Category: Pop (Page 23 of 216)

Duran Duran: The Special Editions, Part II

And here is where we most likely reach the end of the line for the re-issuing of Duran Duran’s catalog. This is not to say that there are no other albums during their time with Capitol that are worth having – 1997’s Medazzaland remains the band’s most underrated album to date, torpedoed by a terrible first single – but two of the three albums after Big Thing include 1990’s sonic meltdown Liberty and the oft-ridiculed 1995 covers album Thank You. They scored a massively successful comeback with their 1993 “Wedding Album,” but for all intents and purposes, Notorious and Big Thing were the last two albums the band made while still enjoying the penthouse view.

Duran Duran: Notorious

RIYL: Grand notorious slams. Bam.

Notorious suffered some pretty harsh criticism when it was released, and that’s understandable. Let’s face it, this is a dark-sounding album. (Heck, even the album cover is dark.) Those looking for more bouncy percussion and nonsense lyrics must have been stunned to hear so many minor-key grooves (mid-tempo ones at that) and Simon Le Bon singing about lovelessness (“A Matter of Feeling”) and the selling of sex (“Skin Trade”). After all, the last two times the band had hooked up with producer Nile Rodgers, the end results hit #1 (his remix of “The Reflex”) and #2 (“The Wild Boys”), so it’s fair to say that the band had some unfair expectations placed upon them from the get-go. All was well when it came to the title track though, thanks to Rodgers’ trademark scratch guitar and the album’s second-best chorus. (The honor for best chorus goes to “Skin Trade.”) What to make, then, of the chugging “American Science,” or dark rocker “Hold Me”? They’re interesting songs, but so far removed from the way the band had written in the past that they were easy to put down. In hindsight, though, Notorious has held up pretty damn well.

The bonus materials for Notorious are both awesome and maddening. Disc I contains a remaster of the album, fleshed out with single edits for the album’s three singles and the lone B-side “We Need You.” Disc II contains the 12″ mixes for the three singles as well as “American Science” and “Vertigo (Do the Demolition),” along with the live tracks from the Duran Goes Dutch EP. The big score here is “Notoriousaurus Rex,” an eight-minute megamix of the Notorious remixes that only appeared on the rare Master Mixes set. Even better, this version includes the spectacular edit of Notorious closing track “Proposition” that was edited out of the Master Mixes vinyl but appeared on a Capitol promo cassette. If a full-length remix of that song exists somewhere, please, release it.

This isn’t the only mix that was left off here, and that is the maddening part. The dub mixes were forsaken, as was the Latin Rascals mix of “Notorious.” For hardcore fans of the band, these mixes are the most desirable of anything from the period. Thankfully, they’re all available on one super-cheap Remix EP, which means many of the people that EMI is expecting to fork out 30 bones for this set might decide to pay three and change instead.

Duran Duran: Big Thing

RIYL: Noise. ‘Cause you like waking up the house.

Big Thing doesn’t have the dark vibe hanging over it that Notorious does, but it’s definitely a mellower affair than the band had made before, despite the tone of its first two singles. Once you get past the “Warm Leatherette”-riffing “I Don’t Want Your Love” and robotic “All She Wants Is,” Big Thing is filled with ballads, mannered attempts at funk, and interludes (sigh). There are some hidden gems here, notably the Spanish guitar-kissed “Land” and the simple “Too Late Marlene.” Unfortunately there is a lot of filler as well, namely all of Side II except for “Land” and “Palomino,” and even “Palomino” is dangerously close to being filler. It’s mostly pleasant filler, sure, but no one is going to call “The Edge of America” or “Lake Shore Driving” their favorite song by the band. One also wonders how they were never sued for third single “Do You Believe in Shame?,” as it is a blatant rip-off of Creedence Clearwater Revival’s “Suzie Q.” Probably because it wasn’t a hit. If it had been, some lawyer would surely have come knocking.

One other interesting bit with Big Thing (and it receives a new – but brief – liner note from John Taylor to address it) is the decision to put the original version of “Drug (It’s Just a State of Mind)” back on the album instead of the remix, which appeared on the original pressing of the album but is now relegated to the bonus disc. John is absolutely right that this version is much more in line stylistically with the rest of the album…but the other version is more fun to listen to. Just sayin’.

Disc II contains two bombshells that should get fans to pony up: a full-length version of the much-loved B-side “I Believe/All I Need to Know” and a 12″ mix for “Big Thing” that is apparently so rare that no one could track down the remix credits. The inclusion of Shep Pettibone’s Eurohouse mix of “All She Wants Is” is a plus though, and like they did with Notorious, there is a download EP of all of the dub mixes from this era. The DVD will be this set’s big carrot, though, as it contains a live show from one of the band’s shortest tours (dig Simon’s Michael Hutchence-esque mane and the striptease the backing singers do during “Skin Trade”), and is loaded with songs that the band has not played live since.

The label got the mastering right with both albums, in that there are no obvious gaffes like the whole “Girls on Film” thing with the reissue of the band’s first album, but these sets deserve some kind of updated liner notes, an intro written by someone either intimately involved with the band or someone well versed in their catalogue. Instead, they include pictures and a folded poster of the band from the photo sessions shot at the time. That’s a big-time missed opportunity, since it’s unlikely these two albums will receive the re-reissue treatment that their first three albums will get down the road. Still, with the holidays fast approaching, the special editions of Notorious and Big Thing are the pitch-perfect stocking stuffer for that Durannie in your life – and you all have one, whether you know it or not – who would love to own these sets but needs to get baby a new pair of shoes. (EMI 2010)

Duran Duran MySpace
Click to buy Notorious: Special Edition from Amazon
Click to buy The Remix EP from Amazon
Click to buy Big Thing: Special Edition from Amazon
Click to buy The Dub Mix EP from Amazon

Guster: Easy Wonderful


RIYL: Barenaked Ladies, Camper Van Beethoven, Ben Folds

In today’s one-and-done record industry climate, it’s something of a miracle that Guster has managed to survive for nearly two decades – they’ve never had a hit, they aren’t the kind of band that inspires much in the way of promotional dollars from labels, and they aren’t hip or edgy enough to create a buzz with the Pitchfork/NPR crowd. Yet they persist, and thank goodness for that – even though each new album feels like it could be the last.

By all accounts, making Easy Wonderful almost did them in for good, thanks to an aborted run of sessions with producer David Kahne that left the band questioning whether they had a future. It took a retreat to the Nashville studio of departing Guster member Joe Pisapia to refuel them – and produce their most layered, eclectic album to date.

Guster_09

For some longtime fans, the words “layered” and “eclectic” carry the sting of betrayal; Guster started out as an acoustic-based trio, and drummer Brian Rosenworcel – a.k.a. “Thundergod” – was famous for not playing with sticks. Starting with 1999’s Lost and Gone Forever, Guster has slowly moved away from the simplicity of its earlier sound, and each subsequent release (2003’s Keep It Together and 2006’s Ganging Up on the Sun) has utilized an increasingly complex, anything-goes aesthetic with room for everything from banjos to whistling solos, typewriter percussion, and dance beats.

It isn’t as innocent a sound, but then, a lot of Guster’s songs deal with the loss of innocence – with regret, loneliness, and emotional distance, and a burning, childlike hope that persists in spite of it all. It’s a deeper artistic outlook than most, and it makes sense that the songs’ arrangements should reflect that. There’s a fine line between “grown-up pop” and “mid-tempo morass,” though, and Guster has occasionally erred on the wrong side; chunks of Keep It Together and especially Ganging Up on the Sun felt like the work of a band that was struggling to mature without losing its energy.

Happily, Easy Wonderful doesn’t really have that problem. The songs are still resolutely mid-tempo, and if you listen with it in the background, that’s where the album will stay – like most Guster releases, it isn’t grab-you-by-the-collar music. Even the most radio-ready stuff – whatever that means in 2010 – takes a few listens to really reveal itself. And some fans will doubtless be disappointed in this set’s lack of an epic Guster ballad along the lines of “Come Downstairs and Say Hello” or “Ruby Falls,” but these songs have a melodic urgency that seemed like it might be draining from their music. They aren’t exactly punchy, but they have an increased focus, and as densely woven as the arrangements can be, Easy Wonderful never feels busy – the fact that three of the tracks clock in under three minutes is a testament to the disciplined songwriting.

All in all, Easy Wonderful is Guster’s best, most emotionally resonant work since the wonderful Lost and Gone Forever. It has a problem, though, and it’s a major one: vocalist Ryan Miller hogs the spotlight here, leaving almost no room for Adam Gardner, whose harmonies (and occasional leads) were one of the best things about the band’s sound. Miller’s a fine singer, and his keening voice is perfect for the band’s earnest, hopeful music, but it just doesn’t feel like Guster without that vocal blend. The world already has one Hall & Oates, guys – if you hang in long enough for another album, make sure you share the mic more often. (Aware 2010)

Guster MySpace page

Robbie Williams: In & Out of Consciousness: The Greatest Hits 1990-2010


RIYL: George Michael, Madonna, Take That

Your philosophical question of the day: if a label releases a two-disc, 39-song collection of songs (three discs and 56 songs if you get the deluxe edition) from an artist who never cracked the Top 40 and only appeared in the Hot 100 twice, is it an act of hubris, or charity?

The answer is, in fact, an act of contractual obligation. In & Out of Consciousness: The Greatest Hits fulfills the gargantuan £80 million contract Robbie Williams signed with EMI in 2002, chronicling every song released as a single in his native England. Here’s an staggering statistic: only four of these songs failed to crack the UK Top 10, and only one of them missed the Top 40. That’s damned impressive no matter how you slice it, but every artist has a few hits that were successful in spite of themselves, only to show their cracks with the benefit of hindsight. How have Williams’ songs held up?

Surprisingly well, it turns out, though in a curious move, the album is sequenced in reverse chronological order. That’s an original move, to be sure, but not necessarily the best one for these songs; nearly every single from Williams’ first three albums was a classic, from the stadium-rattling “Let Me Entertain You” to the monster sing-along ballad “Angels” to the slinky “Kids,” a duet with fellow UK chart dominatrix Kylie Minogue. Leading with those songs would have been the smarter play, because while the front half of Disc I includes gems like “Bodies” and the hilarious white-boy funker “Rudebox,” the back half contains “Sin Sin Sin,” “Advertising Space” and Williams’ cover of “Mr. Bojangles” (!), which nearly derails the proceedings before they’ve had a chance to get off the ground. Overall, though, In & Out of Consciousness packs considerable bang for the buck, and will serve as an excellent introduction for Anglo-minded Yanks wondering what the fuss is all about. (Astralwerks 2010)

Robbie Williams MySpace
Click to buy In & Out of Consciousness from Amazon

Jackson Browne: Going Home


RIYL: The Eagles, Bonnie Raitt, David Lindley

In 1994, Jackson Browne released I’m Alive, a strong collection of songs that was a return to personal songwriting after years of political. In conjunction with that release, the Disney Channel, when they still offered programming that would appeal to adults, presented this documentary, “Jackson Browne: Going Home.” The 90-minute production captures the artist performing live with his great band from the ’90s, as well as footage of Browne, mostly at his home, sharing stories about his life, his career and the process he goes through making music. Interspersed with the concert and backstage footage are rare photos and filmed performances that span his career up to that point.

The live concert production is tight and immaculately produced. Like many of his Laurel Canyon 1970s singer-songwriter comrades, there is an attention to detail when Brown performs that makes you appreciate the professionalism of the artist. No note is out of place; what has been recorded on the record is duplicated perfectly in concert. However, Browne is also one of those artists who knows how to connect with his audience, making each concert unique. So, whether singing live in front of 20,000 or in a sterile TV studio for a small number of fans, it never feels like he’s going through the motions.

The abundance of music in the documentary seems far too much for only an hour and a half, but it all fits and everything sounds fantastic. The song selections must represent Browne’s set list in the early ’90s; mixed in with ’70s classics like “These Days,” “The Pretender” and “Before the Deluge,” are standouts from his late ’80s period like “In the Shape of a Heart,” “World In Motion” and “Sky Blue and Black.”  There are also some excellent deep cuts, like “Farther On” and “Birds of St. Marks.”

Many of Browne’s famous friends show up. David Lindley, Bonnie Raitt, David Crosby, Graham Nash, Don Henley, Jennifer Warnes and the rest of the Eagles all make appearances, with Lindley, Crosby, Nash and Warnes performing live with Browne and his band.

It’s hard to believe that “Going Home” was shot in 1994. Aside from some graying hair and additional wrinkles here and there, Browne doesn’t appear to have aged at all in all of these years.  Moreover, his voice continues to sound as youthful as ever. A nifty video montage of “Doctor My Eyes” edits together performances that range from early in his career to the ’94 show.  So often with these type of DVD releases, only hardcore fans will buy them. However, this is one release that stands on its own as a quality film whether you’ve been following Jackson Browne for years or just heard of him yesterday. (Eagle Records 2010)

Weezer: Hurley


RIYL: The Killers, Jimmy Eat World, Tegan & Sara

Casual fans of Weezer, the ones who only really know their pop hits, should love Hurley. The new album, their first since parting ways with Geffen and signing with indie label Epitaph, is a strong collection of pop rock/punk songs that will make the grayest autumn days ahead seem much sunnier. Everything about Hurley feels as big and burly as the photo of “Lost” actor Jorge Garcia (a.k.a. “Hurley”) on the front cover.

Throughout the album, Rivers Cuomo sings with the angst and melancholy of a singer half his age. But there is a lightness to his performances that makes you think that getting free from the corporate record company bog has given the band and Cuomo a new lease on life. “Memories” is a driving, nostalgic look back at that bygone era of… the ’90s. “Unspoken” begins with pretty, acoustic harmonies. Is this Weezer unplugged? Fear not, as the song shifts into gear by the end, kicking some serious ass. “Where’s My Sex” starts off as almost a joke, as Cuomo changed the letters of “socks” to “sex” in the lyrics. As the song nears its completion, the band suddenly becomes Green Day, switching time signatures and segueing into a completely different tune, a la “Jesus of Suburbia.”

The strongest selection on Hurley is “Hang On,” a beautiful work of ’70s-style pop/glam rock. Listen to it, you’ll hear shades of Sweet and Cheap Trick flowing freely with Weezer’s impeccable harmonies and hand claps. This one has radio written radio hit all over it. I hope so because this one would sound great coming out of teenage cars across America.

Each song on Hurley flows right into the next one making this a great listening experience. At ten songs (four bonus tracks are also available on a Deluxe edition) it’s also one of the quickest listens, too. Maybe the songs aren’t as complex as some of Weezer’s previous efforts, but this is certainly one of their most accessible and therefore fun albums. (Epitaph 2010)

Weezer MySpace page

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