Mostrando entradas con la etiqueta sire. Mostrar todas las entradas
Mostrando entradas con la etiqueta sire. Mostrar todas las entradas

lunes, 22 de noviembre de 2010

Everything But The Girl - Love Not Money






Style: Alternative Pop Rock.
Similar artists: The Sundays, Mono, Tori Amos.
Recording year: Sire, 1985.


Originating at the turn of the 1980s as a leader of the lite-jazz movement, Everything but the Girl became an unlikely success story more than a decade later, emerging at the vanguard of the fusion between pop and electronica. Founded in 1982 by Hull University students Tracey Thorn and Ben Watt, the duo took their name from a sign placed in the window of a local furniture shop, which claimed "for your bedroom needs, we sell everything but the girl." At the time of their formation, both vocalist Thorn and songwriter/multi-instrumentalist Watt were already signed independently to the Cherry Red label; Thorn was a member of the sublime Marine Girls, while Watt had issued several solo singles and also collaborated with Robert Wyatt.

On their second album, Everything But the Girl took a more contemporary pop approach while retaining the spareness of their debut. They also upped the ante in their songwriting, tackling a range of issues from the Irish troubles to the troubles of movie star Frances Farmer, with lots of criticism of the stratification and sexism of the current social and economic system thrown in. Tracey Thorn's careworn voice proved an excellent vehicle for such essentially pessimistic sentiments, and even if Love Not Money made for a dour listening experience, it was nevertheless compelling. (The "special U.S. edition" of the album, released by Sire Records, differed from the Blanco Y Negro version from the U.K. in that it featured the pop-sounding "Heaven Help Me" and a cover of the Pretenders' "Kid." Neither enhanced the album's commercial appeal; it made the Top Ten back home, but did not chart Stateside.)








Fields Of Haze... Underground for all.

lunes, 4 de octubre de 2010

The Smiths - Hatful Of Hollow




Genere:  Rock/Pop
Styles: Alternative / Indie Rock
Similar Artists: Echo and the Bunnymen, Felt, The The
Recording Year: Sire, 1984.



The Smiths were the definitive British indie rock band of the '80s, marking the end of synth-driven new wave and the beginning of the guitar rock that dominated English rock into the '90s. Sonically, the group was indebted to the British Invasion, crafting ringing, melodic three-minute pop singles, even for their album tracks. But their scope was far broader than that of a revivalist band. The group's core members, vocalist Morrissey and guitarist Johnny Marr, were obsessive rock fans inspired by the D.I.Y. ethics of punk, but they also had a fondness for girl groups, pop, and rockabilly. Morrissey and Marr also represented one of the strangest teams of collaborators in rock history. Marr was the rock traditionalist, looking like an elegant version of Keith Richards during the Smiths' heyday and meticulously layering his guitar tracks in the studio. Morrissey, on the other hand, broke from rock tradition by singing in a keening, self-absorbed croon, embracing the forlorn, romantic poetry of Oscar Wilde, publicly declaring his celibacy, performing with a pocketful of gladioli and a hearing aid, and making no secret of his disgust for most of his peers. While it eventually led to the Smiths' early demise, the friction between Morrissey and Marr resulted in a flurry of singles and albums over the course of three years that provided the blueprint for British guitar rock in the following decade.

Before forming the Smiths in 1982, Johnny Marr (born John Maher, October 31, 1963; guitar) had played in a variety of Manchester-based rock & roll bands, including Sister Ray, Freaky Part, White Dice, and Paris Valentinos. On occasion, Marr had come close to a record contract -- one of his bands won a competition Stiff Records held to have Nick Lowe "produce your band" -- but he never quite made the leap. Though Morrissey (born Steven Patrick Morrissey, May 22, 1959; vocals) had sung for a few weeks with the Nosebleeds and auditioned for Slaughter & the Dogs, he had primarily contented himself to being a passionate, vocal fan of both music and film. During his teens, he wrote the Melody Maker frequently, often getting his letters published. He had written the biography/tribute James Dean Isn't Dead, which was published by the local Manchester publishing house Babylon Books in the late '70s, as well as another book on the New York Dolls; he was also the president of the English New York Dolls fan club. Morrissey met Marr, who was then looking for a lyricist, through mutual friends in the spring of 1982. The pair began writing songs, eventually recording some demos with the Fall's drummer, Simon Wolstencroft. By the fall, the duo had settled on the name the Smiths and recruited Marr's schoolmate Andy Rourke as their bassist and Mike Joyce as their drummer.

Several months after releasing their first album, the Smiths issued the singles and rarities collection Hatful of Hollow, establishing a tradition of repackaging their material as many times and as quickly as possible. While several cuts on Hatful of Hollow are BBC versions of songs from The Smiths, the versions on the compilation are nervy and raw -- and they're also not the selling point of the record. The Smiths treated singles as individual entities, not just ways to promote an album, and many of their finest songs were never issued on their studio albums. Hatful of Hollow contains many of these classics, including the sweet rush of "William, It Was Really Nothing," and the sardonic "Heaven Knows I'm Miserable Now," the tongue-in-cheek lament of "Please, Please, Please Let Me Get What I Want," the wistful "Back to the Old House," "Girl Afraid," and the pulsating, tremolo-laced masterpiece "How Soon Is Now?" With such strong material forming the core of the album, it's little wonder that Hatful of Hollow is as consistent as The Smiths and arguably captures the excitement surrounding the band even better.








 

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Fields Of Haze... Underground for all.

miércoles, 22 de julio de 2009

Ministry - In case you didn't feel like showing up


Género: Industrial / Alternative metal

Artistas similares: KMFDM, Skinny Puppy, My Life With The Thrill Kill Kult

Año de grabación: Sire, 1990.


Album en vivo de los grandes Minstry. Un concierto cuyas canciones fueron seleccionadas de dos de sus álbumes más poderosos 'Land of rape and honey' y 'A mind is a terrible thing to taste'.

Corto en duración y en número de tracks (solo 6), pero grande en intepretación.



Live album of greatest Minstry. A concert whose songs were selected of two of their more powerful albums at the time, ' Land of rape and honey' and ' The mind is a terrible thing to taste'.

Short in duration and number of tracks (only 6), but great in intepretation.




Fields of Haze.

miércoles, 15 de julio de 2009

Ministry - The mind is a terrible thing to taste




Género: Industrial / Alternative metal

Artistas similares: KMFDM, Skinny Puppy, My Life With The Thrill Kill Kult

Año de grabación: Sire, 1989.


Un álbum clásico del post punk e introducción de muchos metaleros y punkeros al movimiento electro.

Escúchalo, mucho drum beat, guitarras distorsionadas y voces desgarradoras.


A classic album of post punk and introduction of many metal lovers and punk rockers to the electro movement.

Listen to it carefully, a lot of drum beat, distorted guitars and heartrendering voices.




Fields of Haze.
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