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Confessions on a Dancefloor

Posted : 8 years, 3 months ago on 16 November 2009 08:02 (A review of Confessions on a Dance Floor)

With American Life having been a stateside failure, Madonna did what any smart businesswoman or politician would do: cut her losses and appealed to her constituency. In this case, that would be the (mostly gay) clubs that got her started way back in the late 70s/early 80s. Confessions on a Dancefloor isn’t just a fluffy piece of disco-pop. While it’s not quite at the level of Like a Prayer or Ray of Light, it is just a tiny bit below Music. To phrase that in non-fan terms: it’s a great album from the reigning Queen of Pop.

The opening shot of “Hung Up” remains one of her greatest moments as an artist. From that ABBA sample to those sassy lyrics, the Madonna from the 80s made a comeback and there’s no denying her. And “I Love New York” has a almost-Stooges flavor, if, you know, the Stooges had layered synthesizers upon their hard-hitting guitars. It’s a return of the Madonna brassiness that made her a superstar in the first place, don’t try and over think it, just go with her. “Future Lovers” with it’s Donna Summer sample and spoken-word segments sounds like an instructional video for the kind of dance-inspired spirituality she’s been talking about for the past few years.

“Get Together” and “Forbidden Love” move along on slinky ambient electronic grooves which reference her past, past dance hits and other artists in the electronic field when she first appeared on the scene. And “Like It Or Not” works as the album’s closer simply because it sounds like Madonna’s philosophy for living, even if it is a string of clichés. Her vocal performance and attitude make it work. While “How High” and the sublimely beautiful “Isaac,” which sounds to me like the story of Isaac from the Bible and not the Kabbalist icon, create a Middle Eastern disco genre that create two of the best moments on the album. Madonna’s best moments are always when she explores spirituality through the transitive power and nature of music, dance and love. Confessions is full of these kind of moments.

I absolutely loved Confessions when it first came out, and I still do. It’s definitely one of my favorite Madonna albums. It’s a delicious mixture of Donna Summer inspired disco and ABBA-licious good times. DOWNLOAD: “Hung Up”

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Knock Knock Knock

Posted : 8 years, 3 months ago on 16 November 2009 08:01 (A review of Knock Knock Knock)

Hot Hot Heat’s five song EP Knock Knock Knock is as quirky and jittery a neo-New Wave alternative dance party as Make Up the Breakdown. In fact, these songs wouldn’t sound out of place wedged onto the end of Breakdown. Bays’ nasal brat-punk voice is tailor made for music like this. “Have a Good Sleep” owes an obvious debt to Gang of Four (guitars), Elvis Costello (lyrics) and the Police (the almost ragga-like keyboards). “5 Times Out of 100” jerks back and forth between energetic party song and a dark, chaotic mid-tempo breather. And the metallic boot stomp intro to “Touch You Touch You” sounds like pure Devo-esque nerdy art-punk New Wave. While Hot Hot Heat never sound like they’re biting the style and posing as these bands, they do sound like they’re merging their references with their own point-of-view to make something new and fresh. DOWNLOAD: “Have a Good Sleep”

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Absolute Garbage

Posted : 8 years, 3 months ago on 16 November 2009 08:01 (A review of Absolute Garbage)

Garbage’s greatest hits plays like the assembly line of sounds and textures of the 80s and 90s alternative rock scenes. Shirley Manson is the perfect voice and image for this kind of music: all brass attitude, smoking-in-the-girls-room sass, yet there’s a thinly veiled romanticism and vulnerability. She’s essentially the updated form of Debbie Harry, Chrissie Hynde, Siouxsie Sioux or Patti Smith depending on her mood, or the song. I’ve always found it absolutely thrilling.

Garbage and Version 2.0 provide the vast majority of the sixteen singles present on the album, which is both expected and slightly frustrating. Beautifulgarbage and Bleed Like Me weren’t slouches for great singles and album tracks, but they didn’t quite capture the ears of the public like the first two albums. Which is also a shame. But what is here is a flat out great assortment of songs.

Early singles like “Vow” and “Queer” represent the mild flirtation with fetishistic and kinky sex that Garbage would bring to bigger and badder life on later releases. “Special” and “When I Grow Up” show that Garbage was, above all things, a neo New Wave act with a fondness for electronic bleeps and burps. While “Cherry Lips (Go Baby Go!)” showcased Manson’s impressive range and the band’s willingness to experiment with different pop and alternative rock textures. “Cherry Lips” is also the best Debbie Harry impression I’ve heard from anyone. But it’s ballads like “Bleed Like Me,” “You Look So Fine” and the mid-tempo swinging 60s British pop of the newly recorded “Tell Me Where It Hurts” that prove Garbage have always been the Pretenders 2.0, that’s not a dig against them since I love them more than the Pretenders. The other new track, a remixed version of the Bleed Like Me album track “It’s All Over But the Crying,” actually improves upon the original.

Absolute Garbage, despite being the cleverest named Garbage album ever, is far from the essential Garbage recording though. Well, if you’re a fan like I am, then it’s not. Although the previous unreleased and soundtrack only songs, like “No. 1 Crush” and “The World Is Not Enough,” make it a damn fine purchase. If you’re looking for the band’s best moments and don’t feel like getting an actual album then this will work like gangbusters. DOWNLOAD: “Tell Me Where It Hurts,” “No. 1 Crush,” “The World Is Not Enough”

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Posted : 8 years, 3 months ago on 14 November 2009 05:21 (A review of Celebration )

It should speak volumes that Celebration, Madonna’s third greatest hits compilation and most comprehensive, can actually be criticized for not being long enough and excluding too many great songs. While this effectively works like gang busters to introduce the unconverted or new recruits to the Immaculate Church of the Divine Madge, for diehards the only need to get this would be to obtain the two (three depending on where it was purchased) new tracks.

Generally, I think that this is as solid a collection of infectious and groundbreaking dance confections as has ever been assembled, but it is slightly problematic. The biggest problem is that the track listing is arranged so slapdash that there’s no sense of career, vocal, artistic or personal growth. There’s a string of 80s club hits, a few modern era hits, a string of ballads here, and a new song there. Instead of the modern neo-classics “Hung Up,” truly one of her most glorious and greatest achievements, “Music” and “4 Minutes” opening the first disc, it should have gone something like this: the minimalist disco of “Everybody,” the joyous “Holiday” and the disco-punk of “Burning Up.” Chronological order is always the best kind of order for any compilation album. “Vogue” shouldn’t have been wedged between “Music” and “4 Minutes,” it loses some of its fierce deep throbbing house feel sandwiched between a Euro-disc art-trash pop single and the latest beat that Timbaland threw together in five minutes.

The string of ballads on the second disc would have also been avoided which slow down the set way too much. Individually “Crazy for You,” “Frozen,” “Miles Away,” “Take a Bow” and “Live to Tell” are all fantastic songs, but when heard one after the other they make you want to relax, not celebrate. The first disc should have started with “Everybody” and ended with “Vogue” or “Justify My Love” allowing for the second disc to pick up with everything from Erotica on, ending with new single “Celebration” .

The other problem is the omissions. I would have traded the trashy quasi-Latin rhythms of “Who’s That Girl” for the dark electronica of “Bedtime Story.” I also would have traded “Miles Away” for either the introspective “Drowned World/Substitute for Love” or the sapphic “What It Feels Like For a Girl.” And where is “Deeper and Deeper”? Mercifully, “Don’t Cry for Me Argentina” got removed this time around. And “Dress You Up,” “Everybody” and “Burning Up” finally got added. As for the new songs, they’re decent and nice reminders of the fun that Madonna can inspire. “Revolver,” and it’s hilariously twisted sexual metaphors is my favorite, but the Euro-ready “Celebration” and “It’s So Cool” aren’t bad by any means.

These problems aside, this is as close to pop perfection from the reigning queen as one can get. Celebration would have been better if it was a three CD boxset with a DVD set of her music videos, which would probably have pushed the set to five discs overall. But that truly would have been cause to celebrate! If you’re looking for an introduction into Madonna’s dance party, this is a new place to start. If you already own The Immaculate Collection and GHV2 just download the three new songs and save the money. Oh, and for the record, I love the deliciously trashy sub-Warhol Pop Art cover. DOWNLOAD: “Revolver,” “Celebration (Benny Benassi Remix),” “It’s So Cool”

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Necessary Evil

Posted : 8 years, 3 months ago on 14 November 2009 05:20 (A review of Necessary Evil)

Deborah Harry is my absolute favorite icon ever. Regardless of gender, for me, she’s the coolest, hippest and greatest person to ever step up to a microphone and make music. I’ve always been intrigued by her combination of supermodel pretty looks and patent refusal to be anything close to safe or innocent. With Blondie, she’s always been an avant-garde ironist making perfect hybrid pop singles. Her solo career is an entirely different matter. While she’s always been experimental, without the reign of Chris Stein, Clem Burke and Jimmy Destri behind her she’s too wild and weird. While I’m normally down with it, there’s a limit. Necessary Evil is no different.

“Two Times Blue,” the first single and album opener, is a gorgeous little dance-pop song, “School for Scandal” is a fun punk-dance song and “If I Had You” is a pretty little ballad. These are the first three songs on the album, so everything seems to be going fine until you hit “Live With Vengeance” a song that sounds ultimately like a rejected James Bond theme and a generically produced hip-hop inspired dance-pop song. It’s awful. This song is just a symptom of the overriding issue with the entire album: it’s too generically produced, too insistent on hip-hop lite beats and posturing, too long and indulgent. If more songs had been like the trashy Strokes-ish “You’re Too Hot” and “Two Times Blue” this would have been a much better release. As it stands it’s not awful, but it’s nothing spectacular either. So, while she’s made solid, and numerous classic, albums with Blondie, Harry has yet to make a consistent solo album. DOWNLOAD: “Two Times Blue,” “White Out,” “You’re Too Hot”

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Pretenders II

Posted : 8 years, 3 months ago on 12 November 2009 11:19 (A review of Pretenders II)

Chrissie Hynde is a great frontwoman. There’s no need in arguing with that, and while the Pretenders have become nothing more than a vehicle for her artistic explorations, they were once a fantastic band. While Pretenders II is not as groundbreaking, rollicking or hard-edged are their debut album, it is a great album from front to back.

She still jerks back and forth from tough girl (“Bad Boys Get Spanked”) to achingly tender (“I Go to Sleep”), but that’s always been part of her charm. And this first incarnation of the band remains the same. Their first two albums play like a two-disc greatest hits collection (and I would make the argument that Learning to Crawl acts as a third disc). From the tough girl with a soft heart sass of “Message of Love” onwards, Chrissie has got you hooked with her steely but melodic voice. She even makes like a spiritual daughter of Patti Smith on “Pack It Up,” which is a good thing. But my favorite moment is the sweet, but never saccharine, British Invasion-era pop of “Talk of the Town.” From the poetic lyrics to the way that Hynde sings “You’ve changed…your place in this world,” this is truly one of their greatest moments. DOWNLOAD: “Talk of the Town”

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No Exit

Posted : 8 years, 3 months ago on 12 November 2009 11:18 (A review of No Exit)

Nearly twenty years had passed between The Hunter and No Exit, but you wouldn’t know it by Debbie Harry’s icy downtown croon. Her voice and persona haven’t gained a pound or aged a day since the almost-smile of “Sunday Girl” or the robotic vamp of “Call Me.”

Unfortunately the album is all peaks and valleys depending on the sonic experiments. The country twang of “The Dream’s Lost on Me” works, but the rap-metal hybrid “No Exit” just falls flat, it sinks the flow of the album. And it’s only the fourth song. The album never quite recovers from that point onwards, but Blondie never really embarrass themselves either. It’s a solid return, and “Maria,” “Nothing Is Real But the Girl,” “Under the Gun” and “Screaming Skin” all sound like classic Blondie. Especially “Maria,” which is one of my personal favorites from the band – Harry’s voice sound fantastic, and the glorious keyboard layers make it sound like an album track from Parallel Lines or Eat to the Beat. Funny how their new cover of the Shangri-La’s “Out In the Streets” doesn’t work as well as the older demo found on the 2001 re-release of their self-titled debut which played the song straight and refrained from adding vocal overdubs and odd, but unnecessary, synthesizers. (The original demo can also be found on the out-of-print The Platinum Collection, which is actually not as difficult to find as other out-of-print collections.)

Between this and The Curse of Blondie there’s one really great comeback album. Hell, if you merge the best moments between the two albums you’d have a great Blondie album, period. As it stands, they’re both perfectly decent albums, each filled with moments of greatness and lots of very good moments, from the iconic and groundbreaking New Wave pioneers. DOWNLOAD: “Maria”

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Posted : 8 years, 3 months ago on 6 November 2009 05:54 (A review of Twelve)

Patti Smith is an incredibly original, fiery and passionate artist with her own material, she gives this collection of cover songs the same treatment. Ever the consummate artist, these songs barely resemble their original forms. Since Gone Again, Smith’s albums have experimented with alternative-folk, or punk-folk, and these covers are no different. “Are You Experienced?” sounds like the Earth mother is beaming down from the heavens to give us all her personal motto. While “Within You Without You” gets a stripped down arrangement, and Smith’s own personal convicts and feelings give the cover more depth and feeling than it should have had. The Beatles are an easy group to cover, but a difficult group to get right. Smith gets it right. But the best song has to be “Smells Like Teen Spirit,” which bares no resemblance to the seminal grunge sound it invented. “Teen Spirit” is now an Americana classic, sounding like it was already written long before Nirvana came into the pop culture lexicon. I don’t know how ‘essential’ this release is to Patti Smith’s artistic legacy, but it’s a solid collection and she delivers the goods. Hardcore fans will love it, and the casual fan should give it a try. She has said that covers are an essential part of her musical identity and she always wanted to record one. And here’s a great one. DOWNLOAD: “Smells Like Teen Spirit”

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Posted : 8 years, 3 months ago on 6 November 2009 05:53 (A review of Clouds)

Clouds is fairly generic given that it’s a Joni Mitchell album, which should have given it some color, texture and a unique singular voice. Much of that is missing, with three notable exceptions. While Blue is famously sparse in musical accompaniment, Clouds lacks the emotional lyrical and musical heft to be so plainly done. And Mitchell hasn’t quite developed her voice, both in artistic and vocal terms. This is as plainly folk as Mitchell as ever been – not much in the way of strange chord progression, no jazz leanings, nothing that makes her such a notable and noteworthy musical icon. To be fair, this was only her second album. It is competent, and with her next record, Ladies of the Canyon, she’d go on to fully develop her artistry and individuality. As for those notable exceptions: “Roses Blue” has her doing some strange things with chords and the tuning of her guitar and has something to do with the occult, “Chelsea Morning” is a slight rocker and a well-known staple of the singer/songwriter niche, but no song on this album is better than “Both Sides Now.” “Both Sides Now” is a beautiful song about seeing both sides of an ending relationship, and it is delivered in an appropriately mature and warm performance. “Songs to Aging Children Come” is a bit hit-and-miss for me, I love her guitar and vocal work, but the subject matter doesn’t do much for me. And I have immense respect for decision to perform “The Fiddle and the Drum” a cappella. This still doesn’t make Clouds entirely essential despite three fantastic songs, and two classics, being only available on this release. DOWNLOAD: “Both Sides Now”

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Gung Ho

Posted : 8 years, 3 months ago on 1 November 2009 04:34 (A review of Gung Ho)

Gung Ho has Patti Smith imaging herself into several different political situations: in Vietnam, speaking for the stolen Africans in the Middle Passage, as Salome ordering the head of John the Baptist. What she manages to do with these situations is really something special, and a great testament to her talents as a poet and artist. She hasn’t been this full of piss-and-vinegar since Radio Ethiopia, but she’s still managing to sound like the goddess of alternative rock that she is. While this isn’t as crazy as the folk-punk hybrid Gone Again, this is more like Easter – full of big and scary ideas for a mainstream album, but given enough of a polish to give the illusion of being easily accessible. The lone single, “Glitter in Their Eyes,” is an anti-materialism rant, and possibly about blood diamonds, if I’m understanding the imagery correctly. But I can’t imagine too many people being riveted and thrilled by “Libbie’s Song,” but I was. Patti Smith is someone who’s never had to worry about chart performance, working with flash-in-the-pan producers or compromising her artistic integrity, so she’s allowed to follow her muse wherever it takes her. And in this instance it took her to a song which sounds like the world’s oldest country song – her voice sounds warm and great in the genre, maybe that’s where she’s heading towards next? I’d be on board for it. I’ve already loved her early punk days, her glossier rock middle period, latter day alternative folkie rebirth and this just melds and merges the different versions of Smith into one rollicking new one. Or perhaps she was just summarizing her years at Arista for her final studio release. Either way, I believe that Gung Ho is one of her best efforts. DOWNLOAD: “Glitter in Their Eyes”

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