Jesus Jones - Already - 1997

 

I'm going out of town tomorrow, so I thought I'd do tomorrow's post today, just to get it out of the way.

I look at Jesus Jones now, and I really do feel sorry for them.  Mike Edwards is truly a talented songwriter - truly.  He has passion and creativity and he loves what he's doing.  Sad thing about it, is that the entertainment industry is fickle, and in the case of the nineties, it was shifting dramatically all over the place.  JJ was in the right place at the right time and they were on top of the world.  I read several interviews back in the day in Details magazine and Rolling Stone about these guys and they made Mike out like he was a god or something.  He had to feel like he was on top and nothing was going to stop him.

Now, a lot of people consider them to be one-hit wonders - which has always bewildered me as they had a hell of a lot more than one hit.  I watch some videos of them playing on Youtube, like this one---

and there they are, stuck on this little micro-stage, playing to a handful of people.  Mind you, they could do something about their stage presence (that keyboardist is a dork), but they are having fun, could have been huge, and I get the feeling that there is a lot of remorse of what might have been.  

Maybe I'm wrong.

Already was a breath of fresh air to me, at the time, as we were in the middle of the psuedo-grunge American "Alt Rock" scene, and then the Electronica thing before it exploded into a zillion different sub-genres.  Here we find a new, unassuming Jesus Jones album.  Powerful, soulful and solid, the album really stood out to me as something ELSE.  Not the same old crap that I heard every day on the radio (and in some cases my CD player.)  It had potential and maturity and direction.  It had everything needed to be an album to put them over the top.  Except, it didn't have the publicity and marketing, it didn't have the support of the industry, and the hardcore fans like myself couldn't make a difference no matter how hard we tried.  I think there was two of us in my town.  Hell, the album wasn't even officially released in the states.

They've already (no pun intended) released a deluxe version of Already with 3 or 4 discs of material.  Some live stuff, alternate takes, demos of the existing tracks and whatnot.  I just pulled the album, the b-sides and the demos of songs that weren't on the album.  Now, you have at least one version, if not the official version, of every track recorded during those sessions.  All of them are good, no matter if it's a b-side, demo or album track.

I'll be gone this weekend, but my next scheduled post wasn't going to be until Tuesday anyway.  I'll be back then, with a post from their "brother" band from the early 90s who was also called a one-hit wonder.  I'll make a deluxe edition of the album of your choice if you can be the first person to correctly name the "brother band" I'm talking about before I post it on Tuesday.  

See you then....

Jesus Jones - Already - 1997          Jesus Jones - Already Demos - 1997

Strangelove - Self-titled - B-Sides - 1997

This is sort of a tough one to post.  I LOVE their music.  Their songs are written very well.  Their performance as a band is impeccable.  But, I hate their vocals.  Sitting behind my keyboard I find it hard to say that Patrick Duff is a talentless hack, because who am I to say that?  I've tried numerous times to pop in their CD and enjoy their music, which I do, but Duffy's vocals grate on my nerves.  Maybe that was the point? 

These are the b-sides to their last album.  There are a few little gems in there, some really fun and tongue in cheek tracks.  If you can get past the vocals, that is...

Short post tonight, not much to say about this one. I had all the tracks and thought I'd throw it together for a little late-90s Britpop post.  The weather is nice, and I'm going to go outside and smoke cigarettes.  Have a great evening....

Strangelove - Self-titled - B-Sides - 1997

Oasis - Be Here Now - the Mustique Demos - 1997

These recordings were released with the 20th Anniversary Edition of Be Here Now.  I thought they deserved their own disc.  Although Noel has a pretty good voice for some of the tracks, I still prefer Liam's vocals over his any day.  Yes, Noel was (is?) a great song writer, Liam had the voice and swagger that made Oasis the monster that it was. 

These tracks are still great.

Mother-In-Law is in town this weekend, so I may or may not be posting.  We will see how much time I get to fuck around.

Oasis - Be Here Now - the Mustique Demos - 1997

Stereolab - Dots & Loops - 1997

Dots & Loops came out when I was working for a restaurant chain as a troubleshooter traveling across the midwest working in various locations.  I think I've already discussed this before, so I won't go over it again.  The albums that came out that I listened to non-stop during that time were Medazzeland, OK Computer, Monaco's Music For Pleasure, Urban Hymns and this one, Dots & Loops by Stereolab. 

This was the second album I ever purchased of theirs.  The first one was Mars Audiac Quintet because of the song Pong (saw the video for Pong on 120 Minutes and had to get the album.) I've never been a huge fan of their music, but I love the covers of their albums.  They are always extremely unique, creative and attractive.  When this one came out, I was driving a lot, and purchased it on cassette as I didn't have a CD player in my car at the time (don't get me started.)  I listened to this puppy A LOT.  As I said, I'm not a huge fan of their music, but this is my favorite album by them.

As you can see, this is just the b-sides, mixes and guest tracks that they either mixed or Lætitia Sadier was guest vocals from the same year as the album.  It makes for not just a complete set of their work from the album sessions, but also their direct influence with other artists and bands.  And, it all sounds good, all together.

I have still purchased every Stereolab release, as they've come out, and I am still not a huge fan.  It's because they are good to listen to for a couple tracks at a time before you get sick of them.  Large doses are impossible for me.  But, I get everything.  I like all the covers, and I've liked everything that they've released.  They are an acquired taste and a respect for their longevity and style.  It's unfortunate that they called it quits in 2009, though.  They claimed to have gone on hiatus, and promised to update their website, but nothing has been done to their site since that date.  People still post in their forum, but the band themselves are kaput.  Lætitia Sadier has released solo material, and the "current" members are either working on other projects or aren't doing anything at all....

Stereolab - Dots & Loops - 1997

Duran Duran - Medazzaland - 1997

This was a very unique and interesting time in the history of what was called "Duran Duran".  Yes, it had two of the original members, but it was closer in membership to Arcadia than Duran2, and the sound was way the fuck off.  Way off. 

I remember I was traveling for a restaurant chain between locations as a trouble shooter.  I would go to various chain locations and "fix" their problems and move on to the next local.  I was in Ames Iowa when this one came out.  I remember getting the CD single from EB and being somewhat baffled.  Shortly after, I got the album, and took several months memorizing and analyzing it from the various first note to the last beat, every second of every song.

At this time, the USA was knee deep in the remnants of grunge, and hip deep in this American "Alternative" music with bands that all sounded the same.  You also had Electronica exploding all over the place, and RnB Hip Hop everywhere.  Where was Duran2 to go?  What were they to do?  The music scene at the time was why we got an album like Medazzaland.  They really didn't know who they were and were starting to imitate the music of the time, rather than defining it, like they did in the eighties.

There's really nothing wrong with the album.  It's actually a very good album.  It's just not Duran Duran.  It's not Arcadia.  It's not Powerstation or Missing Persons.  I really don't know what it is.  It's just not Duran Duran!!!

From the album proper, only two of the songs are worthless.  The very first track, Medazzaland, and the last track, Undergoing Treatment.  Can't stand either one of those.  As for the rest of the songs on the album, they are all very solid, well written and well produced.  Big Bang Generation and Electric Barbarella stand out as two of the better "fast" or "non-ballad" tracks.  As for the ballads, you've got Out Of My Mind, Michael, Silva Halo, Midnight Sun and So Long Suicide that I really like.  All in all, every song has it's own qualities that make it good.

As for the cover art, I vote this one as the WORST Duran2 cover ever, followed closely by Paper Gods.  The artwork is atrocious.  Absolutely appalling.  Even though I am including material for two discs, I've only made a cover for the first main disc.  I didn't have enough artwork that was reasonable to even make a cover for the second disc.  Plus, the second disc is really a mish-mash of tracks left over from the main album.  Some of them weren't good enough to put on the first album, like P.L.You and Plastic Girl.  Most of the mixes really didn't mix well together, and really didn't match the style of the rest of the album.  The demos and alternates are MEH, with the exception of So Long Suicide, which I liked better than the original.  And then you have Niles and Simon with Do That Dance.  O.  M.  G.  No way that was going on the main disc.  It's almost a joke.

Anyway, if you like Duran2 and haven't listened to this album, or haven't listened to it in a while, it's a nice little break from what you normally hear from them.  It's different and unique, and worth the time.

Duran Duran - Medazzaland - 1997

The Bonus Material 

Earl Grey - The Flavour - 1997

While I was digging through the back history of a lot of Techno labels, looking for material I remembered, liked or wanted, I came across Carl Cox's label called Worldwide Ultimatum.  It existed for roughly five years until 2000, and produced the work of five talented artists, including Earl Grey.

Before this little search, I had not heard of Earl Grey.  But, upon discovering his work, along with the beautiful Me Company artwork, it didn't take long for me to take a liking to it.  A slick D&B duo with a tinge of Jazz.  This is a collection of the Work released for the EP, along with some of the best material from their first album Purveyors of the New Groove.  Not a complete collection of their material, because it was all purloined from online, and it's difficult to find it all....

Earl Grey - The Flavour - 1997

Fluke - 1997 & Oakenfold - 2002

 I'm getting ready to go to the annual Asian Food Festival being held at an arena here in town, so I'm going to make these quick and easy

Up first, at the peak of the Electronica craze of the late 90s, Fluke was a strong second-tier player in the field.  They had made some incredible remixes for some of my favorite artists, I enjoyed their Atom Bomb for Wipeout, so this album was a natural necessity.  It's pretty good.  But, it already pushes the 80minute CD envelope, an doesn't have any b-sides, and just a few mixes.  So, aside from the one additional mix, this is a straight up album release.  It's pretty cool...

A huge fan of Paul Oakenfold, I was pretty hyped when this one came out.  It remained entirely cool for me for about a year, but then tracks started to lose their coolness.  In the end, only a few of the tracks have really stood the test of time for me, but I look back on this one with a sense of fondness.  Ready Steady Go is an absolute rocker.  I always turn that one up.

Now, I'm off to sample some Asian cuisine.  Whether it be homecooking, street food or restaurant quality, I don't know, but I'm dying to find out.  I am working toward starting my own Food Truck with an Asian Street Food theme, so tonight is a definite necessity.  I am to the the point where all I need is the $$$ and I can open up.  I have the skills, knowledge, research and concept ready to go.  So, if you have about 75,000 you're willing to bet on my success, I'd love to take your money and try.....   Yeah I thought so.  ;)

Fluke - Risotto - 1997

Oakenfold - Bunkka - 2002

Madonna - Ray of Light - 1997

 

 

 The final post for my Pop Music Week!  I hope you have enjoyed it, I'm sure some of you have hated it.  But, have no fear, when I return, it will be back to it's original format!!!!

Just so you all know, I hate Madonna.  I hate her style, hate her image, hate "most " of her music, especially her 80s crap and that Vogue bullshit.  I really think she's something of a whore now, ever since Erotica, but possibly even as far back as Like A Virgin. I can't help now, but think of Quentin Tarantino's translation of that song, Like A Virgin, whenever I hear or see "Madonna".

BUT, there was a shift in my attitude toward her music starting SPECIFICALLY with the song Bedtime Story, written by Bjork (amongst others), and more precisely the mix by Orbital, surprisingly.  The song and video are beautiful and extremely well performed, the writing and mixing are stellar.  Holy Cow!  Is this fucking MADONNA?!  Well, I got the gatefold single of that song, and treasured it as a Madonna anomaly. 

During that time, I was already very interested in William Orbit and any collaborations he was doing at the time.  Strange Cargo Hinterland and that Torch Song album had been out since 95, but that really was it for his own personal music.  I think he was mixing a few random Blur tracks, right before this album, Ray of Light, was released...  Co-writing, producing and mixing a Madonna album of all things was a fucking shocker in my book.

Many people have considered this to be an entry in his "Strange Cargo" catalog, as this album is definitive Orbit in it's concept, performance and production.  It is a prime example of WO at his best.  Every track has his signature sound written all over it.  I've included the instrumental versions below so you can get the full impact of the absolute high quality of his work.  Madonna actually sounds mature, coherent and somewhat intellectual in her lyric and performance.  She even seems less slut-like than almost every album before or after.  Wow, is that even possible?!

I really enjoyed the album from the beginning.  All I could think of was WO's work on this, and the fact that it was a Madonna album really didn't mean a whole lot.  As an album, it really didn't impact me emotionally or spiritually, or change my views on life or any of that crap.  But, I did realize that opening my thoughts on specific artists or genres isn't a bad thing at all, given the chance.  Hell, yeah, you'll get burned sometimes, but it's better than missing something really great that you might have never considered before.

I know that many fans of WO will already have all of this material.  But, to those of you who don't follow either Madonna or WO, you may want to give this one a shot.  You might be surprised...

 

Madonna - Ray of Light - 1997

Madonna - WO Instrumentals - 1997

Madonna - WO Remixes - 1997

Madonna - Other RoL Remixes - 1997

I'll be posting throughout this next week, but no new albums or covers.  I'll be out of town, working on my rental property one last time for the whole week.  New albums will resume on the 18th.

Stay tuned!!!!!!!!!!!!!!!

Monaco - Music For Pleasure - 1997

It was a cold and blistery winter night when I first heard WDYWFM? play on my radio in the car.  I had just gotten off work and it was 11 or 12 at night, and the temperature was about 4 degrees.  I huddled in my driver's seat waiting for the car to warm, and looking out at 12 inches of plowed snow and ice in the parking lot in front of me.  The sky was jet black, and 3 or 4 light poles were lighting the empty lot full of lines and tracks created by the snow plows.  I had the radio on, and they announced Monaco, and the title, and it started playing.  At the time, the internet was still in it's infancy, and I had no idea who Monaco was.  But, they sounded just like NO, and this guy singing, sounded a hell of a lot like Barney.

I consider Monaco a classic for Hook.  Revenge was good, but it was rough and hard, and raw.  Monaco had a more classic refined sound that seemed to me to be a mature NO.  It blended the sound of Britrock of that time with the best of what NO was.  It abandoned the crap that was Republic and returned them to Technique, while pulling it forward to the modern sound of 1997.  This was no rehash, it was new and it was fantastic.  THIS album should have been Republic.  Republic was just a tired Electronic album that needed Neil Tennant singing instead of Sumner.

The follow up to this album didn't come out for another three years or so, and it wasn't anything spectacular, but it was good.  If Monaco had continued, I feel I would have a greater respect for Hook now.  I don't care for what he's doing with the Light, Monaco was the route he should have followed.

I was tempted to use the naked guy for the cover, but settled on this, it looks pretty good.  I've got all the b-sides and non-album tracks, and I think I have all of the mixes, but I'm not sure.  It is a great companion to Music For Pleasure, and a sound of Hooky I will never forget.

Monaco - Music For Pleasure - 1997

Bjork - The Homogenic B-Sides - 1997-98

IMHO, this was Bjork's last good album.  Her newest one, Vulnicura, isn't bad.  But it doesn't compare to the masterpiece that was Homogenic.  A dark, personal album, it spent a vast majority of the time talking about her deepest, innermost thoughts and feelings.  Poetically, her lyrics were unbelievably fantastic (I'm a fountain of blood in the shape of a girl).  And the execution of the album was flawless.

I had already been collecting all of her work, but this album became a particular obsession to find every little piece related to it.  I had a poster of the particular I used for the cover above, there, hanging on my wall for nearly three years.  And, I still own it, rolled up in a tube downstairs, protected forever.

The disc I've collected today is one of the first b-side compilations I made when I got my first CD Burner.  I've burned it, listened to, worn out and reburned this disc three times in the last 20 years.  I've changed the cover several times since I first made it, but this is the first time that I've considered changing the green cover to red.  I think it turned out well.  Obviously, this is simply the b-sides and the remixes, as it was the original set that I compiled.  Plus, I didn't want to mess with the structure of the original album.  It would only pollute it's perfection.

With that, sod off. (It's the name of one of her songs.  I'm not literally telling you to sod off ;) )

Bjork - The Homogenic B-Sides - 1997-98

Supergrass - In It For the Money - 1997

Not really a whole lot to say here about this one, other than it's a great album, and a fun one to pull out every once in a while for a beer and cards.  It came out in the glut of Britrock of the 90s, and got lost in the pile with the likes of London Suede, Pulp, Oasis and Blur.  Fortunately, they had the talent and the backing to continue making excellent music to this day.

Take a listen.  You may like it, you may not.  Regardless, I plan on listening to it a time or two on a hot summer night, this year.  It's good for the soul.

Supergrass - In It For the Money - 1997

U2 - POP - 1997

I don't always listen to U2.  But when I do, I make sure it's Pop.

I will admit, I haven't been the biggest U2 fan in the new millennium.  They have their moments, and I tend to stick with their hits. But, when they recreated themselves in the 90s, I was their biggest fan. Achtung, Zooropa, Pop.  I loved them all. (Okay, Passengers was alright, but a little weird.)

I liked Pop a lot because of the electronica at the time.  But, as time has passed, the electronica has become dated, but the songwriting is classic and legend.  Every album track is a masterpiece.  Best ones are If God Would, Staring Sun, Last Night, Gone, and Wake Up.  The b-sides aren't bad.  I like the Sinead O'Connor duet, the Willie Nelson duet, and their supercharged version of Pop Muzik (When the build up breaks into music, it's like an adrenaline rush.)

When this album came out, I was managing a restaurant chain and worked with my wife and a large group of our friends (who we still talk to today, thanks to Facebook.)  We'd go dancing at a club called Bricktop, then 1421, and we'd have a blast.  I tie this album to that time in my life (Along with Wild Mood Swings) as a fantastic period of freedom and fun.  I'll always remember this album fondly....

I mixed it up a bit, b-sides here and there, but I got them all.  I left the Skysplitter Dub of I'm Not Your Baby on here, rather than the regular release, as the mix seemed to fit the overall feel of the album better.  When I go to release my mix disc of this album, I'll put the original on that.

Goodbye
It's emotional
Goodnight
I'll be up with the sun
Are you still holding on
I'm not coming down....

U2 - POP - Disc 1 - 1997       U2 - POP - Disc 2 - 1997

Oasis - Be Here Now - 1997

In the nineties, these bastards could do no wrong.  Yeah, Whatever was good, but once Morning Glory smacked me square in the face, I was hooked.  Every song, every chorus, every title, every note, seemed to be written from my own soul.  It's as if these scruffy British chaps had a magnifying glass into my own heart, and could read the lines of my life.

Every song an anthem, every song an arena shaker, every song a little golden nugget that I will hide in my heart for a very long time.

Yes, Morning Glory, to me, was their best, but Be Here Now is definitely their second best.  I love the fact that there was more material in the b-sides than there was in the actual album.  And every b-side was good enough to BE on the album as well.  I love their two cover songs, it's as if they were written expressly to be performed by them.  The singles are great, as always.  But, the best songs on the actual album were My Big Mouth (what a monster) and All Around the World.

After the live Familiar To Millions album, I felt as if the band started to lose it's touch.  The songs weren't so shiny, the melodies forgettable, and their image less impressive.

But this one was a beauty.

Oasis - Be Here Now - 1997 - Disc 1

Oasis - Be Here Now - 1997 - Disc 2

Echobelly - Lustra - 1997

As early nineties Britrock was swallowed by Electonica and Industrial of the end of the decade, Echobelly released what I feel is their best album.  Sonya Madan, their lead vocalist had a classic style that she fashioned after Morrissey.  And she fit it to a tee.  The album opens with a stunning anthem, and is propelled through a stunning variety of ballads and simple pop numbers.  Not much more to say, I planted all the b-sides at the end of the album for your pleasure.  A great album to pull out every once in a while.... Enjoy.

Echobelly - Lustra - 1997

Morrissey - Vauxhall & Maladjusted

So, if I was starting this blog posting my FAVORITE albums by my favorite artists, I probably wouldn't be posting these two, for Morrissey.  I've always had a special place in my heart for Bona Drag, since it first came out.  But, since it's been "remastered" "remixed" "re-released with bonus tracks", I haven't been able to go through the album again and rearrange it.  As you all know, Bona Drag was a collection of Morrissey's singles up to that point, with b-sides and all.  Well, lovely, that's right up my alley!  Now, though, there are a bunch of new tracks that I'm still not familiar enough with to make a final track order.

BUT, when these two were remastered, there wasn't much new that I didn't already have, so they were both easily completed.

Two very solid, yet easily forgettable Morrissey albums.  Don't get me wrong, I love them both, but there's nothing on these two that really make the stand out.

Of course, Vauxhall & I is Morrissey's American alternative break out album, released just when alternative music became mainstream in the US.  The More You Ignore Me became the alternative radio go-to for Morrissey, sandwiched right in between Matthew Sweet's "Baby We're the Same" and Spin Doctors "Little Miss Can't Be Wrong".  So, you can see how this album can easily be sullied simply by association with the music it was surrounded with....

Maladjusted was another story, though.  When this album came out, I was troubleshooting Boston Market restaurants in Des Moines and Ames Iowa.  We were seeing a shrinking of record labels.  Alternative music in the US was dying slowly whilke the music scene becoming more and more saturated with boy bands, "Electronica", R&B and "Industrial Metal".  A brief look at the remaining big alternative acts sees an aging population of artists beginning to reveal that they may have maxed out their creativity.  New Order had broken up, Depeche Mode had become an industrial band, Cure had one decent song off of their Mood Swings album, and even that was a pop hook giveaway.  Underworld was big, Chemical Brothers was bigger, Orbital was freeking HUGE, and Prodigy was, well, they were trying too. 

Anyway, Maladjusted appeared without any fanfare, and was rumored to be Morrissey's last.  It had a harder, rawer edge than most of his other material, and it seemed as if it would be a fitting exit.  My wife and I got together with another couple that we enjoyed doing things with, let's say their names were "Tim and Robin".  Anyway, we got together with Tim and Robin to go to Lawrence Kansas to see Morrissey play at this little venue there in college town.  It was open seating (actually standing), and only accommodated 500-700 people TOPS.  We weren't right up in front, but we were close enough to see Morrissey sweat.  And it was a GOOD THING.  Anyway, we were just getting into the groove, when he wraps it up.  We look at each other, and we were like "Is this intermission?" Only 45-50 minutes.  Not even an hour.  I mean, there wasn't even an encore! Yeah, we heard "Shoplifters of the World", and Interesting Drug, but you'd think he'd play for more than that!  We go outside and wait by his bus, with the rest of the crowd.  Someone shouts a distraction, and suddenly I see his head duck into the bus door and he was gone. 

Since that time, I've seen plenty of live performances online or whatnot, but that was my only "live" live performance.  Meh, maybe I was a little disappointed, but I DID get to see him.  And, that's all that matters.

Morrissey - Vauxhall & I - 1994

Morrissey - Maladjusted - 1997