Categories
10cc 1976 2020 Artists (by group or surname) Azimuth Barclay James Harvest Blue Mink Emotions Hamilton Jefferson Starship Joe Frank & Reynolds Liverpool Express Music Reviews Steve Miller Band Year

Bob Stanley presents ’76 In The Shade

4 min read

Order this CDWhat with the pandemic and all, the 2020s, as decades go, have been one hell of a long century. One of the things I’ve sought refuge in has been music. Soundtracks, of course, but also rolling back the clock and reacquainting myself with old favorites like Parliament (of which more later), and somehow, an Amazon search brought me to this compilation, curated by Bob Stanley of Saint Etienne. It’s not the only such compilation that’s been assembled by one or more members of Saint Etienne, but if they’re all as good as this one, that’s a collection I need to expand upon, because ’76 In The Shade is nothing short of amazing.

As the well-written liner notes point out, Stanley is trying to recreate what was being heard in England’s sweltering summer of 1976. But that doesn’t mean just what was on the radio. It means what random instrumentals were being played under the BBC’s pre-sign-on TV test cards in the morning. It means what pieces of production music were heard under other things, be they commercials or radio interstitials. And then, yes, there’s also what was on the radio, but even here, Stanley reaches deep into the playlists he remembers and rescues some true gems from undeserved obscurity, so while there are a few well-worn radio staples here – 10cc’s “I’m Mandy, Fly Me”, Jefferson Starship’s “Miracles”, Hamilton, Joe Frank & Reynolds’ “Fallin In’ Love” – there is much here that has either been forgotten, or just seemed new to my ears on this side of the Atlantic.

The most obvious quality of all of it, aside from being really good music, is that it’s so mellow. This compilation is so laid-back that the hardest-rocking thing to be found is a Cliff Richard song (!), but even that selection is so sweetened by its production that it fits alongside the rest of the album without seeming jarring.

Some of the real gems are the instrumental tracks, many of them from production music library LPs that would’ve been in circulation at radio and television stations at the time. On the non-instrumental side, there are gems like the Motown-style “You’re The Song (That I Can’t Stop singing)”, credited to Hollywood Freeway although it was basically the songwriter’s demo of his new song. It was later covered by Frankie Valli, though I find myself preferring what turns out to be the original version of the song with its lush instrumentation and falsetto vocals. Other tracks by Liverpool Express, Sylvia, and Blue Mink make it seem like their producers had only just discovered reverb and were determined to drench these entire songs in reverb. It’s not unpleasant, but boy, are the results sometimes a bit on the trippy side.

4 out of 4Some of the songs here I remember from my childhood, and the rest I’m delighted to make their acquaintance here. Various artist collections are sometimes a bit of a crap shoot, engaged in a tug-of-war between what the issuing label can afford to license from other labels, or for that matter what’s even available at the time the compilation is assembled. But ’76 In The Shade is remarkably well-curated, and since I discovered it in 2021, it has gotten a lot of repeat listening time over these past couple of sweltering 21st century summers. It’s a nicely selected, relaxing album that, even though it contains only a handful of songs I recognized from my childhood, managed to take me back to that time.

  1. Walking So Free – Spike Janson (3:33)
  2. Sugar Shuffle – Lynsey De Paul (4:00)
  3. Miracles (Single Version) – Jefferson Starship (3:29)
  4. Get Out Of Town – Smokey Robinson (4:49)
  5. I’m Mandy, Fly Me (Album Version) – 10cc (5:20)
  6. Stoned Out – Simon Park (2:17)
  7. Nothing To Remind Me – Cliff Richard (2:59)
  8. Discover Me – David Ruffin (4:12)
  9. You’re The Song (That I Can’t Stop Singing) – Hollywood Freeway (3:10)
  10. You Are My Love – Liverpool Express (3:15)
  11. Liquid Sunshine – John Cameron (3:00)
  12. Not On The Outside – Sylvia (3:03)
  13. Stay With Me – Blue Mink (3:17)
  14. Wild Mountain Honey – Steve Miller Band (4:50)
  15. Fallin’ In Love – Hamilton, Joe Frank & Reynolds (3:12)
  16. Flowers – The Emotions (4:28)
  17. Montreal City – Azimuth (3:18)
  18. Rock ‘n’ Roll Star – Barclay James Harvest (5:18)
  19. Miss My Love Today – Gilbert O’Sullivan (3:46)
  20. Music – Carmen McRae (3:29)

Released by: Ace Records
Release date: August 11, 2020
Total running time: 74:45

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2017 8-Bit Weapon Artists (by group or surname) E Non-Soundtrack Music Year

8 Bit Weapon – Class Apples

3 min read

I remember the Apple II. By way of the Franklin ACE 1000 clone that was later sued off the market, I grew up with the Apple II as my first computer. I programmed it – or tried to – endlessly. Trying to get music and sound right with the native Apple II speaker was an especially bruising experience: endless data tables, pokes, and very seldom getting what I wanted out of the machine. A whole sub-industry was born to bolt better audio capability onto the Apple II via add-ons like the Mockingboard sound card. It was never as easy as just plugging a MIDI-capable keyboard into it and just playing what was in your head.

Except that now, it is. And that’s how we got Class Apples – a new MIDI controller interface, and a modern-day software hack allowing for samples to expand the sound of the Apple II, and 8 Bit Weapon doing what 8 Bit Weapon does. The entirety of Class Apples is performed on Apple II computers, with minor post-production tweaks providing the finishing touches that the Apple itself can’t (reverb, stereo tricks, a bit of flanging here and there). It’s still the same lo-fi machine that it always was, but the Apple II can do more musically thanks to persistent fans of the machine grafting new abilities onto it, inspired by technological developments that have taken place since the Apple II’s heyday.

The music here is all from the classical repertoire, and heavy on pieces with complex counterpoint. Everything has a beat to it, and there’s a strong Hooked On Classics vibe to the whole thing. It’s hard to nominate any one track as a standout – each of them have their own charms – though I’m always a sucker for “Ave Maria” and, well, just about any flavor of Bach.

4 out of 4Computer music may be nothing new, and classics filtered through computer music may be nothing new, but there is something new here – significant musical capabilities have been grafted onto a machine that was known for little more than the plaintive PR#6 “BEEP” that accompanied a startup or reset. Just as 8 Bit Weapon helped alert the public to the possibilities of the NES and Game Boy as musical instruments, the same can now be said of the not-especially-musically-inclined Apple II. It’s a musical tech demo that is, if you know anything about the Apple II’s native sound capabilities, surprisingly listenable. You had me at INIT HELLO,S6,D1.

Order this CD

  1. Sheep May Safely Graze (Bach – 2:55)
  2. Two Part Invention (Bach – 1:03)
  3. Prelude and Fugue 1 in C Major (Bach – 1:29)
  4. Für Elise (For Elise) (Beethoven – 2:14)
  5. Eine Kleine Nachtmusik (A Little Night Music) (Mozart – 5:24)
  6. Invention 8 (Bach – 0:51)
  7. Prelude in C Minor (Bach – 1:35)
  8. Rondo Alla Turca (Mozart – 2:07)
  9. Invention 14 (Bach – 1:13)
  10. Air Tromb (Bach – 1:29)
  11. Ave Maria (Bach & Gounod – 2:52)
  12. Moonlight Sonata (Beethoven – 4:43)

Released by: 8 Bit Weapon
Release date: July 22, 2017
Total running time: 27:55

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2015 E ELO Jeff Lynne L Non-Soundtrack Music

Jeff Lynne’s ELO – Alone In The Universe

Alone In The Universe15 years after his last album that took 15 years to arrive, Jeff Lynne is back, once again operating under the ELO banner, with an album that straddles his own tendencies toward classic rock and the trademark sound that his fans all but demand anytime he surfaces.

It’s not as if he’s been completely dormant during this time: an album of re-recorded-all-by-himself ELO covers, some of them fairly close to the sound of the originals, as well as an album of rock covers of classic hits and standards, done in Lynne’s trademark style. Armchair Theatre, his 1990 solo album, was reissued with bonus tracks. He’s also been producing albums for the likes of Joe Walsh and Bryan Adams, so it’s not as if he and his sound have gone completely underground.

But what has been missing is Jeff Lynne, writing new songs and performing and producing them himself. Long Wave and Mr. Blue Sky, nice as they were, were covers albums. Alone In The Universe is what Lynne/ELO fans have really been waiting for: new music from that familiar, laid-back voice. “When I Was A Boy” opens the album with languid nostalgia, perhaps as autobiographical a song as we’re ever likely to hear from Lynne, chronicling his childhood love of music that led to a life of writing and performing. There are hints of strings, all synthesized/sampled, though they’re kept far enough in the background that it doesn’t break the song.

“Love And Rain” picks up the tempo with a guitar groove reminiscent of “Showdown”‘s clavinet, while “Dirty To The Bone” bestows a cheerful sound upon some surprisingly biting (and occasionally silly) lyrics. What follows next is a one-two punch of two of the album’s best numbers, the mesmerizing “When The Night Comes” and the strangely relaxing and uplifting “The Sun Will Shine”. “When The Night Comes” takes some tried-and-true elements, such as a chorus that owes more than a little bit to the chorus of the Traveling Wilburys’ “Not Alone Any More”, and sets them to a beat that’s as close to reggae as Lynne’s ever likely to stray. “The Sun Will Shine” is a gently uplifting song with some of Lynne’s best lyrics in ages, with a soothing synth-and-guitar wash in the background. (In the electronic press kit interview for the album, Lynne says he wrote it to help a friend who was depressed; I can tell you that it does work in cheering up someone in dire straits.) “Ain’t It A Drag” is a delightfully cheery song about karma catching up with someone who’s done you wrong, while “All My Life” is a more plaintive, idealized love song, but a very pretty one.

“I’m Leaving You” sees Lynne going for the full Orbison, which is a gutsy thing to do because, as Bruce Springsteen himself once said, no one can sing like Roy Orbison. Still, this is a better approximation than most could manage. “One Step At A Time”, added at a late stage out of concern that the album didn’t have enough upbeat tracks, is a curious mix of a driving rhythm that wouldn’t have been out of place on Discovery, slathered with languid slide guitar that is simultaneously at odds with that rhythm and yet fits over it nicely. (And, for the first time in many years, it’s an ELO song with more cowbell!)

“Alone In The Universe” brings the album to a close in its intended configuration, Lynne’s ode to – of all things – space probe Voyager 1, outbound from the edge of the solar system, and it turns out to be the most ELO-ish song of the entire album, in both subject matter and presentation. Where Zoom might’ve left some fans thinking that it was an ELO album in name only, this album’s title track demonstrates that ELO is back in more than name only, even if it’s just Jeff Lynne in his studio. The sound of ELO is back as well.

Various deluxe versions of the album somewhat jarringly add anywhere from two to three extra songs after that perfect closure, from the country-rock of “Fault Line” (probably inspired by Lynne’s proximity to San Andreas), “Blue” (an addictively Wilbury-ish number), and the very ’80s-ish “On My Mind” (whose production touches include helicopters flying overhead for some reason).

4 out of 4Assembled as a musical package, Alone In The Universe is almost everything I’ve missed about ELO, tied up with a bow – this is why I still get excited to hear about Jeff Lynne heading into a studio, and why I hope he doesn’t keep taking off 15 years between albums.

Order this CD

  1. When I Was A Boy (3:12)
  2. Love And Rain (3:30)
  3. Dirty To The Bone (3:06)
  4. When The Night Comes (3:22)
  5. The Sun Will Shine On You (3:30)
  6. Ain’t It A Drag (2:36)
  7. All My Life (2:51)
  8. I’m Leaving You (3:08)
  9. One Step At A Time (3:21)
  10. Alone In The Universe (3:55)

    Bonus Tracks

  11. Fault Line (2:07)
  12. Blue (2:36)
  13. On My Mind (3:09)

Released by: Columbia
Release date: November 13, 2015
Total running time: 32:23 (standard edition/LP), 37:06 (deluxe CD/download), 40:23 (Japanese Blu-Spec CD)

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2016 8-Bit Weapon E Non-Soundtrack Music

8-Bit Weapon – Disassembly Language: Ambient Music for Deprogramming, Vol. 1

Disassembly Language Vol. 1An interesting new experiment for 8 Bit Weapon, Disassembly Language returns the chiptune duo to its Commodore 64-centric SID-sound-chip roots, but trades in the usual punchy three-minute originals for epic-length new-age chiptune instrumentals. The effect is nothing short of hypnotic.

“Phase I: Lexical Analysis” opens with mesmerizingly looping sequences over a gentle, slow pad; by the end of the track, the pad has gradually taken over as the dominant sound. “Phase II: Debugger” sticks with the hypnotic repeating figure idea, again to great effect, while “Phase III: Refactoring” and “Phase IV: Release” concentrate on slowly changing harmonies. The first two tracks have enough variation to relax you while still leaving you awake; the last two tracks are not listen-in-the-car material.

Is it great going-to-sleep material? Yes – it’s been sending me off to the sandman for a week now, and it even sent my oldest, also a chiptune fan, off to sleep. Can you ask for better depreogramming than that?

4 out of 4Fans of such hypnotically mesmerizing synth music as Vangelis’ Blade Runner soundtrack, Tangerine Dream at its dreamy best, and the trance-inducing repeating musical ideas in Raymond Scott’s Soothing Sounds For Baby trilogy will find a lot to love here. And perhaps the most promising thing is that, like Scott’s Soothing Sounds, this album promises to be just the first volume.

Order

  1. Phase I: Lexical Analysis (13:37)
  2. Phase II: Debugger (13:08)
  3. Phase III: Refactoring (20:16)
  4. Phase IV: Release (22:44)

Released by: 8-Bit Weapon
Release date: February 9, 2016
Total running time: 1:00:45

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2012 8-Bit Weapon E Non-Soundtrack Music

8 Bit Weapon – Bits With Byte

Bits With ByteLogging in with the first full-album-length effort since the remixed Confidential 2.0, chiptune duo 8 Bit Weapon proves why it’s still practically the dictionary definition of this genre of music (i.e. “Chiptune music – you know, like 8 Bit Weapon”). It’s not enough to just slam the sounds (or samples) of old game machines together; there’s got to be a memorable tune under it. The earliest era of video game music turned out several hummable earworms despite the limitations of the day, and 8 Bit Weapon “gets” that. There’s always a tune behind the tech, and one often suspects the songs are strong enough to survive being transferred to more “traditional” instrumentation. (Now there’s an idea for a tribute album.)

The sound is so old-school that, halfway through Bits With Bytes’ 18 tracks, one can imagine a “side one/side two” break (for those of you old enough to remember turning over the record or tape). The first nine songs are brand-new numbers, all instrumentals, with “The Art Of Video Games Anthem” (accompanying an upcoming exhibit at the Smithsonian), “We Fight For The Users”, “Escape From Xenon” and “Galactic Invasion” emerging as highlights. The title track is no slouch either (check out the official video below the jump at the bottom of the review). I got a kick out of the actual recording of a typically noisy, disk-drive-rattling Apple II boot-up (oh, the memories…) at the beginning of “Apple Core II”. There are enough melodic hooks here – or, at the very least, interestingly unconventional musical ideas – to keep you going for a while.

Starting with the tenth track, some of 8 Bit Weapon’s older material is revisited, with a positively hyperkinetic remix of “Closer” from the Electric High EP. Appropriately titled “Closer 2.0”, it’s definitely an upgrade. A revised “Micro Boogie” (one of my all-time favorites by this group) follows, though the differences may take a couple of listens to spot. The 8 Bit Bandit remix of “Closer” and the Sanxion7 remix of “Chip On Your Shoulder” (another revised Electric High number) substantially rearrange the DNA of the originals to make completely unique versions of each – again, this version of “Chip” may be superior to the original.

Demo versions of “Bits With Byte”, “The Art Of Video Games Anthem” and “Galactic Invasion” round things off; some artists demos show a striking difference in sound and production quality, but these instead offer a snapshot of the arrangements of each song in flux, not quite having landed on their final versions. Another new tune, “Vic XX”, closes things out nicely.

4 out of 4I’m normally the first person to call shenanigans when almost half of a purportedly new album consists of older material, but here at least the material has been polished to an even higher shine than the originals – sort of like they’re in HD now. All of it’s worth a listen, especially if you don’t partake of 8 Bit Weapon’s shorter EPs (note: if you’re actually doing that, you’re depriving yourself of even more good stuff).

Order

  1. Bits with Byte (3:01)
  2. Galactic Invasion (3:03)
  3. Apple Core II (1:57)
  4. The Art of Video Games Anthem (3:12)
  5. Miami Dub Bounce (2:39)
  6. We Fight for the Users (3:05)
  7. Drive Grinder (3:11)
  8. Escape from Xenon (3:08)
  9. Goodbye Cochise (1:36)
  10. Closer 2.0 (2:45)
  11. Micro Boogie 2.0 (3:45)
  12. Chip On Your Shoulder (Electric High Mix) (3:20)
  13. Closer (8 Bit Bandit Remix) (6:02)
  14. Chip On Your Shoulder (Sanxion7 Remix) (3:30)
  15. Bits with Byte Demo (2:54)
  16. The Art Of Video Games Anthem Demo (3:16)
  17. Galactic Invasion Demo (2:54)
  18. Vic XX (3:18)

Released by: 8 Bit Weapon
Release date: 2012
Total running time: 56:36

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2009 8-Bit Weapon Artists (by group or surname) ComputeHer E Non-Soundtrack Music

8 Bit Weapon & ComputeHer – It’s A Chiptune Holiday!

It's A Chiptune Holiday!A fun little EP released just in time for the holiday season, It’s A Chiptune Holiday! is a selection of traditional Christmas music, done in old-school video game style with 8 Bit Weapon’s usual arsenal of custom-programmed classic console sound chips.

“Deck The Halls” kicks things off with harmonized vocoder vocals – it’s like a cheerful choir of Christmas-caroling robots. “Jingle Bells” and “God Rest Ye Merry Gentlemen” also have robotic vocals, though the latter has a kind of strange diction that makes me wonder if it really is a voice synthesizer as opposed to a human singer’s processed vocals.

The instrumentals are a treat too; “O Christmas Tree” is given a polyphonic arrangement that makes it sound like a “win” tune from Pole Position; “Ave Maria” actually comes closest to what I was expecting to hear from an EP of 8-bit Christmas tunes.

4 out of 4The only problem with It’s A Chiptune Holiday! is that it’s just too short! I instantly thought of about a dozen other Christmas tunes that would sound great with the 8 Bit Weapon treatment; I realize that it’d mean venturing into non-public-domain territory, but I can just about hear a chiptune version of “Christmastime Is Here” from Vince Guaraldi’s Charlie Brown Christmas special soundtrack in my head.

The good news is, I hear they’ve already scheduled Christmas for next year – you’ve got 12 months to get on the case, 8 Bit Weapon!

Order this CD

  1. Deck The Halls (Nos Galan) (1:52)
  2. Hanukkah (Festival Of Lights) (1:01)
  3. O Christmas Tree (O Chanukah) (1:31)
  4. Jingle Bells (One Horse Open Sleigh) (1:14)
  5. Joy To The World (2:09)
  6. Greensleeves (What Child Is This) (1:51)
  7. God Rest Ye Merry Gentlemen (2:13)
  8. Ave Maria (The Well-Tempered Clavier) (3:25)

Released by: 8 Bit Weapon
Release date: 2009
Total running time: 15:16

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2009 8-Bit Weapon E Non-Soundtrack Music

8 Bit Weapon – Electric High

8 Bit Weapon - Electric HighAnother group that I file under “doesn’t release new material as often as I’d like,” veteran chiptune pioneers 8 Bit Weapon are back, now pared down to a duo, with some incredibly catchy new tunes. The opening volley, “Closer (Bitpop Mix)”, is an infectiously catchy song with the welcome return of a female vocal. While still heavily processed (a la vocoder epics like “One Last Mission” and “Micro Boogie”), it’s an interesting sound and one that, surprisingly, is a stand-alone here; it’s not as if 8 Bit Weapon’s instrumentals are suddenly chopped liver, but I wish they’d sing some more. When I look back at the group’s post-Confidential output, the songs that stick out as my favorites are the ones with vocals. 8 Bit Weapon has a gift for catchy tunes and their instrumentation gives them a unique sound by default; their vocal offerings, more often than not, have clever lyrics and just a little extra something that turns a good instrumental into a great, addictive, fleshed-out song. With only six songs on the Electric High EP, it would’ve been nice to have two, even three songs with vocals. I’d love for 8 Bit Weapon to bring the vocal-to-instrumental ratio to parity.

Not that the instrumentals are anything to complain about here; “Kiss My Bits (ComputeHer Mashup Mix)” and “Macro Disko (Minimal Mix)” are early favorites. “Chiptune Attack 2600 A.D.” features a rare foray into the nearly-atonal sounds generated by an Atari 2600, and yet still manages to be a catchy – if quirky – tune. All of the tracks on Electric High are worth a listen, and at only six tracks, there’s no filler material – the EP makes a strong statement and doesn’t outstay its welcome.

8 Bit Weapon has a unique, fun sound – so much so that Sony’s production music department singled them out to build an effects and instrument library so that anyone with Nuendo, Cubase or other sequencing software can start cranking out chiptunes. (That, in and of itself, could be a great thing, or it could lead to a flood of dreck – part of the compelling appeal of chiptunes artists is that they are, in fact, using this old computer and game hardware to make these sounds. Sequencing and sampling one’s way to a new chiptune opus 4 out of 4almost seems like cheating. Of course, there’s probably some string quartet out there staring me down for all those string samples I mess around with in Cubase, so it’s all down to your point of view.) They’re still on top of their game (literally!) with Electric High – I just wish they’d belt out some words more often. (Seriously, guys, if you need help with lyrics, if that’d get some more songs with vocals out there, just call me.)

Order this CD

  1. Closer (Bitpop Mix) (2:52)
  2. Kiss My Bits (Computeher Mashup Mix) (2:05)
  3. Chip On Your Shoulder (3:24)
  4. FUNDanalogue (2:22)
  5. Chiptune Attack 2600 AD (3:16)
  6. Macro Disko (Minimal Mix) (3:38)

Released by: 8 Bit Weapon
Release date: 2009
Total running time: 17:37

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2008 8-Bit Weapon R Soundtracks Video Game / Computer Game

Reset Generation – music by 8-Bit Weapon

Reset Generation - music by 8-Bit WeaponA collection of short, punchy instrumental pieces composed for Nokia’s Reset Generation game – which itself pays tribute to numerous games of yesteryear – 8-Bit Weapon’s soundtrack has a lot in common with the old video games that I like: the tunes are addictive, make me want to come back for more, and don’t hang around long enough to get old. Not a bad combination, really.

One thing that may throw listeners off, however, is the brevity I’m talking about above: many of the tracks barely clock in at over one minute, and many of them begin and end very abruptly. The latter is no accident: the tracks are meant to “loop” repeatedly during specific scenes and levels of Reset Generation itself. Fortunately, the tracks are timed out in such a way that one tune’s end leads directly into the next track almost seamlessly. Any one track by itself might seem to be an abrupt listening experience, but the entire soundtrack is a fun listen.

Highlights include “Power Up Pumpin'”, “Micro Anthem 2a03” (named after the NES’ sound chip), “64 Rocker”, “Rock Music Entry 6581” and the Leviathan mix of the Reset Generation theme – to name just a few. Those are just my favorites, but to an extent, all of the Reset Generation tracks are earworms that will prove difficult to dislodge from your head after you’ve heard them.

Included as a bonus track is “2D Died”, a riff on Don McLean’s “American Pie” (as in “the day 2D [gaming] died”) which does a great job of updating the original song into a chiptune extravaganza with vocoder-ized vocals. My one issue with “2D Died” is the same issue I have with “American Pie” itself (or, for that matter, “Sweet Home Alabama”: the first three minutes or so are okay, and after that I start looking at track time remaining because the same melody/chord structure is just repeating. I don’t know if that’s even 4 out of 4something to dock points for: 8-Bit Weapon is only paying homage to the 7+ minute original. And in any case, I like it better than Madonna’s update of the same song, but it’s just not something I feel compelled to listen to repeatedly, though its lyrics are pretty clever. But the rest of the album – which, by the way, can be downloaded free via the link below – is 8-Bit Weapon gold: repeat listening is compulsory (and with the loop-ready nature of the tracks, it’s even repeat-button-friendly!).

Order this CD

  1. Reset Generation Anthem (3:42)
  2. Aphex Tweek (1:26)
  3. Dungeon Derivative (0:54)
  4. Blip Bwop (1:16)
  5. Little Lost Lazer Boy (1:01)
  6. Lethargic Menace (1:16)
  7. Bubble Twin Bonanza (1:04)
  8. Where Fools Tread (1:01)
  9. Chiptune Chump (1:19)
  10. Commodore Base (1:20)
  11. Micro Anthem 2a03 (1:35)
  12. 64 Rocker (1:12)
  13. Krafty Noob (1:16)
  14. Tricky Game (1:04)
  15. Reset Generation Anthem – Leviathan Mix (1:22)
  16. Nin10do Raver (0:59)
  17. Breakin’ Bits (1:20)
  18. Macro Boogie (0:57)
  19. Power Up Pumpin’ (1:20)
  20. BootySoft Inc. (0:57)
  21. Corrupt Conscript Festival (1:25)
  22. SID Vicious (1:55)
  23. Rock Music Entry 6581 (1:04)
  24. Reset Generation Anthem – Sinister Mix (1:13)
  25. 2D Died (7:43)

Released by: 8-Bit Weapon / Nokia
Release date: 2008
Total running time: 39:41

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2007 8-Bit Weapon E Non-Soundtrack Music

8 Bit Weapon – Mean Time

8 Bit Weapon - Mean TimeBilled as a selection of tracks left out in the cold from one project or another, 8 Bit Weapon’s latest CD – lovingly packaged, as always, in an authentic floppy disk sleeve – is a mix of material from different “eras” of their history. Released at Classic Gaming Expo 2007, Mean Time is perhaps an indication of how busy 8 Bit Weapon has been with commissions for original material from Disney, among others.

The laid-back ’80s-style instrumental “Times Changing” kicks things off, while “Chronomancer” is much more in line with 8 Bit Weapon’s first album of game music remixes, as is “Flying Spaghetti Monster” (no doubt an ode to those with noodly appendages everywhere). The newest material, as well as the highlight of Mean Time by miles, is “Micro Boogie”, with its vocoder-ized lyrics making it an insanely catchy follow-up to Vaporware Soundtracks‘ “One Last Mission”. Seriously, just try to get this song out of your head. It ain’t easy.

“64 Gigabit Mario Epic” is a curiously titled instrumental with orchestral samples aplenty; I’ve got a hunch that this may be more Seth solo than 8 Bit Weapon, because it just doesn’t sound like it sprang from a SID chip. (But hey, I could be dead wrong there.) “Die Kintergrunde”, a collaboration with Thomas Margolf (also known as the German micromusic act FirestARTer), combines both the retro and modern approaches interestingly, and is a strong runner-up for the catchiest track on the whole CD.

Following that is a couple of tracks that I remember from Seth’s solo project, Unfortunate Brain Chemistry. It’s just possible that the CD that those tracks come from has faded into relative obscurity for casual 8BW fans, so it’s interesting to hear them here. Though one track is labeled as a “SID Mix”, I really couldn’t detect that much of a difference from the Unfortunate Brain Chemistry version.

3 out of 4“Future Paths” closes things off with a track that once again sounds a little bit more like Seth solo than 8 Bit Weapon, but that’s not a bad thing. Mean Time may not be the most cohesive album in the world (I say album, but running-time-wise it’s more of an EP), but with a spread of material over more than five years, it makes up for it with the Weapon’s uncanny sense of a good, catchy song – and it’ll do the trick nicely in tiding us over for the next CD of all-new material.

Order this CD

  1. Changing Times (3:34)
  2. Chronomancer (1:50)
  3. Flying Spaghetti Monster (1:50)
  4. Micro Boogie (3:47)
  5. 64 Gigabit Mario Epic (3:14)
  6. Die Kintergrunde featuring FirestARTer (4:12)
  7. Robot Kindergarten (2:28)
  8. Femme Machine (SID Mix) (5:10)
  9. Future Paths (2:55)

Released by: 8 Bit Weapon
Release date: 2007
Total running time: 29:00

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Categories
1986 2007 E ELO Non-Soundtrack Music

Electric Light Orchestra – Balance Of Power (remaster)

ELO - Balance Of PowerReleased in tandem with the 30th anniversary edition of Out Of The Blue is, oddly, the last album released by anything resembling ELO’s original lineup as a band. In the years after Secret Messages, bassist Kelly Groucutt vanished from the lineup, leaving a three-piece outfit of Bev Bevan, Richard Tandy and Jeff Lynne, looking in this album’s photography like three guys angling for a chance to be extras in the background of a Miami Vice scene. With Lynne tired of touring, and Bevan tiring of Lynne’s increasingly elaborate studio sessions, this was the end of the road for ELO as a group. There’s a certain weariness to the songs that, while it doesn’t prevent them from being decent music, lets one read between the lines a bit. It was all over.

For this remastered edition of the now 21-year-old album, we’re treated to more honest-to-God outtakes recorded at the same time as the rest of the album’s tracks than any other ELO remaster since the group’s 1972 album. A strikingly different version of “Heaven Only Knows” is presented here, having become the stuff of legend, played only at pre-concert fan club gatherings and other such functions, as well as vintage 1986 B-sides “Destination Unknown”, “A Matter Of Fact” and “Caught In A Trap”. Some of these have been heard before, on the 1990 box set Afterglow (proof that, even in “retirement,” ELO wasn’t out of circulation for long). The real gem of this CD’s bonus tracks is “In For The Kill” – it’s essentially “Caught In A Trap” in a slightly different form, with almost identical music with completely different and (for Jeff Lynne) atypically almost-political lyrics, but the best part is Lynne’s exploration of almost Crosby, Stills & Nash-inspired harmonies. It’s a crying shame this got left off the original album (especially an album that arrived just a year before the movie Wall Street) because in retrospect, it would’ve been the best, most energetic follow-up single to “Calling America”. This song alone is just about worth the price of the album.

There were still other rarities from this era that could’ve filled out the CD to its full capacity – there also exists a lyric variation for “Matter Of Fact” – but alas, that opportunity was missed and the CD only runs to about an hour.

The album itself is still quite good, better than most critics would have you believe, with tunes like “Calling America” and “Is It Alright” living up to ELO’s best standards, although produced with much more modern technology. In a way, though, the 80s instrumentation and style is probably what hurts Balance Of Power the most – the album is robbed of the relative timelessness of, say, A New World Record, and some songs just become casualties of the 80s. With some of ELO’s best (and better known) material, when Lynne was able to overcome his fixation on a four-to-the-flour disco beat and Chic-style guitar riffs, the songs withstand the test of time better; one listen can pretty much nail this album down to the late ’80s. Not that that’s a bad thing.

Rating: 4 out of 4The only truly sad part about it is that this represents the end of the remastered ELO albums, and possibly the mining of that band’s vaults as well. The liner notes booklet talks about Lynne’s revival of ELO for 2001’s Zoom in the past tense, as if that marks the end of the band’s legacy. One wonders if we aren’t being sent a bit of a secret message there.

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  1. Heaven Only Knows (2:56)
  2. So Serious (2:43)
  3. Getting To The Point (4:30)
  4. Secret Lives (3:32)
  5. Is It Alright (3:27)
  6. Sorrow About To Fall (4:04)
  7. Without Someone (3:51)
  8. Calling America (3:30)
  9. Endless Lies (3:00)
  10. Send It (3:10)
  11. Opening (0:24)
  12. Heaven Only Knows (alternate version) (2:34)
  13. In For The Kill (3:16)
  14. Secret Lives (alternate take) (3:26)
  15. Sorrow About To Fall (alternate mix) (3:50)
  16. Caught In A Trap (3:47)
  17. Destination Unknown (4:10)

Released by: Epic / Legacy
Release date: 2007 (originally released in 1986)
Total running time: 56:10

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