Friday, January 31, 2025

Squeeze - 2005 - Spot the Difference



Squeeze - 2005 - Spot the Difference @256





The very title of Spot the Difference suggests there are notable variations between this collection of re-recorded hits and the originals, but a quick listen reveals that Squeeze are taunting their audience to differentiate these painstaking re-creations from the originals. Apart from the fact that Glenn Tilbrook and Chris Difford are several years older -- a fact they take no pains to disguise -- these 15 re-recordings could pass in a pinch for the originals, the arrangements and instrumentation uncannily mimicking the classics. While this hardly supplants those originals, Spot the Difference is a fun spin for the devoted and a good advertisement for Squeeze’s reunion tour, proving they still have the knack to entertain.(AllMusic)




 

Squeeze - 1993 - Some Fantastic Place




Squeeze - 1993 - Some Fantastic Place @320





The band's tenth proper album reunites the core of Glen Tilbrook and Chris Difford with former member Paul Carrack and adds drummer Pete Thomas (Elvis Costello & the Attractions). Their classic sound is still there through the melodic power pop of "Third Rail" to the blue-eyed soul of "Loving You Tonight" (nearly a rewrite of "Tempted"). Another in a series of commercial sleepers, but definitely worth a listen. (AllMusic)

ANDY



 

Monday, January 27, 2025

1994 - Idiosyncratic Path The Best Of Van Dyke Parks



1994 - Idiosyncratic Path The Best Of Van Dyke Parks @320

With the word "idiosyncratic" right there in the title, it should be no surprise that a compilation of the recordings of Van Dyke Parks should represent someone's individual taste. In this case, that person is Alan Price, who is given credit for "compilation," which presumably means the selection and sequencing of the tracks. (There are also brief liner notes, which are uncredited.) But other factors may be at work. The album's 19 tracks are drawn from only three of Parks' five studio albums, Song Cycle (1968), Discover America (1972), and Clang of the Yankee Reaper (1975), with nothing from Jump! (1984) or Tokyo Rose (1989). They are "issued under license from Van Dyke Parks," which may indicate that the artist has gained ownership of his master recordings for his first three LPs, while the subsequent two are still the property of Warner Bros. Records, and thus not available for licensing. In any case, Parks' albums are conceptual entities, so they don't lend themselves readily to sampling. Price has chosen to emphasize Discover America, which contributes ten tracks, with four from Song Cycle and five from Clang of the Yankee Reaper, and to mix the material up into a new sequence. So, for instance, the pairing of "Vine Street" and "Palm Desert" that leads off Song Cycle turns up here as tracks 10 and 11. By de-emphasizing Song Cycle, Price puts the focus on the Caribbean styles that dominated the second and third albums. Parks has a great affection for xylophones, marimbas, and steel drums, and many of the tracks here feature those instruments prominently, with his inventive horn and string charts added. The sampling tends to give greater attention to individual songs, notably the lovely instrumental arrangement of, as Parks called it, "Donovan's Colours" (another track from Song Cycle, here used as the lead-off track), and the light-hearted version of the Little Feat song "Sailin' Shoes." Any random selection and sequencing of 19 Parks songs from the three albums would be worthwhile, and, in effect, that's what this is. If it causes anyone to seek out the albums in full, it will have served its purpose.(AllMusic)


 

Various Artists

The Sun Shines Here The Roots Of Indie-Pop 1980-1984

(2021)

 











 
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Otis Redding

The Otis Redding Dictionary Of Soul - Complete & Unbelievable

(1966) [2017]

 











 
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Marine Girls

Lazy Ways

(1983)

 











 
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Five Or Six

Acting On Impulse: The Best Of Five Or Six

(2008)

 











 
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Marine Girls

Beach Party

(1997)

 











 
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Thursday, January 23, 2025

VA - The Celtic Circle 3 (More Legendary Music From A Mystic World) (2004) @320



Reb - Discogs - Links👇

VA - The Celtic Circle 2 (More Legendary Music From A Mystic World) (2003) @320



Reb - Discogs - Links👇

VA – The Celtic Circle (Legendary Music From A Mystic World) (2003) @320

 

Reb - Discogs - Links👇

Scott Walker - 1969 - Scott 4



Scott Walker - 1969 - Scott 4 @320

Walker dropped out of the British Top Ten with his fourth album, but the result was probably his finest '60s LP. While the tension between the bloated production and his introspective, ambitious lyrics remains, much of the over-the-top bombast of the orchestral arrangements has been reined in, leaving a relatively stripped-down approach that complements his songs rather than smothering them. This is the first Walker album to feature entirely original material, and his songwriting is more lucid and cutting. Several of the tracks stand among his finest. "The Seventh Seal," based upon the classic film by Ingmar Bergman, features remarkably ambitious (and relatively successful) lyrics set against a haunting Ennio Morricone-style arrangement. "The Old Man's Back Again" also echoes Morricone, and tackles no less ambitious a lyrical palette; "dedicated to the neo-Stalinist regime," the "old man" of this song was supposedly Josef Stalin. "Hero of the War" is also one of Walker's better vignettes, serenading his war hero with a cryptic mix of tribute and irony. Other songs show engaging folk, country, and soul influences that were largely buried on his previous solo albums. (AllMusic)


ANDY

 

Scott Walker - 1969 - Scott 3



Scott Walker - 1969 - Scott 3 @ 320

Scott 3 introduces a new side of Scott Walker. It's a much more conceptual album. His two previous musical endeavors, Scott 1 and Scott 2, were merely a collection of songs that explored a variety of concepts and styles. Scott 3, on the other hand, has a very distinct theme that seems to exude from every song. The music expresses itself with such overwhelming dismalness. Utterly weary and faint in sound, Scott 3 seems to wallow in its own melancholia. Completely infatuated with reminiscing of past regrets and illustrating gloomy scenes in the mind. In other other words, this is a moody album meant to serve as a kind of soundtrack for our less than optimistic moments in life.

Although Scott Walker has often touched on dark lyrical themes in the past, they've often been delivered in an ambiguous fashion. Evasively decorated with poppy musical textures that gave his songs an almost ironic sense of optimism. But here, his darkness is much more lucid, as there are no euphonic melodies to spoil the listener. Scott 3 is our true acquaintance with the cynical and morbid side of Scott Walker's psyche, and quite frankly, he's become almost too comfortable with this particular aspect of his personality, which will certainly surprise anyone who was hoping to be met with the elegant romantic of the pervious albums. The opening piece, "It's Raining Today", exhibits a rather haunting ambience that lies underneath Scott Walker's soothing baritone voice. There's a typical Baroque arrangement in this song as well, from the gentle guitar playing that carries us along, to the violin and cello melodies of the midsection, but it's the eerie soundscape behind all of the instruments that really distinguishes this particular piece. And as ghastly as it may appear, the sound is very inviting. It's hypnotic, and because its so contrasting to Scott Walker's rather oddly sanguine tone of voice, it makes it an all the more intriguing listen.

"It's Raining Today" is one of the main highlights in Scott 3, and it also introduces the recurring concept of the album. Most of the songs here, particularly ones like "Rosemary" and "Two Weeks Since You've Gone", have a dreary gloom that coats their music in darkness. Both songs have a rather simple baroque orchestration of dominating bowed string instruments, but it's within their lyrics that their sorrow is expressed. Each song seems to lament over some kind of loss, whether it be a past romance or a sense of innocence and pride, but there is a constant yearning for the past, a simpler time when the world looked much brighter. "Big Louise" is yet another song that falls under this category, but it's a much more eminent one because it portrays some of the characteristics of Scott Walker's subsequent experimental efforts. The song opens with an abrasive drone sequence that sets up a rather ominous atmosphere, but as the other instruments begin to flourish in prominence, the music fluctuates into a more mellifluous style. Its lyrics, on the other hand, exude a much more forlorn attitude. "Big Louise" references a discovery instead of a loss. It's about a promiscuous woman who realizes that her life, now coming down from the intoxicating high of hedonism, is left with nothing more than the bitter aftertaste of shame and regret.

"We Came Through" and "Funeral Tango" are the only two pieces to deviate from the gloomy calm of the other songs, but only in their sound are they different because their lyrics are just as lurid as the rest. We really get to see Scott Walker's whimsical sense of humor in these two pieces as we find him critiquing the political state of the world, as well as reciting one of Jacques Brel's poems of the macabre, all while accompanied by overly blithe melodies. At the time of its release, Scott 3 was met with less enthusiasm than his previous albums. Lacking the romantic atmospheres and extravagant classical arrangements of his first two efforts, Scott 3 can easily be considered a grower. It's a step backwards in appeal, but a big step forward artistically. This is Scott Walker relinquishing practically everything that made him a rising star in the 1960's pop scene, to follow his own creative ambitions as an up-and-coming musician. It's not just admirable to see him exploring new musical approaches, but also a reward for us fans to not hear yet another replica of Scott 1. Making the gentle and dreary sound of Scott 3 a welcomed breath of fresh air. Its ominous atmosphere and haunting sounds exude a rather spellbinding effect on the listener, alluring us deeper and deeper into a world of inescapable darkness. But there is a mild sense of optimism that glimmers behind all of the sorrow. One of the techniques that recurs throughout the album is the combination of melancholic orchestrations with Scott Walker's usage of a soothing vocal tone, adding a sense of hope to all of this emotional anguish. Scott 3 may not offer the accessibility of its predecessors, but it does prove that Scott Walker can go beyond the capabilities of the average pop artist. As we find him shifting his venturous instincts into different and utterly dashing shapes. (SputnikMusic)



Scott Walker - 1968 - Scott 2



Scott Walker - 1968 - Scott 2 @ 320




Although Walker's second album was his biggest commercial success, actually reaching number one in Britain, it was not his greatest artistic triumph. His taste remains eclectic, encompassing Bacharach/David, Tim Hardin, and of course his main man Jacques Brel (who is covered three times on this album). And his own songwriting efforts hold their own in this esteemed company. "The Girls From the Streets" and "Plastic Palace People" show an uncommonly ambitious lyricist cloaked behind the over-the-top, schmaltzy orchestral arrangements, one more interested in examining the seamy underside of glamour and romance than celebrating its glitter. The Brel tune "Next" must have lifted a few teenage mums' eyebrows with its not-so-hidden hints of homosexuality and abuse. Another Brel tune, "The Girl and the Dogs," is less controversial, but hardly less nasty in its jaded view of romance. Some of the material is not nearly as memorable, however, and the over the top show ballad production can get overbearing. The album included his first Top 20 U.K. hit, "Jackie." (AllMusic)

 

Scott Walker - 1967 - Scott



Scott Walker - 1967 - Scott @320



Scott Walker's success as a teen idol singer of Spectorish ballads with the Walker Brothers in no way prepared listeners for the mordant, despairing lyrics of his solo debut. To compound the surprise, he does his best to imitate the vocal girth of Tony Bennett and Frank Sinatra on this mix of original tunes and covers, which also features sweeping, bloated orchestral arrangements. It was hardly rock, and pop of a most oddball sort, but it found a surprisingly large audience -- in Britain, anyway, where it reached the Top Three in 1967. Poke behind the velvet curtain of the languid MOR arrangements, and one finds a surprisingly literate existentialist at the helm of these proceedings. His lyrical nuances were probably lost on his audience of predominately teenage girls, though they've earned him a small cult audience that endures to this day. Besides presenting three of his own compositions, Walker covers tunes by Weill/Mann, Tim Hardin, and Andre & Dory Previn on this album, as well as three songs by his favorite writer, Jacques Brel. Highlights include his exquisitely anguished rendition of Brel's classic "Amsterdam" and his dramatic cover of the early-'60s Toni Fisher pop ballad "The Big Hurt." (AllMusic)

Wednesday, January 22, 2025

The Sonics

Introducing The Sonics

(1967)  [2004]

 











 
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