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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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1979 Artists (by group or surname) Non-Soundtrack Music T Tourists Year

The Tourists – Reality Effect

3 min read

The Tourists seem to be doomed to forever occupy an odd footnote in history, relegated to the description “the band Annie Lennox and Dave Stewart were in before they started the Eurythmics”. Technically, that’s not inaccurate, but there’s quite a bit more to it than that. Led by Peet Coombes, the Tourists were a new wave five-piece that rocked harder than some of their peers, leaving real guitars and drums in the mix as quite a few other bands in that genre abandoned them for wall-to-wall synths and drum machines. In many other respects, though, the Tourists were an absolutely typical new wave group, doing more modern cover versions of older songs (such as Dusty Springfield’s “I Only Wanna Be With You”, which was a moderate hit from this album, probably due in no small part to an early music video that demonstrated that Lennox was both a sonically and visually arresting performer).

But let’s not forget that Dave Stewart was in the Tourists as well (it’s bad enough to keep having to remind everyone that he was half of the Eurythmics). His classic rock guitar riffs are unmistakable, and give the Tourists a sound that wasn’t typical in those early days of new wave.

The wild card that really defines the Tourists’ sound, however, is Coombes’ duets with Lennox throughout. Their harmonizing is a sound unique to the Tourists; even on songs where one or the other seems to be taking the lead (as Lennox does on the aforementioned cover of “I Only Want To Be With You”), the other is a prominent co-lead, and their similar vocal ranges make for a unique sound. Really, the Tourists end up barely fitting into the new wave category, perhaps more due to their look than their sound, because in most respects they were very much a classic rock band, applying some of the new aesthetics of the late ’70s and early ’80s to rock ‘n’ roll. The highlights include “Nothing To Do”, “So Good To Be Back Home”, and “In The Morning 3 out of 4(When The Madness Has Faded)”, but even in less stand-out-ish tracks such as “In My Mind (There’s Sorrow)”, there’s a lot to love about the Tourists’ sound (and Coombes’ songwriting).

Are the Tourists just the Eurythmics with three extra people tagging along? Hardly. You can hear, in Lennox’s vocal stylings and Stewart’s precision guitar work, some of the seeds being planted, but if the Tourists had scored a bigger hit before breaking up, the ’80s music scene might have taken a very different shape with regard to one of its major success stories.

  1. It Doesn’t Have to Be This Way (3:38)
  2. I Only Want To Be With You (2:21)
  3. In The Morning (When The Madness Has Faded) (3:57)
  4. All Life’s Tragedies (3:43)
  5. Everywhere You Look (3:11)
  6. So Good To Be Back Home Again (2:33)
  7. Nothing To Do (3:22)
  8. Circular Fever (3:00)
  9. In My Mind (There’s Sorrow) (4:37)
  10. Something In The Air Tonight (4:04)
  11. Summer’s Night (3:16)

Released by: Epic
Release date: October 19, 1979
Total running time: 37:42

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2012 Artists (by group or surname) Film Isao Tomita Soundtracks Soundtracks by Title T W Year

Welcome Home, Hayabusa

3 min read

Order this CDHayabusa was a Japanese space probe that landed on and sampled asteroid Itokawa in 2011. This would be a stunning space feat for any country’s space agency, but Japan happened to get there first, and the surge of national pride for this technological accomplishment has spawned no fewer than three movies, ranging from documentaries to – in the case of Okaeri Hayabusa (Welcome Home, Hayabusa) – a fictionalized family drama with the mission as backdrop and framing story.

And who better to score a movie whose drama takes place around the launch and flight of one of Japan’s crowning space achievements? None other than the late, great Japanese synth pioneer Isao Tomita. Whether you realize it or not, Tomita’s connection with space exploration is lengthy – and almost purely coincidental. Tomita’s late ’70s synth reworking of Debussy’s “Arabesque No. 1” was appropriated by the Miami Planetarium to top and tail each installment of the planetarium’s long-running PBS series Star Hustler (later Star Gazer, after the realities of the search engine age caught up with the show and began directing young viewers toward a certain adult periodical with “hustler” in the title). Tomita’s music was synonymous with astronomer Jack Horkheimer’s exuberant weekly lessons on amateur astronomy from then on.

Tomita is an absolutely brilliant choice to score this film. Not only is his synthesizer work as crisp and inventive as ever, but he gives brilliant musical accompaniment to visualizations of data being transmitted to Earth from deep space, and uses appropriately icy synths to illustrate the bleak emptiness of space traversed by Hayabusa. There have been many musical odes to major space missions, and by fairly high 4 out of 4profile composers (Vangelis springs to mind), but Tomita’s translation of event to music makes this among the best. This soundtrack also steps outside the usual all-synth comfort zone with which Tomita is associated, allowing the composer to bring his classical training into play with real trumpet solos, woodwinds and strings augmenting his normally “icy” synthesizers with a warmer human touch.

The real tragedy is that Japan has launched Hayabusa 2 to dare even mightier things, and Tomita is no longer around to give that mission its own soundtrack.

  1. Challenge To The Universe (5:03)
  2. Engineer Crush (1:20)
  3. Dreaming Of The Flyby (1:21)
  4. Toward The Asteroid (3:30)
  5. Touchdown On Itokawa! (2:43)
  6. Recollection Of Naoko (1:34)
  7. The Fight Against Sickness (3:23)
  8. 1-Bit Communication / Connecting The Hope (3:19)
  9. Mother’s Joy / Surgery Success (1:49)
  10. Cross Operation? (1:52)
  11. Finally To Return (1:36)
  12. Tristan & Isolde / From Beyond The Galaxy (8:15)
  13. Hayabusa / Tristan & Isolde To The Future (5:47)

Released by: Shochiku Records
Release date: 2-29-2012
Total running time: 41:32

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2006 Non-Soundtrack Music T TV Eyes

TV Eyes

3 min read

Order this CDAnother project from the trio that brought us the bizarre soundtrack-to-a-nonexistent-movie Logan’s Sanctuary, TV Eyes is nothing less than an ’80s revival band that’s playing brand new songs instead of new wave covers. If anything, it’s more of a stylistic tribute to the early ’80s than anything – in some of the songs, you catch a hint of Duran Duran here, a snippet of Kajagoogoo there, and so on. TV Eyes doesn’t use those bands’ songs, but it does appropriate some of their stylistic maneuvers.

The result is a delirious trip right back to the ’80s – I’d almost swear that this is just some 25-year-old album that I’ve never heard before. Standouts include the unabashed ’80s flashback that is the Falkner-penned “She’s A Study”, whose synth arpeggios bring vintage synth-heavy acts such as Level 42 and Orchestral Manoeuvres In The Dark immediately to mind. Falkner’s also responsible for “Mission: Submission”, a throwback to some of the style of Gary Numan, with lyrics that are pure ’80s material, predicting a world run by computers, and the least synth-oriented song on the entire album, “The Party’s Over”, a Clash-esque rocker with political overtones that are vague enough to be from any era and yet directly address the 2000s.

“Over The City” and “Need To Love” shamelessly sound more like the Duran Duran that everyone remembers than Duran Duran itself does these days. My first impression was that it was a little too “drum ‘n’ bass” modern to fit the stylistic parameters of the album, but the rapid-fire keyboard work and funky bassline seals the deal even before the startlingly LeBon-esque vocals kick in. “She Gets Around” is a dance number with a hypnotic synth loop, while “What She Said” is an ode to that oddity of the ’80s, a non-rap song with spoken lyrics.

All of it adds up to one of the most repeat-listen-worthy CDs I’ve come across in years. This stuff is just impossible to get out of your head – it’s that catchy. It’s got a knack for sounding so familiar that you’d think that you’ve been hearing these songs on countless ’80s compilations down through the years, and yet the album – and the songs – are only a couple of years old as of this writing.

4 out of 4TV Eyes’ debut album is a dandy, and it’s a testament to the sad state of musical tastemaking on this side of the world that this group could only find a label in Japan. (Two of its members, Jellyfish alumni Roger Manning and Jason Falkner, have also released music in Japan that’s unavailable here except as wallet-stranglingly expensive imports.) Someone in America, anyone: pick these guys up, pronto. They really “get” what was so good about some of the music of the 1980s.

  1. Fade Away (4:33)
  2. She’s A Study (4:55)
  3. Fascinating (5:20)
  4. Love To Need (4:05)
  5. The Party’s Over (4:42)
  6. What She Said (4:14)
  7. Over The City (5:00)
  8. Mission: Submission (4:30)
  9. She Gets Around (5:22)
  10. Time’s Up (4:45)

Released by: Phantom
Release date: 2006
Total running time: 48:26

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1976 Isao Tomita Non-Soundtrack Music T

Isao Tomita – The Planets

Isao Tomita - The PlanetsAlso known as The Tomita Planets, this is Japanese synth whiz Isao Tomita’s rendition of Gustav Holst’s The Planets. Tomita used no traditional acoustic instruments, but did lean somewhat on the traditional arrangement. Opening with a bit of vocoder-and-synth “babble” to set the mood, Tomita launches into an energetic “Mars, The Bringer Of War” which appropriately now sounds like it belongs to the space age.

The same treatment is delivered on the other pieces in the suite, with “Venus: The Bringer Of Peace” and “Jupiter: The Bringer Of Jollity” getting an especially spacey treatment; the synth work on “Mercury: The Winged Messenger” dates it a bit, but for something recorded over 30 years ago, the whole thing still manages to sound futuristic. In places you might even catch a hint of the synthesized “whistle” sound which Tomita also used on what is arguably his most famous recording, Debussy’s “Arabesque No. 1”, also known as the theme song for Jack Horkheimer’s PBS stargazing show.

Of the outer planet pieces, “Saturn, Bringer of Old Age” and “Neptune, The Mystic” are the real highlights; “Saturn” ticks away like a time bomb with a synth “tick-tock” motif and flanged synths a la Jarre or Vangelis. “Neptune” has long been my favorite part of The Planets – I’ve always felt that it may be the most spiritual piece of music that anyone in the western world has ever composed (take that, Handel!) – so I was eager to see what Tomita would do with this particular segment. For the most part, “Neptune” sticks almost slavishly to the traditional arrangement, allowing enough wiggle room for some interesting changes in emphasis and “instrument” balance.

3 out of 4Overall, Tomita’s rendition of The Planets is interesting, a fascinating listen, but I can’t help but feel that there one could go further “out there” with arrangements and instrumentation, further afield from the orchestral arrangements that we’re all so used to. Other interpretations by folks like Rick Wakeman and Jeff (Musucal Version of War Of The Worlds) Wayne have also failed to break out of the orbit of the orchestral Planets. I know that there’s only so far one can go without actually changing the music itself, but within that limitation, I don’t think all the possibilities have been fully explored. Tomita does a good job, but The Planets could probably stand up to more intense, offbeat exploration.

Order this CD

  1. Mars: The Bringer Of War (10:58)
  2. Venus: The Bringer Of Peace (9:20)
  3. Mercury: The Winged Messenger (4:37)
  4. Jupiter: The Bringer Of Jollity (9:22)
  5. Saturn: The Bringer Of Old Age (8:41)
  6. Uranus: The Magician (2:14)
  7. Neptune: The Mystic (6:49)

Released by: RCA Victor
Release date: 1976
Total running time: 52:01

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1985 Non-Soundtrack Music T Talking Heads

Talking Heads – Little Creatures

Talking Heads - Little CreaturesThis Talking Heads album gets a bit of a bad rap for being the one where David Byrne took over the band’s creative direction completely, but be that as it may, it’s my favorite. Of course, just about any album that kicks off with “And She Was” would stand a good chance of ranking right up there with me – incredibly catchy, surreal and funny all at the same time. Which just about sums up this whole album.

This is also the album with the single “Road To Nowhere” on it, bringing up the rear as the closing track, and yet sandwiched between those two minor hits are some of the Talking Heads’ best stuff.

But not all of it – “Give Me Back My Name” is just sorta so-so, an interesting lyric that seems like it should be supported by a more interesting melody. “Creatures Of Love” can catch you off guard with a bit of a country-ish sound, while “The Lady Don’t Mind” slips back into more of the typical Talking Heads sound.

Right smack in the middle of Little Creatures are two of my all-time favorites from this band: the obscure, not-quite-a-hit single “Perfect World” and “Stay Up Late”. “Perfect World” has one of my favorite Talking Heads melodies, and some of my favorite David Byrne vocals. Somewhat surprisingly, and yet not surprisingly, “Stay Up Late” has enjoyed something of a revival – with its cute lyric about keeping one’s baby brother up way past his bedtime, it’s guaranteed at least one spin per night in ABC’s overnight World News Now show. If “Stay Up Late” doesn’t inspire you to laugh out loud at least once, you’re listening to the wrong song.

“Walk It Down” is a song that opens with a deceptively odd, percussive sound that gives way to something more akin to an upbeat, joyous, almost churchy feel during the choruses. The catchy “Television Man” – another great Byrne vocal performance, by the way – stops just this side of being Jerzy Kosinski’s novel (and later film) Being There set to music. Now there’s a concept that would be worthy of David Byrne’s talents – not that anything wrong’s with “Television Man” as it is.

rating: 3 out of 4I’ve heard a few diehard fans refer to Little Creatures as a bit of a post-sellout album for Byrne & company, but I have a hard time buying into that (miserable pun intended). Some of the band’s best and most offbeat stuff can be found here, though for this group, delving into more popular territory as this album did was offbeat. It’s rather uneven as an album when listened to all in one sitting, but there are indivdual numbers that make this easy to overlook. Little Creatures is a big joy to listen to.

Order this CD

  1. And She Was (3:39)
  2. Give Me Back My Name (3:22)
  3. Creatures Of Love (4:15)
  4. The Lady Don’t Mind (3:58)
  5. Perfect World (4:27)
  6. Stay Up Late (3:43)
  7. Walk It Down (4:44)
  8. Television Man (6:10)
  9. Road To Nowhere (4:19)

Released by: Sire
Release date: 1985
Total running time: 38:37

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2005 Non-Soundtrack Music T Tree Wave

Tree Wave – Cabana+ EP

Tree Wave - Cabana+ EPAn Austin-based duo, Tree Wave is earning quite a name for itself, as much for its music as how it’s being made. Electronics wiz and musician Paul Slocum has fashioned a cluster of distinctly 80s technology into his own arsenal of instruments: a 386 PC with a dot matrix printer souped up to produce specific pitches, an Atari 2600 running Paul’s custom-programmed music software, and a Commodore 64. On the surface of it, this sounds like an act that’s going to be turning out some very twitchy, blippy music, right? You’ll probably be pleasantly surprised.

In fact, Tree Wave comes off sounding like an early new wave band in an age when the songs weren’t written much differently than before, but the real novelty was in how the sounds were made. Vocalist Lauren Gray’s take on the human element in this decidedly electronic brew can range from husky to airy depending on the particular song, and it strikes just the right counterbalance to Slocum’s dense wall of sound. There are occasionally some blippy, 8-bit elements to the backing tracks, but there’s also something unexpectedly full and orchestrated about the sound – unobtrusive synth pads and decent drum sounds keep things afloat, and if you’re shaking your head at the thought of a printer as a musical instrument, listen to the anthemic opening moments of “Sleep” and think again. Slocum has found a great balance between the novelty of how he’s making the music, and the music that’s being played (not to mention that he breaks Tree Wave’s apparent mandate in the opening track, “May Banners”, with some Byrds-esque guitar work). The novelty never takes over for sheer 4 out of 4gimmickry’s sake. “Morning Coffee Hymn” and “Same” are also highlights.

Tree Wave is gaining quite a bit of attention from the music community and the media, so hopefully it’ll only be a matter of time the right label takes note and signs them for a full-length album and promotes them with a bit of tender loving care. Mainstream they’re not, but catchy they most definitely are.

Order this CD

  1. May Banners (3:43)
  2. Machines Fall Apart (3:06)
  3. Sleep (2:56)
  4. Instrumental 1b (4:00)
  5. Morning Coffee Hymn (3:38)
  6. Same (3:20)

Released by: Tree Wave
Release date: 2005
Total running time: 23:43

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10cc 1997 Non-Soundtrack Music T

10cc – The Very Best Of 10cc

10cc - The Very Best Of 10ccWhat do you get with a band that seems to be equal parts Beatles influence and comedic irony? That would be 10cc, and those looking for an entry-level crash course into the band’s history could hardly ask for better than The Very Best Of, covering the British group’s six-year career and following it up with some material from alumni Godley & Creme.

10cc’s most offbeat material has always been what appealed to me most about the group, and most of their better efforts can be found here, including “Rubber Bullets”, “Life Is A Minestrone”, “I’m Not In Love”, and a healthy helping of songs from Deceptive Bends, their biggest-selling album (which has already been reviewed here). There are some other tunes which don’t quite do it for me (you’d think, being the vocal harmony fanatic that I am, that I’d dig “I’m Mandy Fly Me”, but for some reason I’ve never really gotten to like that one), but at the very least it’s a decent grouping of the band’s best material.

I’m a little torn about the decision to cap the collection off with Godley & Creme’s “Cry” – it seems a bit like 3 out of 4tagging a Wings song onto a Beatles compilation to me – especially when Godley & Creme’s “History Mix” would’ve been more apt, combining “Cry” with several 10cc chestnuts in a bit of techno mega-mix – it seems to me that this would’ve been a more relevant track. But as fond as people are of “Cry”, I can see why it was included. Overall, a solid slice of 10cc.

Order this CD

  1. Donna (2:54)
  2. Rubber Bullets (5:17)
  3. The Dean And I (3:03)
  4. The Wall Street Shuffle (3:52)
  5. Sully Love (3:57)
  6. Life Is A Minestrone (4:40)
  7. I’m Not In Love (6:05)
  8. Art For Art’s Sake (5:52)
  9. I’m Mandy Fly Me (5:20)
  10. The Things We Do For Love (3:31)
  11. Good Morning Judge (2:53)
  12. People In Love (3:45)
  13. Dreadlock Holiday (4:59)
  14. For You And I (5:18)
  15. Cry (3:55)

Released by: Mercury
Release date: 1997
Total running time: 65:21

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1992 Non-Soundtrack Music T Tears For Fears

Tears For Fears – Tears Roll Down: Greatest Hits, 1982-92

Tears For Fears - Tears Roll Down: Greatest Hits, 1982-92Another of my not-quite-guilty pleasures of the 80s, Tears For Fears has always been one of my favorites from that era. They understood that if you’re going to build your music on a largely electronic palette, you should at least have a decent vocalist to give it some kind of human touch – and few bands around that time could do better than Roland Orzabal.

This collection picks up with a song which is actually simultaneously atypical and emblematic of the Tears For Fears sound, “Sowing The Seeds Of Love”, which I’m sure everyone remembers from around 1989-90. Like several of the duo’s singles, it got huge radio airplay, so you’re bound to remember the song, even if you don’t remember who did it.

The highlights include “Everybody Wants To Rule The World”, “Head Over Heels”, “Cold Shelter” (my personal favorite of anything the band did while they were in business), “Woman In Chains”, and two songs with some fairly interesting (and psychologically loaded) lyrics, “Tears Roll Down” and “Shout”. A few less prominent selections round things out.

Overall, I found, while listening to this, that I actually miss the Tears For Fears sound. What I miss about the ’80s in general is both the cutting-edge way the music was put together (when synths were relatively new), 4 out of 4and the fact that there seemed to be a sudden influx of songwriters who not only knew what chord progression they wanted their material to follow, but how they wanted it to sound, how they wanted to sing it, and how to use the then-new technology to achieve that. Tears For Fears were masters of that art, and sadly, precious few of the acts who were equally as good are still in circulation.

Order this CD

  1. Sowing The Seeds Of Love (6:19)
  2. Everybody Wants To Rule The World (4:11)
  3. Woman In Chains (6:29)
  4. Shout (6:33)
  5. Head Over Heels (4:14)
  6. Mad World (3:29)
  7. Pale Shelter (4:39)
  8. I Believe (4:49)
  9. Laid So Low (Tears Roll Down) (4:44)
  10. Mother’s Talk (4:59)
  11. Change (3:54)
  12. Advice For The Young At Heart (4:54)

Released by: Fontana
Release date: 1992
Total running time: 59:14

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1988 Non-Soundtrack Music T They Might Be Giants

They Might Be Giants – Lincoln

 Some would say that the genius of comedy is knowing when to milk a joke for all it’s worth, and knowing when to get off the stage while the crowd’s still laughing. And though I hesitate to stereotype They Might Be Giants as strictly a comedy act, they do have one part of the mastery of comedy down pat: they know when to stretch a song out or make it short.

I don’t know whether to weep or cheer about the fact that I’d heard about his band long before they were “the band that does the theme song from Malcolm In The Middle,” before they were even those guys who did “Birdhouse In Your Soul”. In some respects, this stuff is superior to their later works, and it all goes back to that theory about the genius of comedy. Some of the songs, like “Cowtown”, “Mr. Me” and the uproarious “Kiss Me, Son Of God” say what they’re there to say and then get off the stage – or at least out of your ears. Others, like “Lie Still, Little Bottle” and “They’ll Need A Crane” (the funniest breakup song ever), stick around for a little while. And that’s not a bad thing in and of itself – as funny or irreverent as their lyrics may be, Linnell and Flansburgh are impeccable musicians.

4 out of 4That said, don’t underestimate their lyrics either. Where else will you hear something like “every jumbled pile of person has a thinking part that wonders what the part that isn’t thinking isn’t thinking of”? (Incidentally, that line’s from my favorite song off the album, “Where Your Eyes Don’t Go”.)

It’s hard to define exactly what They Might Be Giants is, but I’ll tell you what it isn’t: hard to enjoy. Very highly recommended.

Order this CD

  1. Ana Ng (3:23)
  2. Cowtown (2:21)
  3. Lie Still, Little Bottle (2:06)
  4. Purple Toupee (2:40)
  5. Cage & Aquarium (1:10)
  6. Where Your Eyes Don’t Go (3:06)
  7. Piece Of Dirt (2:01)
  8. Mr. Me (1:52)
  9. Pencil Rain (2:42)
  10. The World’s Address (2:24)
  11. I’ve Got A Match (2:37)
  12. Santa’s Beard (1:56)
  13. You’ll Miss Me (1:53)
  14. They’ll Need A Crane (2:34)
  15. Shoehorn With Teeth (1:13)
  16. Stand On Your Own Head (1:16)
  17. Snowball In Hell (2:32)
  18. Kiss Me, Son Of God (1:53)

Released by: Restless / Bar None
Release date: 1988
Total running time: 39:39

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