building to an explosive chorus. Dulli's blend of utter abnegation and masculine swagger may be a crutch, but when everything connects, as it does more often than not on Gentlemen, both he and his band are unstoppable. Source: [AMG]
The Afghan Whigs - Debonair
Track Listing 1. If I Were Going 2. Gentlemen 3. Be Sweet 4. Debonair 5. When We Two Parted 6. Fountain and Fairfax 7. What Jail Is Like 8. My Curse 9. Now You Know 10. I Keep Coming Back 11. Brother Woodrow/Closing Prayer
Divorced from the controversy that surrounded its release, Body Count's self-titled debut is a surprisingly tepid affair. Apart from the previously released "Body Count" (which appeared on Ice-T's 1991 album O.G. Original Gangster), the record is devoid of serious commentary, trading intelligence for a lurid comic book depiction of sex, violence, and "Voodoo." All of Ice-T's half-sung/half-shouted lyrics fall far short of the standard he established on his hip-hop albums. The controversial "Cop Killer" -- which is nothing more than a standard thrash metal chant -- stands out because it is one of the few tracks that doesn't rely on garish, cartoonish imagery. There's the saga of "Evil Dick," which tells Ice-T not to "sleep alone." There's "KKK Bitch," where he crashes a Ku Klux Klan meeting and screws the grand dragon's daughter. There's "Voodoo," where a witch doctor cripples our hero with a voodoo doll. There's "Mama's Gotta Die Tonight," where Ice-T offs his mother cause she's a racist. By the time the band works around to the power ballad "The Winner Loses" and Ice-T is crooning "My friend's addicted to cocaine," it's unclear whether the record is a parody or a horribly flawed stab at arena metal. It would help if the band wrote riffs that were memorable or if they conveyed a sense of kinetic energy instead of tossing out their riffs in a workmen-like fashion. Perhaps Body Count was intentionally humorous -- although the group's follow-up, Born Dead, suggests that it wasn't -- but in any case, the record was simply embarrassing. After "Cop Killer" was pulled from the album, it was replaced with a bland version of Ice-T's rap classic "The Iceberg" recorded with Jello Biafra. Source: [AMG]
Body Count - Cop Killer
Track Listing 1. Smoked Pork 2. Body Count's in the House 3. Now Sports 4. Body Count 5. A Statistic 6. Bowels of the Devil 7. The Real Problem 8. KKK Bitch 9. C Note 10. Voodoo 11. The Winner Loses 12. There Goes the Neighborhood 13. Oprah 14. Evil Dick 15. Body Count Anthem 16. Momma's Gotta Die Tonight 17. Ice-T/Freedom of Speech
Kicking off with an exuberant version of the L.A. power pop-classic-that-almost-wasn't, "Pretty Please Me" -- and unsurprisingly Steve and Jeff McDonald and company rock the bastard to the ground with a smile this time around -- Show World is yet more fun from a band who dedicates themselves to a smart good time. In ways, Redd Kross had found history catching up to them by this time -- any number of bands had stumbled across the loud and brash- '70s pop-punk approach that was the group's raison de etre. But the fact that they hadn't gotten the attention they deserved for it didn't keep them from still going at it with gusto; Bless their hearts. If songs like "You Lied Again" and "Vanity Mirror" didn't introduce any curveballs to the basic sound, they still sounded pretty damn fantastic, singalong energy overdriven up to ten and beyond. Slightly slower tracks like "Girl God," the mega-orchestrated ballad "Secret Life," and the handclap crazy "Follow the Leader" showcase the band's calmer side well enough -- again, no surprises, but none were expected or needed. Best song title of the bunch this time around: "One Chord Progression," which lives up to its name just so. "Teen Competition" lets them cock rock out with the best of them, but doesn't forget the sugar in the chorus even as the distortion completely screws with the mix at one point, while "Get Out of Myself" has one brilliant moment with so much hyper-flange that why the speakers don't melt upon contact is a mystery. Source: [AMG]
Redd Kross - Mess Around
Track Listing 1. Pretty Please Me 2. Stoned 3. You Lied Again 4. Girl God 5. Mess Around 6. One Chord Progression 7. Teen Competition 8. Follow the Leader 9. Vanity Mirror 10. Secret Life 11. Ugly Town 12. Get Out of Myself 13. Kiss the Goat
Where Superchunk's self-titled debut otherwise failed to live up to the brilliance of its anti-anthem centerpiece "Slack Motherfucker," the follow-up No Pocky for Kitty is a complete and fully realized statement of purpose -- opening with the dizzying "Skip Steps 1 & 3," the disc never lets up for a second, crackling with an energy and breathless abandon that underlines the sheer exuberance at the heart of even Mac McCaughan's most superficially bitter songs. Although No Pocky for Kitty successfully channels the sound and spirit of punk's heyday, for all their whiplash guitars and spitfire rhythms Superchunk's songs derive their power not from nihilism and ennui but from optimism and passion -- implicit in McCaughan's lyrics is a belief in creation over destruction, hope over cynicism, and love over hate. Credit too Steve Albini's no-frills recording for the live-wire snap and crackle of standouts like "Seed Toss," "Punch Me Harder," and "Throwing Things" -- for all its earthy simplicity and everyman conviction, No Pocky for Kitty positively soars. Source: [AMG]
Superchunk - Cast Iron
Track Listing 1. Skip Steps 1 & 3 2. Seed Toss 3. Cast Iron 4. Tower 5. Punch Me Harder 6. Sprung a Leak 7. 30 Xtra 8. Tie a Rope to the Back of the Bus 9. Press 10. Sidewalk 11. Creek 12. Throwing Things
A full decade of acid jazz never produced a more stunning fusion of electronic music with live instrumentation than Making Bones. Poised halfway between Sly & Robbie and Roni Size, Red Snapper's first album for a worldwide audience surfs a wave of breakbeat funk that includes nods to dub, punk, soul, drum'n'bass and hip-hop. The rock-steady rhythm section of Richard Thair (drums) and Ali Friend (bass) holds the groove better than any sampler, tying together radically different material like classic British soul on "Image of You," metallic drum'n'bass on "The Sleepless" (with excellent rapping by MC Det) and the fusion update "Bogeyman" (with trumpeter Byron Wallen). It's obvious the Snapper have mastered all aspects of '90s electronic dance, and Making Bones is proof positive. Source: [AMG]
Red Snapper - The Sleepless
Track Listing 1. The Sleepless 2. Crease 3. Image of You 4. Bogeyman 5. The Tunnel 6. Like a Moving Truck 7. Spitalfields 8. Seeing Red 9. Suckerpunch 10. 4 Dead Monks
As it happens, Buckwild's debut album, Beat Me Silly, was the first full-length release on Lobster Records, the label guitarist and vocalist Shawn Dewey started with his friend Steve in the mid-'90s, and it could not represent the label's modus operandi any better. Dewey started the band as a return to playing parties and no pressure kinds of shows, and Beat Me Silly is obviously a work of energetic joy. The album moves effortlessly between brash, modern post-punk ("One Day" resembles what Foo Fighters might sound like if that band was as grounded in punk as they claim, bypassed bright, shiny production, and just played for the fun of it) and punk-pop a la Green Day with vocals that are less interested in the pop half than the punk half of the equation. The music on the other hand is spiked by instantly catchy melodies, and the band occasionally breaks into split-seconds of harmony and quiet musical passages. For such a loud album in a genre that prides itself on holding in any impulses of tenderness, Beat Me Silly is surprisingly attitudinal. Many common punk emotions rise to the surface, from anger to boredom, but at least five of the songs betray infatuations or love (including a cover of the Turtles' "Happy Together" that is surprisingly faithful to the original, only kicked in the rear a bit) albeit love that often turned out bad for some reason or other. In "Slipping Away" there is even self-chiding built in for showing such vulnerability: "Why do I want her...." Buckwild is less impressive when it tries to play it sensitive on the soft sections of "That's the Problem," but when the song kicks into overdrive it is a monster. Dewey is no crooner, but when he's raging through his words, he navigates an impressive vocal range. Beat Me Silly, it turns out, is an excellent album that generally sticks to its strong suits: controlled aggression that allows its vulnerability to seep to the surface despite the effort to conceal such a soft heart beats at its core. Source: [AMG]
Buck Wild - American Dream
Track Listing 1. Artificial Love 2. One Day 3. Just in Time 4. Flowerstand Girl 5. What I Saw in You 6. The Letter 7. American Dream 8. That's the Problem 9. Happy Together (is a cover of Happy Together by The Turtles) 10. Slipping Away 11. [untitled]
With Experimental Remixes, various indie rock, dance, and hip-hop luminaries step in to remix and rearrange a handful of Blues Explosion songs, and manage to create an interesting and enjoyable collection. Jon Spencer has long voiced his admiration for hip-hop, so it's no surprise that he would want to collaborate with some of the best samplers and remixers in the business. Beck and the Beastie Boys' Mike D turn "Flavor" into a cut-and-paste workout, while Calvin Johnson's Dub Narcotic injects "Soul Typecast" with funk and menace. However, it's "Greyhound" that gets the best makeover, courtesy of Moby and the Wu-Tang Clan's Genius/GZA and Killah Priest. Moby's version is a screaming piece of techno-pop, with a brilliant guitar solo laid on top. This segues into Genius/GZA's starker version, in which nearly all of the instruments have dropped out, leaving only the rolling bassline and drums to contend with Killah Priest's rapping. Experimental Remixes is sure to appeal to both fans of the Blues Explosion and to fans of the artists featured throughout the album. [The import edition includes three bonus tracks: "Implosion," "Explo," and "Blues 'XXX' Man"]. Source: [AMG]
The Jon Spencer Blues Explosion - Flavor
Track Listing 1. Bellbottoms (Old Rascal mix) 2. Flavor, Part 1 3. Flavor, Part 2 4. Soul Typecast 5. Greyhound, Part 1 6. Greyhound, Part 2 7. Tour Dairy 8. Implosion 9. Explo 10. Blues 'XXX' Man
If Cast's debut album All Change was trad-rock at its most joyous, their second album Mother Nature Calls is considerably more problematic. Electing to expand their sound slightly instead of replicating All Change, Cast paints itself into a corner. They haven't abandoned the traditional Brit-pop stylings of their debut, but they've strengthened it with a tougher sound and neo-hippie mysticism that manifests itself not only in John Power's dippy lyrics, but also in trippy instrumental sections. In theory, this is a way out of the trad-rock straitjacket, but in practice it falls flat. The main problem is that Power's melodies aren't nearly as sharp or memorable as they were on the debut; this immediately brings attention toward his lyrics, which are naive and often embarassingly simplistic. Cast also doesn't have enough charisma to save the songs with energetic, distinctive performances when they're flailing. These problems become all the more evident when they do get it right, such as on the shimmering "Guiding Star," the punchy "She Sun Shines" and the heart-tugging "I'm So Lonely (Calling You Back)," and they have the same sparkling joy that made All Change a delight. But that's a rarity on Mother Nature Calls. When the tunes and attitude are there, such weaknesses are easy to overlook, but since Cast comes up deficient on both counts, Mother Nature Calls is simply a dull listen. Source: [AMG]
Cast - Guiding Star
Track Listing 1. Free Me 2. On the Run 3. Live the Dream 4. Soul Tied 5. She Sun Shines 6. I'm So Lonely 7. The Mad Hatter 8. Mirror Me 9. Guiding Star 10. Never Gonna Tell You What to Do (Revolution) 11. Dance of the Stars / (untitled)
If you thought Bob Mould's angst-ridden solo debut, Workbook, was a blast of heavy weather, you'll need a steel umbrella to withstand the torrential distortion and gale-force rage of Black Sheets of Rain. This album contains none of Workbook's pensive acoustic eloquence or diligent guitar orchestration. Black Sheets of Rain is nothing more, or less, than a long, loud howl of pain – blinding anger, unremitting loveache, debilitating loneliness – broadcast from power-trio hell.
But like the machine-gun melancholy that distinguished Mould's half of the Hüsker Dü songbook, this is the kind of high-volume torment and emotional open-heart surgery that hurts so good. "Is there an upside/To every downside?" Mould asks despairingly in the opening title track, only to answer his own question with an overdubbed assault of clenched-fist guitars and shivering feedback screams. "Stop Your Crying" is a stunning, funereal stomp that explodes with serrated circular riffing, careening solo breaks and a manic, strangled vocal, escalating into a climactic frenzy that roars like a fiercely compressed version of the haywire coda to John Lennon's "I Want You (She's So Heavy)." And the album's big, bloodletting finish, "Sacrifice/Let There Be Peace," sounds like Richard Thompson in hell, a kind of slam-dance "Shoot Out the Lights" hammered out industrial-waltz style by the returning Workbook rhythm devils, drummer Anton Fier and Pere Ubu bassist Tony Maimone.
Rock & roll catharsis, postpunk or otherwise, doesn't get much better than this. It's not exactly sweet release, though. Mould discovers little in the way of hope or emotional fulfillment in his misery expeditions here, other than the kinds that come from just walking away or letting go. The most upbeat song on the record is "Out of Your Life," a bright, bouncy rocker with a punky, coltish kick and a snappy Sixties Brit-pop chorus (sort of Buzzcocks meets Badfinger) that belie Mould's bleak lyrical mood: "I ain't got a life all alone/And the one I got with you could kill me."
Yet for all of its volcanic distortion and blatant suicidal desperation, Black Sheets of Rain is really about the hurt that eventually leads to discovery. "So I've been driving far and wide to find my call in life/Been looking for a place where I belong/I guess a little pain never killed anyone," Mould admits, rather matter-of-factly, in the otherwise pulverizing "Hanging Tree." This record is the sound of Mould cranking up and just sweating it out. Source: [RollingStone.com]
Bob Mould & No Age - I Apologize
Track Listing 1. Black Sheets of Rain 2. Stand Guard 3. It's Too Late 4. One Good Reason 5. Stop Your Crying 6. Hanging Tree 7. The Last Night 8. Hear Me Calling 9. Out of Your Life 10. Disappointed 11. Sacrifice - Let There Be Peace
The Smashing Pumpkins didn't shy away from making the follow-up to the grand, intricate Siamese Dream. With Mellon Collie and the Infinite Sadness, the band turns in one of the most ambitious and indulgent albums in rock history. Lasting over two hours and featuring 28 songs, the album is certainly a challenging listen. To Billy Corgan's credit, it's a rewarding and compelling one as well. Although the artistic scope of the album is immense, the Smashing Pumpkins flourish in such an overblown setting. Corgan's songwriting has never been limited by conventional notions of what a rock band can do, even if it is clear that he draws inspiration from scores of '70s heavy metal and art rock bands. Instead of copying the sounds of his favorite records, he expands on their ideas, making the gentle piano of the title track and the sighing "1979" sit comfortably against the volcanic rush of "Jellybelly" and "Zero." In between those two extremes lies an array of musical styles, drawing from rock, pop, folk, and classical. Some of the songs don't work as well as others, but Mellon Collie never seems to drag. Occasionally they fall flat on their face, but over the entire album, the Smashing Pumpkins prove that they are one of the more creative and consistent bands of the '90s. Source: [AMG]
The Smashing Pumpkins - Zero
Track Listing Dawn To Dusk 1. Mellon Collie and the Infinite Sadness 2. Tonight, Tonight 3. Jellybelly 4. Zero 5. Here Is No Why 6. Bullet with Butterfly Wings 7. To Forgive 8. Fuck You (An Ode to No One) 9. Love 10. Cupid de Locke 11. Galapogos 12. Muzzle 13. Porcelina of the Vast Oceans 14. Take Me Down
Twilight To Starlight 1. Where the Boys Fear to Tread 2. Bodies 3. Thirty-Three 4. In the Arms of Sleep 5. 1979 6. Tales of a Scorched Earth Corgan 4:16 7. Thru the Eyes of Ruby Corgan 4:14 8. Stumbleine 9. X.Y.U. 10. We Only Come out at Night 11. Beautiful 12. Lily (My One and Only) 13. By Starlight 14. Farewell and Goodnight
Beat Happening's final LP is also their best: concluding the emotional and musical progression begun with the minimalist innocence of their earliest work, You Turn Me On is a mature record of tremendous breadth and complexity. Where once the trio's songs were brief and bouncy, the nine tracks here are epic (several top out at over six minutes) and ambitious; produced in part by ex-Young Marble Giant Stuart Moxham (an obvious influence), the record's full, deep sound belies its bare-bones performances -- "Teenage Caveman" sports booming, primal drums perfectly suited to its title, while the propulsive "Noise" manufactures the illusion of a bassline where none ever existed. The most democratic record in an output founded on egalitarian ideals, You Turn Me On offers Heather Lewis' strongest songs ever -- her hypnotic nine-minute "Godsend" is the LP's heart and soul -- and she and Calvin Johnson even trade verses on the closing "Bury the Hammer." As for Calvin himself, his solo contributions are exceptional -- the spartan opener "Tiger Trap" is an evocative heartbreaker, and the title track is a fire-breathing corker. A masterpiece. Source: [AMG]
