Despite the fact that they were signed to a label before they ever played a live show, Gomez quickly became known as a great live act due to their solid musicianship, ability to create new arrangements on the spot, and no-nonsense, energetic performances where the band seem to be enjoying themselves as much as the fans. Apparently, they had wanted to release a live album for some time, but could not reach an agreement with Virgin, so when Gomez and Virgin parted ways following the release of Split the Difference in 2004, the time seemed right. They played a three-night stand at San Francisco's famed Fillmore in January of 2005, signed with ATO, and released Out West in June of the same year. The set draws from all four of their albums (leaning heavily on the first album) with a couple choice covers thrown in. Most of the tunes are similar to their studio counterparts, just rocked up a bit in a live context with an extra emphasis on guitars. In fact, the guitars are louder and more forceful on nearly every track, and the crisp recording really lets you hear the details. "Here Comes the Breeze" and "Bring It On" especially benefit from more guitar, and both "Here Comes the Breeze" and "Whippin' Piccadilly" get kicked up a notch or two by Olly Peacock's ferocious drumming. They do a stomping cover of Tom Waits' "Going Out West" and an interesting cover of Nick Drake's "Black Dog," which segues nicely into "Free to Run" and on into "Ping One Down." There may be a fan favorite or two missing from the set list, but the selections are excellent overall, and it's nice to have a sample of what they sound like live, whether you've missed them to this point or just want a great-sounding souvenir.

When Bright Eyes brainchild Conor Oberst issued Lifted or the Story Is in the Soil, Keep Your Ear to the Ground in August 2002, he was 22 years old. Critics were already calling him the "indie Bob Dylan," but the new millennium had seen a lot of those introverted, intelligent types (Ryan Adams, Beck). Bright Eyes, though, delivered a solid, intricately produced album without the majors' monotony. Immediately, one can sense Oberst's literate approach. His vocal curdle is abrasive, yet warm. It's similar to the cooing of Robert Smith, but lush in heartache like Paul Westerberg, leaving the storybook of Lifted or the Story... to earn massive praise. "Waste of Pain" is rough-cut with edgy acoustics, while "From a Balance Beam" glows with pop-like optimism. Chimes and simple drumming keep the story of personal insecurity and the fear of the unknown come alive in a dreamy sort of way. Even when he's aching his way through the pop rumble of "Method Acting," Bright Eyes convincingly lures one into his eclectic musical world. Oberst obviously has the talent to support the hype. "Lover I Don't Have to Love" is a dark number with its Radiohead-like doom and gloom; however, the piano swirl of "A Bowl of Oranges" offers a brighter reflection. On Lifted or the Story Is in the Soil, Keep Your Ear to the Ground, Bright Eyes has mixed badness with beauty for a sonic storybook that relates to everyone. It's slightly overwhelming at first, but one must allow a grace period to fully absorb the abstract desire behind this album.
Tracklist

Short Bio:
Early in their career, Buffalo natives the Goo Goo Dolls were frequently dismissed by critics as mere imitators of the Replacements; however, the band refined and mainstreamed their sound enough to become of the most popular adult alternative rock bands of the latter half of the '90s, selling millions of records to audiences largely unfamiliar with their inspirations. That's no knock on the band either -- their music simply improved in craft and accessibility as the years progressed, and radio happened to be receptive to what a decade earlier would have been considered collegiate power pop. Thus, the band landed two huge hits with the acoustic ballads "Name" and "Iris.

Cripple Crow marks a departure for Devendra Banhart. It's obvious from the faux Sgt. Pepper-meets-Incredible String Band freak scene cover photo that something is afoot. The disc is Banhart's first foray from Michael Gira's Young God label, and it's more adventurous than anything he's done before. This is not to imply that the set is a slick, over-produced affair, but it is a significant change. The instrumental, stylistic, and textural range on this 23-song set is considerably wider than it's been in the past. Working with Noah Georgeson and Thom Monahan, a backing band of friends known as "the Hairy Fairies", Banhart's crafted something expansive, colorful, and perhaps even accessible to a wider array of listeners. There are layered vocals and choruses of backing singers, as well as piano and flutes on the gorgeous "I Heard Somebody Say," while the electric guitar and drums fuelling "Long Haired Child," with its reverb-drenched backing vocals, is primitive, percussive, and dark. There is also the 21st century psychedelic jug band stomp of the second single, "I Feel Just Like a Child," that crosses the nursery rhyme melodics of Mississippi John Hurt with the naughty boy swagger of Marc Bolan. There are also five songs in Spanish, Banhart's native tongue, in a style that's a cross between flamenco and son. The title cut, "Cripple Crow," is one of the most haunting anti-war songs around. In it, Banhart places a new generation in the firing line, and urges them to resist not with violence, but with pacifistic refusal. A lone acoustic guitar, hand drums, a backing chorus, and a lilting, muted flute all sift in with one another to weave a song that feels more like a prayer. The lone cover here, of Simon Diaz's "Luna de Margaerita," drips with the rawest kind of emotion. Ultimately, Cripple Crow is a roughly stitched tapestry; it is rich, varied, wild, irreverent, simple, and utterly joyous to listen to.

Dire Straits emerged during the post-punk era of the late '70s, and while their sound was minimalistic and stripped down, they owed little to punk. If anything, the band was a direct outgrowth of the roots revivalism of pub rock, but where pub rock celebrated good times, Dire Straits were melancholy. Led by guitarist/vocalist Mark Knopfler, the group built their sound upon the laid-back blues-rock of J.J. Cale, but they also had jazz and country inflections, occasionally dipping into the epic song structures of progressive rock. The band's music was offset by Knopfler's lyrics, which approximated the winding, stream-of-conscious narratives of Bob Dylan. As their career progressed, Dire Straits became more refined and their new maturity happened to coincide with the rise of MTV and the compact disc. These two musical revolutions from the mid-'80s helped make Dire Straits' sixth album, Brothers in Arms, an international blockbuster. The band -- along with Eric Clapton, Phil Collins, and Steve Winwood -- become one of the leaders of a group of self-consciously mature veteran rock & rollers in the late '80s that designed their music to appeal to aging baby boomers. Despite the band's international success, they couldn't sustain their stardom, waiting a full six years to deliver a follow-up to Brothers in Arms, by which time their audience had shrunk significantly.

Knopfler (born August 12, 1949) was always the main force behind Dire Straits. The son of an architect, Knopfler studied English literature at Leeds University and worked briefly as a rock critic for the Yorkshire Evening Post while at college. He began teaching English after his graduation, leading a pub rock band called Brewer's Droop at night. By 1977, Mark was playing with his brother David (guitar) and his roommate John Illsley (bass). During the summer of 1977, the trio cut a demo with drummer Pick Withers. A London DJ named Charlie Gillett heard the demo and began playing "Sultans of Swing" on his BBC show Honky Tonkin'. Following a tour opening for Talking Heads, the band began recording their debut for Vertigo Records with producer Muff Winwood in early 1978. By the summer, they had signed with Warner in America, releasing their eponymous debut in the fall. Thanks to the Top Ten hit "Sultans of Swing," Dire Straits was a major success in both Britain and America, with the single and album climbing into the Top Ten on both sides of the Atlantic.

Dire Straits established Dire Straits as a major force on album-oriented radio in America, and their second album, Communique (1979), consolidated their audience, selling three million copies worldwide. As the group was recording its third album, Knopfler left the band to pursue a solo career; he was replaced by former Darling member Hal Lindes. Like its predecessor, Making Movies was a sizable hit in America and Britain, even though the band was criticized for musically treading water. Nevertheless, the record went gold on the strength of the radio and MTV hits "Romeo and Juliet" and "Skateaway." Dire Straits followed the album two years later with Love Over Gold, an album filled with long, experimental passages, plus the single "Private Investigations," which became a number two hit in the U.K. The album went gold in America and spent four weeks at number one in Britain. Shortly after the release of Love Over Gold, former Rockpile drummer Terry Williams replaced Withers.

During 1982, Knopfler began exploring musical avenues outside of Dire Straits, scoring the Bill Forsyth film Local Hero and playing on Van Morrison's Beautiful Vision. Apart from releasing the Twisting by the Pool EP early in 1983, Dire Straits were quiet for the majority of 1983 and 1984, as Knopfler produced Bob Dylan's Infidels, as well as Aztec Camera and Willy DeVille; he also wrote "Private Dancer for Tina Turner's comeback album. In the spring of 1984, the band released the double album Alchemy: Dire Straits Live and by the end of the year, they had begun recording their fifth studio album with their new keyboardist, Guy Fletcher. Released in the summer of 1985, Brothers in Arms was Dire Straits' breakthrough album, making the band international stars. Supported by the groundbreaking computer-animated video for "Money for Nothing," a song which mocked music videos, the album became a blockbuster, spending nine weeks at the top of the American charts and selling over nine million copies; in England, the album became the biggest-selling album of the '80s. "Walk of Life" and "So Far Away" kept Brothers in Arms in the charts through 1986, and Dire Straits played over 200 dates in support of the album. Once the tour was completed, Dire Straits went on hiatus for several years, as Knopfler produced records by Randy Newman and Joan Armatrading, scored films, toured with Eric Clapton, and recorded a duet album with Chet Atkins (Neck and Neck, 1990). In 1989, he formed the country-rock group Notting Hillbillies, whose sole album, Missing...Presumed Having a Good Time, became a British hit upon its spring 1990 release. During the extended time off, John Illsley recorded his second album; the first appeared in 1984.

In 1990, Knopfler reconvened Dire Straits, which now featured Illsley, Clark, Fletcher, and various session musicians. The band released On Every Street in the fall of 1991 to great anticipation. However, the album failed to meet expectations -- it only went platinum in America and it didn't crack the U.K. Top 40 -- and failed to generate a hit single. Similarly, the tour was a disappointment, with many tickets going unsold in both the U.S. and Europe. Once the tour was completed, the live album On the Night was released in the spring of 1993 and the band again went on hiatus. In 1996, Knopfler launched his solo career with Golden Heart.

To say that Warner/Rhino/Sire's 2006 four-CD, one-DVD box set Pirate Radio is for the die-hard Pretenders fan may be stating the obvious -- after all, career-spanning multi-disc sets heavy on rarities are by definition for diehards. But die-hard Pretenders fans are different than other die-hard fans, since they can be easily split into two separate camps: those who followed Chrissie Hynde throughout her career, and those who lost interest somewhere after 1983's Learning to Crawl, the triumphant third album that proved Hynde was above all a survivor. After that, Pretenders records were notoriously hit-or-miss affairs, sometimes holding together a little better than others, but patchy enough to whittle down their audience to just the dedicated, while still indicating that a killer comp could be pieced together from these records.
Tracklist

This 1976 follow-up to the successful Changing All the Time once again in the producer's chairs, the band produced some notable hits in Europe: "Something's Been Making Me Blue" layers Smokie's trademark harmonies atop a rousing country-rock tune driven by tasty guitar work, and "Wild Wild Angels" is a dramatic power ballad that highlights a strong lead from whiskey-throated vocalist finds Smokie pursuing the same kind of country-flavored pop that made that album a hit. With Nicky Chinn and Mike ChapmanChris Norman. Smokie also scored a hit with "I'll Meet You at Midnight," a surprising departure from their usual formula where the band plays a backup role to a dramatic, French-styled string arrangement that sets the melody. Despite these strong hits, the remainder of Midnight Café hits a few rough spots: "Make Ya Boogie" is a dull and overlong boogie-rock tune that could have been performed by any rock band, and the attractive melody of "Poor Lady (Midnight Baby)" is marred by a set of mean-spirited and misogynist lyrics that mercilessly skewer the down-on-her-luck groupie of the title. Despite these occasional lapses in quality, Midnight Café does offer some decent tunes between the hit singles: "When My Back Was Against the Wall" is a dreamy ballad driven by an ethereal string arrangement, and the epic "Going Home" allows the band to stretch out and show off their formidable instrumental chops. In the end, the album serves up enough solid tunes to satisfy one of the group's fan, but casual listeners may want to track down the album's hits on a Smokie compilation.

Fans who discovered Incubus and their album, Make Yourself, through their massive radio hit, "Drive," may be surprised that the band released a follow-up album so quickly. Yet the reality is that Make Yourself was a definitive sleeper hit, never peaking past the Top 50 of Billboard's album charts, but staying on those same charts for close to two years and in the process shifting over two million units. With each successive single that was released, the band gradually moved away from the nu-metal/Ozzfest crowd they had been initially lumped into and revealed the solid songwriting and talent for a good melody underneath the layers of surging guitars. The lessons learned from Make Yourself have definitely been applied to Morning View. While there is still a fair share of aggressive numbers ("Circles," " "Blood on the Ground," and " "Under My Umbrella" arguably the strongest of the harder tracks), the ratio of softer and mellower numbers have increased dramatically, to the point where hardcore fans of earlier material may be bewildered. For the most part, the transition works. "Mexico" is a sparsely arranged acoustic ballad that gives lead singer Brandon Boyd an opportunity to demonstrate his formidable vocal range. "Are You In" is an upbeat, funky tune reminiscent of Sugar Ray (and that's meant in a good way). The most offbeat track is the album closer, "Aqueous Transmission," a tranquil, exotic-sounding ballad that sees the band successfully experimenting with Middle Eastern string arrangements. Not all the experiments gel ("Echo"), and there is a tendency, especially in the middle third of the album, for the songs to sound too similar in sound and tempo, but on the whole, Morning View is a fine follow-up to Make Yourself and a natural progression in the band's musical evolution. While it may not appeal to fans of the harder material, music lovers who like their rock a little less aggressive and a little more ambitious and, well, sensitive should give Morning View a spin.

A line from U2's 1992 hit One has been voted the UK's favourite song lyric.

The line "One life, with each other, sisters, brothers" came top of a poll of 13,000 people by music channel VH1.

The song reached number seven in the UK chart when it was originally released, but a new version featuring Mary J Blige recently went to number two.

A lyric from The Smiths' song How Soon is Now? came second in the poll, followed by a line from Nirvana's Smells Like Teen Spirit.

A call from Bob Marley to "free our minds" in his Redemption Song came fourth, with Coldplay's hit Yellow in fifth.

Memorable moments from Eminem, Robbie Williams, The Who, Radiohead and Marvin Gaye were also in the top 10.

John Lennon's Imagine did not feature in the top 20 despite coming top of a similar survey in 1999.

The top five lyrics in the VH1 poll were:

1. U2 - One. "One life, with each other, sisters, brothers."

2. The Smiths - How Soon is Now? "So you go, and you stand on your own, and you leave on your own, and you go home, and you cry, and you want to die."

3. Nirvana - Smells Like Teen Spirit. "I feel stupid and contagious, here we are now, entertain us."

4. Bob Marley - Redemption Song. "Emancipate yourselves from mental slavery, none but ourselves can free our minds, have no fear for atomic energy, 'cause none of them can stop the time."

5. Coldplay - Yellow. "Look at the stars, look how they shine for you."


This news taken from


So Modern Music Readers what's your favorite lyric?

8 live tracks performed at Paradiso in Amsterdam 30 jan. 2006 from Editors The Back Room CD can be found here:
LINK

The Organ's 2002 debut EP Sinking Hearts was more captivating than most of that year's full-length releases: over the course of just 15 minutes, the band crafted chiaroscuro meditations on falling in and out of love that were just as light and jangly as they were dark and brooding. The EP was a promising beginning, and Grab That Gun, the Organ's first album, builds on that promise by delivering more appealingly moody music instead of reinventing the band's sound. It's tempting, initially, to be slightly disappointed that the Organ didn't broaden its sonic territory. But, even though the music remains remarkably focused, Grab That Gun proves that the band has plenty of room for expression within its rather limited palette of droning organs, succinct drumming and sharp, upturned guitar lines that give new meaning to the term "hook." While this sound comes from the legacy of '80s college rock -- at times suggesting a fusion of the Smiths' witty, bouncy melancholy and the on-the-sleeve passion of Throwing Muses -- and also has ties to some of the other bands remaking new wave and post-punk in their own images, the Organ and Grab That Gun have a freshness that isn't often heard in any kind of rock music. This is partly due to the simplicity of the band's playing; some call it amateurish, although innocent is probably a more apt description.

The hard rock rawness of Buffalo's Goo Goo Dolls makes Superstar Car Wash an album that is high on amicable guitar riffs and attractive hooks, with an edge that never goes away. All the choruses are sandwiched perfectly between the crunching throttle of electric guitar and pleasing rock rhythms, changing pace and style just a notch in each of the 14 songs. Heavy but far from pretentious, songs like "Fallin' Down," "Cuz You're Gone," and "We Are the Normal," co-written by Paul Westerberg, combine pleasing elements of rough harmonies with infectious runs of six-string grit. John Rzeznik's vocals resonate with a reckless, punk-soaked ardor that lifts their music above and beyond the norm of power pop. The attitude that surrounds the album makes the Goo Goo Dolls out to be a rough and tumble outfit, outlining all the tunes with a rebellious tone. Quite different from their platinum A Boy Named Goo album, which soun
ded smoother and refined, Superstar Carwash has the band sounding loose and freewheeling, making the best of any musical misdirection. Before radio adopted their polished glimmer, they let loose and channeled their playful immaturity throughout the attractive impurity of this album.

With the release of the double-disc Listener Supported in 1999, the Dave Matthews Band now had four live albums to their credit (including their self-released debut Remember Two Things and Matthews' solo set Live at Luther College). Bootleggers had discovered that certain bands had voracious audiences who would listen to anything by the group. Once Dave Matthews discovered he had one of those bands and that he had scores of unofficial discs on the market, he decided to release official live albums on a regular basis. A good business decision, but it has the effect of diluting his discography somewhat, especially when the end result is as ordinary as Listener Supported. Unlike audience tapes and bootlegged shows -- which, in an ideal world, capture a band loose and unaware -- the concert on Listener Supported was recorded for a PBS television show, In the Spotlight. This may have affected their performance somewhat, since there just isn't much energy to the recording. Part of the problem is that DMB don't really explore new musical territory through improvisations -- they just settle into a groove and ride it. Not that there's anything wrong with that, but it does mean that there's not as much identity to an individual DMB show as there is in, say, a Phish show. When the band nails the groove live, they can be more engaging than they are on record. But if they just float on by, as they do on Listener Supported, the songs and jams are flatter and never really go anywhere. If you're already a fan -- a very devoted fan -- that's fine, but otherwise, listening to these two discs nonstop will be a little dull. DMB are capable of more than this; Listener Supported just captures them on an off night.

An album and a singles collection at the same time, Fab Four Suture stitches together four limited-edition EPs Stereolab released in the fall of 2005 and spring of 2006. Over the years, the group has made a reputation for having EPs and singles -- and therefore, singles collections -- that are just as good, if not better, than their albums, as comps like Switched On and Aluminum Tunes attest. Stereolab has also always been very democratic about making sure fans can get their hands on nearly all of their more obscure releases in some form or another; while Fab Four Suture is a little different than their other collections in that it was designed to form an album upon the completion of the EP series, in terms of its quality, it's on par with the band's most enjoyable comps. By combining the looser, more experimental feel of their EPs with the album format, Fab Four Suture ends up being looser and more organic-feeling than Stereolab's previous album, the lovely but occasionally distant Margerine Eclipse. Indeed, the best moments here are more immediate than anything the band has done in a long time. "Interlock" boasts funky brass and basslines that are echoed by "Excursions into 'Oh, A-Oh,'" a driving motorik with fiery guitars that recalls the glory of Transient Random Noise Bursts with Announcements. "Plastic Mile" and "Eye of the Volcano" are examples of their sparkling, delicately dramatic pop at its finest, while "Visionary Road Maps" is lovely and mysterious, changing gears two-thirds of the way through from a insistent yet somehow bittersweet groove to a slower, slightly spooky coda. The more experimental and downright playful moods of Stereolab are also represented, respectively, by "Widow Weirdo," a quick-shifting track that has an odd, almost ugly little guitar lick as its only constant, and the fizzy, revved-up "Vodiak." After hearing Fab Four Suture in its album form, the EPs tend to feel like puzzle pieces without any instructions; on their own EP, the two parts of "Kybernetica Babicka" felt slight and disappointing, but they work well as the album's opening and closing themes. Even more than Margerine Eclipse, Fab Four Suture sounds like Stereolab has adapted -- if not fully healed -- from the loss of Mary Hansen, and it's fitting that the group's first full-length album for Too Pure in over a decade finds them consolidating their strengths rather than completely reinventing their sound.

Pay the Devil, an album-long foray into country music, shouldn't come as a surprise to Van Morrison fans. It's a logical extension of his love affair with American music. Certainly blues, R&B, soul, and jazz have been at the forefront, but one can go all the way back to the Bang years and find "Joe Harper Saturday Morning," or songs on Tupelo Honey that touch country. More recently, You Win Again, with Linda Gail Lewis, offered two Hank Williams tunes and "Crazy Arms." The Skiffle Sessions with Lonnie Donegan offered traditional Southern tunes including Jimmie Rodgers' "Mule Skinner Blues." Morrison's lyrics have also referenced country music blatantly. Pay the Devil comes from direct sources of inspiration: his father's skiffle band and Ray Charles' historic forays into country on the two volumes of Modern Sounds in Country and Western Music recorded: in 1962. The evidence lies in three cuts on this disc, all of which CharlesCurley Williams' "Half as Much," Art Harris and Fred Jay's "What Am I Livin' For," and Hank Williams' "Your Cheatin' Heart." Morrison's a cagey one: his own mercurial versions of these nuggets are more traditional than those of Charles, yet are steeped in similar production styles that offer a clear nod to the late artist. While there are no horns on Pay the Devil, the layers of strings on top of "fiddles" and honky tonk pianos -- as well as earlier pedal steel styles -- are giveaways. And then there is the voice. Like Charles, Morrison is a soul singer no matter what he sings and he digs into these tomes with fire and the uncommon sweetness of tone and limited timbre that Charles did. But Morrison re-creates these tunes in his own image too.
Tracklist

Compared to the brash pop of Damon Albarn's Gorillaz side project and 1999's overtly emotional 13, Think Tank is a soulful and subtle affair—its tone possibly traceable to the departure of founding member Graham Coxon midway through its recording. There are classic Blur rock moments here, notably "Crazy Beat," which is cut from the same cloth as the classic "Song 2," and the painfully short but brilliant "We've Got a File On You," which sounds like agitprop punks Crass mixed up with a Moroccan snake charmer. But while Albarn still has an ear for a melody, without Coxon's guitars to subvert them, most of these songs sound like the work of a new band. "Caravan"'s sleepy rhythm plods at a camel's pace, while "Gene by Gene" employs cross rhythms to evoke desert images. Blur is now more about textures rather than standard rock rhythms. Some will find their evolution off-putting, but for fans who appreciate a band that refuses to sit still, Think Tank is a rewarding listen.

The sixth of six albums recorded by Red Hot Chili Peppers guitarist John Frusciante during 2004, Curtains was initially tracked on the musician's living room floor and subsequently overdubbed with Carla Azar of Autolux on drums, Ken Wylde on upright bass, and Omar Rodriguez of the Mars Volta, who lent his guitar playing to a pair of tracks. Initiated by the stellar, Dylanesque acoustic tones of "The Past Recedes," Curtains opens to reveal evocative, soulful material like "Lever Pulled" and the bright, melodic reflection known as "A Name." The magical "Ascension -- which uses George Harrison's "My Sweet Lord" as a touchstone -- offsets the piano dirge "Leap Your Bar," but Frusciante's increasing comfort as a vocalist during this prolific spell is what is most notable. One needs to look no further than the beauty of "Anne" (which is arguably the best of the lot here) for evidence. But Curtains is the sum of its parts. Nearly always inventive, the 11 tunes here collect to form one magnificent piece of art.

Los Angeles legends and music innovators Sparks, best known in the States for their '80s hit "Cool Places" with Jane Wiedlin, has actually been around for nearly 30 years, consistently putting out records and developing a cult following. Precursors to electronica, synth-pop, and new wave, the brothers Ron and Russell Mael have inspired such varied acts as Ween, Fear, and They Might Be Giants. With an ironic, irreverent way of looking at the world reflected in their wordplay and dramatic productions that are highlighted by the coldness of heavy synthesizers, they come across like a combination of the Pet Shop Boys, Men Without Hats, and a splash of Devo. Despite the welcome dichotomy created by their silly lyrics and detached synths, there is something forlorn about the duo's melodies -- even when singing lines like "I'm much more than this/more than a sex machine," covering odd topics like an ode to Scheherezade or explaining "How to get Your Ass Kicked." This being Sparks' 18th album, the Mael brothers clearly know what they're doing. Though both the lyrics and the production are quirky, there is nothing dumb about them. To be able to make a song called "More Than a Sex Machine" anthemic shows just how elegant and how smart the Maels are. The melodies have brilliant pop hooks and Russell's voice soars. Balls made it worth the three-year wait between this and their last album, Plagiarism.
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Long-time Van Morrison fans may prefer the Belfast bard's tougher, emphatically R&B-driven work, yet it's his lusher, mid-1980s output that helped him consolidate the scrappy gains made in the prior decades. The once-heightened polarity between the earthy and the ethereal seemed muted on albums that traded in a softer-focus, romantic mysticism mirrored by the expanded scale of Morrison's band and arrangements, and left room for him to dabble in instrumental compositions or his renewed love of sax and piano. No Method, No Guru, No Teacher proves among the more durable, convincing chapters in this era, carrying a now-familiar array of symbolic touchstones (the Celtic legacy of "Tir Na Nog" or an extended instrumental allusion to a hymn set to William Blake's musings on England) and offering two of Morrison's better meditations on redemption, "In the Garden" and "A Town Called Paradise", which echoes the fevered waltz-time trance of "Astral Weeks" itself
Tracklist

Sandie Shaw's hits have been repackaged so many times that there are far more compilations of her work than there ever were original albums. She formed a formidable pop partnership with writer Chris Andrews in the mid-'60s, taking songs like the breathy "Girl Don't Come," "Long Live Love," and the annoyingly bouncy Eurovision Song Contest winner, "Puppet on a String," to the top of the British charts. This collection, however, goes well beyond the surface to offer a slightly stripped-down version of 64-67 Complete Sandie Shaw, which covers every track she released on Pye during those three years. So if you want more than the recycled hits but you're not willing to dive in and get everything, this offers some good middle ground. And make no mistake, Shaw was the princess of Brit-pop at the time (even if the term hadn't been coined then). She was hip, dressed in the best Mary Quant with the fashionable straight hair and trademark bare feet on-stage. The fact that she didn't have much of a voice (certainly when compared to a contemporary like Dusty Springfield) was irrelevant. She could turn on the emotion in "Ask Any Woman," a 1967 track which illustrates just how far she'd come from the naïveté of her debut, "As Long as You're Happy, Baby." And while most of the material from Andrews' pen is straight out of the Denmark Street/Brill Building pop school, aiming toward neo-girl group pop, the pair does take some chances, tweaking the formula interestingly on "I've Heard About Him" and "Long Walk Home," while going folky with "Nothing Comes Easy." Shaw may never have been one of the great singers -- even later in the '60s, when she became far more eclectic and experimental in her approach -- but she was part of a Zeitgeist with some great songs, the mistress of a moment.
Tracklist

It even looks like something classic, beyond its time or place of origin even as it was a clear product of both -- one of Peter Saville's earliest and best designs, a transcription of a signal showing a star going nova, on a black embossed sleeve. If that were all Unknown Pleasures was, it wouldn't be discussed so much, but the ten songs inside, quite simply, are stone-cold landmarks, the whole album a monument to passion, energy, and cathartic despair. The quantum leap from the earliest thrashy singles to Unknown Pleasures can be heard through every note, with Martin Hannett's deservedly famous production -- emphasizing space in the most revelatory way since the dawn of dub -- as much a hallmark as the music itself. Songs fade in behind furtive noises of motion and activity, glass breaks with the force and clarity of doom, minimal keyboard lines add to an air of looming disaster -- something, somehow, seems to wait or lurk beyond the edge of hearing. But even though this is Hannett's album as much as anyone's, the songs and performances are the true key. Sumner redefined heavy metal sludge as chilling feedback fear and explosive energy, Hook's instantly recognizable bass work at once warm and forbidding, Morris' drumming smacking through the speakers above all else. Curtis synthesizes and purifies every last impulse, his voice shot through with the desire first and foremost to connect, only connect -- as "Candidate" plaintively states, "I tried to get to you/you treat me like this." Pick any song, the nervous death dance of "She's Lost Control," the harrowing call for release "New Dawn Fades," all four members in perfect sync, the romance in hell of "Shadowplay," "Insight" and its nervous drive towards some sort of apocalypse. All visceral, all emotional, all theatrical, all perfect -- one of the best albums ever.
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Having spent almost 20 years scraping by on the 2nd half of "Still" and various bootlegs of generally hideous quality, I didn't know what to expect when this was released. WHAT A TREAT! Many of these songs work at least as well as the studio versions, and if you're like me and generally prefer a good live version of a tune to studio work, some are definitive versions. "These Days" is absolutely stunning. "New Dawn Fades" also sounds amazing. This stuff is vastly superior in both sound and performance quality to either "Still" or "Preston (whatever date that show was)".

You get a killer selection of titles, including an early, incomplete version of Passover and obscure titles like "Autosuggestion." There's not much inter-song banter, but Ian wasn't that type of frontman really.

Only the first 9 songs are actually from Les Baines Douches; the other stuff is from a Holland show and the sound isn't quite as good, but overall this is an absolute gem for Joy Division fans.

Seriously, it's worth the purchase price just for the incredible version of "These Days." I can listen to that track five times in a row, easy.