Categories
2002 Non-Soundtrack Music R Royksopp

Royksopp – Melody A.M.

Royksopp - Melody A.M.This is one of those things that just sounds so unlikely the first time someone mentions it to you – oh, it’s a lounge/dance music outfit from Norway, you’ll love it. Sure, whatever, you think, and a couple of months after hearing it, you’ve got a copy of the bloody thing sitting on your CD shelf. Royksopp is actually a duo, though in this case it’s a duo of musical hermit crabs, both adept enough in studio trickery to make themselves sound like a full band, and sometimes more.

The hook that really drew me into this CD was “Royksopp’s Night Out”, a quirky mock-orchestral instrumental which sounds like maybe it’s trying to be something grand and epic…and then sounds like maybe it’s just been pulling your leg from the word go. There’s something here that reminds me of Alan Parsons’ best instrumental pieces, both in terms of execution/style and song length, and it always grabs me. In a good way.

Running a close second on my favorites list for this album is the light vocal dance number “Remind Me”, a less elaborate tune which is still catchy, and sounds like it’s been sent forward in time from the early 80s new wave/new romantic movement. Musically, it’s exceedingly simple – a verse of the vocal, followed by a keyboard echoing the same melody note for note, and nothing ever really resolves into something you could definitively call a chorus. But it’s hooky enough to reel me in for repeated listens.

Other highlights include the smoky, jazzy female vocal of “Sparks”, and the trippy rhythms of “So Easy” and “Epie”. Aside from the Alan Parsons instrumentals, Melody A.M. also reminds me of Art Of Noise’s adventurous Seduction Of Claude Debussy, an album I’ve grown to appreciate much more since I initially reviewed it.

4 out of 4Melody A.M. is an album that just about anyone could find enjoyable, even if only one or two songs grab them immediately, and Royksopp is just one fortuitous inclusion in the soundtrack of a movie, TV show or commercial away from getting some massive exposure. But you can beat the rush and check them out early – this is some good stuff.

Order this CD

  1. So Easy (4:10)
  2. Epie (6:14)
  3. Sparks (5:27)
  4. In Space (3:33)
  5. Poor Leno (4:00)
  6. Higher Place (4:33)
  7. Royksopp’s Night Out (7:33)
  8. Remind Me (3:41)
  9. She’s So (5:24)
  10. 40 Years Back \ Come (4:45)

Released by: Wall Of Sound
Release date: 2002
Total running time: 49:22

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2002 Frank Klepacki K Non-Soundtrack Music

Frank Klepacki – Morphscape

Frank Klepacki - MorphscapeAfter seven years of churning out the hard-hitting accompaniment for Electronic Arts’ Command & Conquer series of real-time strategy games (among others) and releasing over half a dozen albums’ worth of material attached to computer games, not to mention stints with Las Vegas bands like Home Cookin’ and Mo’ Friction, Frank Klepacki is flying solo – and proving there’s more to his repertoire than being EA’s own C&C music factory. Klepacki flexes his signature funk-techno muscle on such tracks as “Defunkt” and “Freaks From Within”, but delves into some new territory, including lounge music and even the glorious vintage ’70s throwback that is “Gonna Rock Yo Body”. In a true tribute to the roller disco era, “Rock Yo Body” features “robotic” vocoder-processed vocals, synth-string stabs, and the kind of cheesy electronic percussion you’d expect from the late ’70s and early ’80s. And the beauty of it is, it works. If you, like me, grew up during that era…this song will give you a thrill of recognition and a goofy grin. It’s good cheese, a nice little trip back to the day when Grandmaster Flash was considered new, not old-school. “Gonna Rock Yo Body” is an unlikely candidate for the best song on the whole CD, but if you’re already acquainted with Frank Klepacki’s body of game work, this track should jump out and grab you because it demonstrates what he can do outside of that genre. “Mode One” shifts into new wave gear with an ever-so-slight nod in the direction of early, pre-drenched-with-samples Depeche Mode. By the end of the album, you’ve gotten to hear so many styles and distinctive pieces that you’re not left thinking “Hey, this stuff all sounds exactly like 4 out of 4Command & Conquer!”

I’ve been lobbying for someone to tap Frank Klepacki for something more than just a short film, and I still think someone should. But he won’t hear me complain if he keeps turning out solo material too, because Morphscape rocks.

Order this CD

  1. Morphscape (5:21)
  2. Blaster (4:43)
  3. Freaks From Within (5:08)
  4. Cybertek (3:12)
  5. Mode One (4:03)
  6. Gonna Rock Yo Body (3:23)
  7. Cosmic Lounge (5:12)
  8. Morphunk (3:47)
  9. Defunkt (2:42)
  10. Virus (4:47)

Released by: FrankKlepacki.com
Release date: 2002
Total running time: 42:18

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2002 C Command & Conquer Soundtracks Video Game / Computer Game

Command & Conquer: Renegade

Command & Conquer: RenegadeThe Command & Conquer games are loaded down with so many obedient soldiers under the player’s control, how could a game be made about any one of them? The answer’s easy: make a game about the one soldier you don’t see in the C&C games. A loose-cannon, gun-totin’ badass. And that’s what Westwood’s first-person blast-fest Command & Conquer: Renegade is all about.

For the music for Renegade, veteran Westwood composer Frank Klepacki goes in two directions at one: back to the original theme from Command & Conquer, and forward for some chunky, hybrid heavy metal/techno music befitting the baddest of the bad. When you have a track called “Got A Present For Ya” in a soundtrack from a game about a heavily armed rogue soldier, you can probably guess this 4 out of 4won’t be the soundtrack from On Golden Pond. This isn’t to say that every cue is top-heavy with action, though – “Sniper” and “Beach” are a couple of good examples of this.

The reworkings of the original C&C theme are a welcome return, bringing the whole thing full-circle and giving it the feel of belonging to a larger saga.

Order this CD

  1. Command & Conquer (2:58)
  2. Got A Present For Ya (2:21)
  3. Sniper (3:18)
  4. Act On Instinct (3:31)
  5. Stomp (2:55)
  6. (Untitled Track) (3:57)
  7. Sneak Attack (3:50)
  8. Move It (2:04)
  9. Dogfight (4:42)
  10. Packing Iron (3:22)
  11. Industrial Ambient (4:00)
  12. Beach (3:01)
  13. Fight Win Prevail (3:36)
  14. Ammo Clip (3:18)
  15. In Line Of Fire (3:57)

Released by: Westwood Studios / Electronic Arts
Release date: 2002
Total running time: 50:50

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2002 F Non-Soundtrack Music

Tony Fox NYC – I Am Humanoid

3 min read

What do you get when you put Queen, Art Of Noise, and quite a few others into a blender with a bunch of classic video game sounds? Probably a bunch of chopped-up CDs, especially if the blender’s set on pureè. If you run the same ingredients through Tony Fox’s mixer, however, the result is I Am Humanoid, Fox’s master-mixing tribute to the arcade games of yesteryear.

One thing that differentiates I Am Humanoid from, oh, say, the recent Scitron Digital game sound CDs is that Fox focuses not just on sound effects, but music. Most of the games whose sounds he used have catchy little musical themes, not just sound effects, and in a lot of ways that fires up the memories more than a simple sound effect never could. Games without music are called into play too, however – “vocals” are provided by the likes of Sinistar, the Berzerk robots, the talking green cyclops from Space Fury, and the sampled superstar voices of Star Trek.

There are three versions of the title track (my favorite is still the original mix minus the extra padding), a tribute to Star Trek (both the game and the original series), and game-specific cuts focusing on such coin-op classics as Jungle King, Astro Blaster, Gyruss and Punch Out!. The whole thing kicks off with a thumpin’ remix of the hard-rock Reactor theme, given an extra boost of kick-ass energy by the “stomp-stomp-clap” rhythm of Queen’s “We Will Rock You” and some samples from Crystal Castles to boot. The tracks that mix and match the sounds from wildly different games are the most effective, but that element is present everywhere; even in the Star Trek-specific track, when Spock’s voice announces “Sector four – intruder alert,” the Enterprise is apparently invaded by Q*Bert and his chattering chums. (Who here wouldn’t love to see a video for that?) And the crazy thing is, it works – there are few things more alien-sounding than the orange one’s garbled “speech.”

There’s an untitled track at the end of the CD, signified on the track list by the dragon from Adventure, and while on the surface it appears to be yet another reworking of the basic “I Am Humanoid” idea, in some ways it’s the best track on the whole disc. Melding a motley assortment of game samples with a Philadelphia-style 70s brass backing, it manages to bring the games together with a sound that those of us who were there 4 out of 4remember quite well. It’s hard for me to hear it without getting a big grin on my face – which pretty much sums up the whole CD.

Tony Fox’s I Am Humanoid is still available while supplies last from Digital Press.

Order this CD

  1. Crystal Reactor (2:56)
  2. Hop To It! (Frogger remix) (2:34)
  3. I Am Humanoid (Humanoids Love House Music remix) (3:28)
  4. Tetris Invaders (4:24)
  5. Phoenix 2002 (3:18)
  6. Jungle Rush (Jungle Hunt remix) (3:27)
  7. I Am Humanoid (original version) (4:37)
  8. Prepare For Battle (Digital Press theme) (3:57)
  9. A Day @ Tony’s Arcade (Mega Mix) (5:17)
  10. Welcome Aboard, Captain (Star Trek remix) (4:03)
  11. Warp Activated (Astro Blaster remix) (2:59)
  12. I Am Humanoid (Save The Robots remix) (4:54)
  13. Tony Fox NYC vs. Mario (2:12)
  14. Storm Clouds Over Gyruss (2:19)
  15. Mr. Do! vs. Dig Dug (featuring Funky Fygar) (2:54)
  16. Yeah!! Just Hit Me! (Punch Out!! remix) (4:05)
  17. ? (3:55)

Released by: Digital Press Records
Release date: 2002
Total running time: 61:22

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2002 A Non-Soundtrack Music Tori Amos

Tori Amos – Scarlet’s Walk

Tori Amos - Scarlet's WalkInspired by the unusually candid post-September 11th confessions of fans she met on tour in late 2001, Scarlet’s Walk is Tori Amos’ return to form after the misstep that was Strange Little Girls, as well as her debut on her first new label since 1988. Scarlet’s Walk gets Tori back to the basics of Little Earthquakes and Under The Pink, ditching the club music elements that dominated her later output on Atlantic. Whether this was her decision or Epic’s call, it doesn’t matter – it was long overdue, and reminds me of what first drew me to her music ten years ago in the first place.

That’s not to say that we’re back to the mostly-piano formula of Little Earthquakes, however – Tori spends much of Scarlet’s Walk backed by a full band, with a few obligatory piano ballads thrown in and even an a capella tune (“Wampum Prayer”) for good measure. But the earnestness of her first two albums returns here, and that’s the “element of the past” that I most cherish about this album. At the risk of offending the dance music fans – and I have to admit, I like Tori’s latter-day clubbish numbers like “Raspberry Swirl” and I’ve broadened my palette and grown fond of quite a few other beat-heavy acts in recent years – sometimes that approach didn’t suit Tori Amos with her confessional, introspective style of storytelling-songwriting. The lead single from Scarlet’s Walk, “A Sorta Fairytale”, points up the difference sharply: there’s still a band backing Tori, but her piano and vocals aren’t having to fight for a spot in the mix. It’s a pleasing alternate-rock brew that supports her instead of working against her.

Other standout tracks include “Amber Waves”, “Crazy” (which may actually be my favorite cut off of the entire CD, rediscovering another element of Tori’s early work, namely the mesmerizing sound of Tori harmonizing with her own vocals), “Taxi Ride”, “Strange”, “Pancake” and the curiously jaunty “Wednesday”. There are a few tracks that don’t quite trip my trigger – I expected a little more out of “I Can’t See New York”, for example, but rating: 4 out of 4I actually do like it – but on a whole, this album is a cohesive collection that stands well alongside Little Earthquakes and Under The Pink – and stands way, way above such recent efforts as Strange Little Girls and the studio disc from To Venus And Back. It doesn’t hide a nasty stain, and it’s not just lying there – Scarlet’s Walk proclaims that Tori Amos has returned.

Order this CD

  1. Amber Waves (3:39)
  2. A Sorta Fairytale (5:30)
  3. Wednesday (2:30)
  4. Strange (3:07)
  5. Carbon (4:36)
  6. Crazy (4:27)
  7. Wampum Prayer (0:45)
  8. Don’t Make Me Come To Vegas (4:52)
  9. Sweet Sangria (4:03)
  10. Your Cloud (4:30)
  11. Pancake (3:56)
  12. I Can’t See New York (7:16)
  13. Mrs. Jesus (3:07)
  14. Taxi Ride (4:02)
  15. Another Girl’s Paradise (3:36)
  16. Scarlet’s Walk (4:18)
  17. Virginia (3:56)
  18. Gold Dust (5:57)

Released by: Epic
Release date: 2002
Total running time: 74:09

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2002 Film S Soundtracks Star Trek

Star Trek: Nemesis – music by Jerry Goldsmith

3 min read

So help me, Jerry Goldsmith almost pulled it out of his hat with this one, very nearly giving Star Trek: Nemesis a completely unique musical score – note almost, as I found the ever-present theme from Star Trek: The Motion Picture (to say nothing of the recurring four-note Enterprise motif which Goldsmith has been recycling since Star Trek V‘s soundtrack) a bit grating. The bits in between, though, are what matter, and the sooner you can tune out Goldsmith’s reheated themes, the better – the dark recesses of Romulan intrigue make for some interesting musical exploration.

Note that I’m reviewing this soundtrack without having seen the movie (the CD hit the shelves two weeks ahead of the theatrical release date), and – as was the case with my somewhat cryptic review of the soundtrack from Star Wars Episode II – I’ve deliberately avoided exposure to anything except the movie trailers where Nemesis is concerned. I can’t tell you if the music fits the plot or the characters, and I certainly can’t comment on whether or not it melds with the action scenes. But I can tell you that the sense of building dread in most of Goldsmith’s score is a refreshing change of pace, reminding me in some ways of Cliff Eidelman’s criminally underrated music from Star Trek VI. There’s a nice surge of dark power, and a much darker, more desperate edge to some of the action cues (“Lateral Run”).

Goldsmith’s lighter touch, as well as his classical training, elevate the music to a whole new level of sheer beauty on tracks such as “Final Flight” and adding a somewhat cryptic quote from “Blue Skies” to the unusually somber, piano-based beginning of “A New Ending” (I’m sure there are plot reasons for the song quote, I just don’t know what they are as yet). The usual bombast is there, and God, am I sick of hearing that ST:TMP theme over and over again for the end credits, but if you can overlook the recycled material, it’s a good soundtrack – hopefully for a good movie.

In the end, though, the recycling bugs me a bit. Consider this: Nemesis is the tenth Star Trek movie, and it’s the fifth to be scored by Goldsmith. His music for the first movie was stunning, still standing as one of the finest SF film scores in the history of the genre. His music for First Contact was impressive, and Nemesis comes in at a close third musically. But given that each successive iteration of the theme from the first film loses more and more of its “oomph” – not only due to overexposure, but due to some less than enthusiastic cut-and-paste arrangement – perhaps next time Paramount needs to bring some new musical talent to the table. The 3 out of 4previously un-Trek-tried writer and director on Nemesis were a good start, and one can see where the studio might have wanted Goldsmith around to provide a safety net of identifiable themes to ground the new movie. But if the gamble on the new talent pays off with a box office blockbuster, why not extend that willingness to experiment to a new composer next time?

Order this CD

  1. Remus (1:57)
  2. The Box (2:21)
  3. My Right Arm (1:04)
  4. Odds And Ends (4:37)
  5. Repairs (6:25)
  6. The Knife (3:09)
  7. Ideals (2:16)
  8. The Mirror (5:21)
  9. The Scorpion (2:23)
  10. Lateral Run (3:54)
  11. Engage (2:12)
  12. Final Flight (3:48)
  13. A New Friend (2:38)
  14. A New Ending (6:06)

Released by: Varese Sarabande
Release date: 2002
Total running time: 48:11

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2002 George Harrison H Non-Soundtrack Music

George Harrison – Brainwashed

George Harrison - BrainwashedRecorded in the months leading up to his death in late 2001, Brainwashed was always going to be George Harrison’s posthumous album. Knowing he wasn’t going to be around to apply the finishing touches, Harrison left copious notes on how he wanted everything to sound. That task was left to Harrison’s son Dhani and Traveling Wilburys collaborator Jeff Lynne. (Even that surprised some observers, given that Harrison was quoted in 2001 as saying that Lynne wouldn’t be involved in his next album because he didn’t want it to “sound like an ELO album,” though this may be yet another example of the dry wit that distinguished Harrison back in his Beatles days.)

In the end, though, Lynne did finish Harrison’s swan song, and it looks like Harrison planned it that way all along. Brainwashed is as fitting and haunting an exit for George Harrison as Mystery Girl was for Roy Orbison.

Given that Harrison knew the end was near, the slate of songs on Brainwashed is surprisingly cheerful and philosophical at the same time …and it’s no more downbeat than anything that came before. Given that the ex-Beatle had recently suffered through a prolonged series of cancer treatments, as well as recovering from being stabbed by an unstable fan, I doubt anyone would’ve blamed him for being a bit darker and more bitter…but in the end, that just wasn’t George Harrison. And maybe that, along with his music, is his legacy and lesson for everyone. And while he didn’t spend his last opportunity venting, he does wax a little more spiritual than usual – the outstanding “Rising Sun” (with its “I Am The Walrus”-esque cello backing arrangement) is a good example of this, as is the lead single, “Stuck Inside A Cloud”. He also pokes some gentle fun at the Catholic Church in the Wilbury-esque “P2 Vatican Blues” (which also shows more than just a little hint of Bob Dylan’s influence), and laments what he sees as the duping of society in the title track. Chances are, George Harrison mentions God more often in the course of Brainwashed than any other non-Christian mainstream album has in the past year.

I also have to say, for the record, that “Never Get Over You” is one of the best songs I’ve heard anyone do in the past few years; it has some incredible harmonies and the kind of non-date-specific sound that gives it a feel not unlike Harrison’s best music from the 70s. It’s that good. I tend not to put one song on continuous repeat unless it really trips my trigger, and I think I listened to nothing but “Never Get Over You” for two or three hours straight the first time I heard it. “Rising Sun” and the wistful “Marwa Blues” instrumental inspire that kind of compulsory repeat listening too. I’m not trying to be funny when I say I can’t get them out of my head.

Overall, it’s amazing stuff – it doesn’t sound like the last album of someone’s career, let alone the last album they’re going to make while they’re alive. And as for the naysayers who are complaining that George 4 out of 4Harrison’s final set sounded like “an ELO record,” relax…it really doesn’t. And almost as sad as the fact that George is no longer with us is the fact that he didn’t grace the world with more of his unique sound in the decade before his death. Brainwashed is one of the best albums I’ve heard this year, and not just for the nostalgia factor.

Order this CD

  1. Any Road Will Take You There (3:54)
  2. P2 Vatican Blues (Last Saturday Night) (2:41)
  3. Pisces Fish (4:54)
  4. Looking For My Life (3:51)
  5. Rising Sun (5:28)
  6. Marwa Blues (3:43)
  7. Stuck Inside A Cloud (4:07)
  8. Run So Far (4:08)
  9. Never Get Over You (3:28)
  10. Between The Devil And The Deep Blue Sea (2:36)
  11. Rocking Chair In Hawaii (3:08)
  12. Brainwashed (6:07)

Released by: Capitol
Release date: 2002
Total running time: 48:11

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2002 Film Neil Finn R Soundtracks

Rain – music by Neil Finn

3 min read

Order this CDNeil Finn’s first foray into film scoring is an interesting mix of new songs and moody instrumental pieces. The songs and score tracks alternate for much of the CD, dividing things up nicely and creating quite a tapestry of different moods. “You Don’t Know” kicks things off with a dark, slinky feel and some outstanding vocal harmonies (not unlike the underrated Finn Brothers album), which brings me neatly to one other point – a lot of the vocal numbers on this soundtrack are almost “mini-songs,” very short in duration and sparse on lyrics (check out “Boat Joyride”, barely a minute long). “Summer Intro” quotes an infectious melody that later forms the basis of the song “Drive Home”, followed by “Summer Of Love”, a Finn/Edmund McWilliams collaboration on a song written by McWilliams. Again, vocal harmonies are to the fore. Elsewhere on the album, standouts include Lisa Germano’s “Cry Wolf” and her violin-driven instrumental “Phantom Love”, the eastern-influenced Finn instrumental “Red Room”, and another Finn/McWilliams collaboration, “Drive Home”, which is an instrumental for the first half of the song before the vocals ever kick in. Rounding things off is Neil’s son Liam Finn (of Betchadupa as well as his dad’s touring act) with “Lucid Dream”, an instrumental version of a song from the new Betchadupa album Alphabetchadupa. Perhaps the most out-of-place item here is a 1970 number from Human Instinct, a very, very Move-like late 60s/early 70s New Zealand rock group. In a way, it’s out of place for being the oldest song on the CD, but with the lo-fi production utilized on much of the soundtrack, it also fits in quite nicely, ironically enough.

It’s important to point out that, unlike film or stage music by, oh, say, Peter Gabriel, the soundtrack from Rain is not a wasteland of previously-released material minus the vocals. Liam’s singular contribution aside, Neil Finn’s material is all-original here. The only thing it references is other tracks on this album – and last time I checked, that’s called a theme, something which comes in mighty handy 4 out of 4when you’re doing music for a movie or a TV show.

Overall, it’s quite an effective freshman film music outing, one that makes me hope Neil Finn might try this again sometime – just so long as he keeps turning out his own music as well instead of, oh, say, spacing solo albums ten years apart from each other.

  1. You Don’t Know – Neil Finn (song) (2:55)
  2. Summer Intro – Neil Finn (score) (1:39)
  3. Summer Of Love – Neil Finn & Edmund McWilliams (song) (2:52)
  4. Mum In Bed – Neil Finn (score) (0:57)
  5. Orange And Blue – Neil Finn (song) (2:29)
  6. Red Room – Neil Finn (score) (3:05)
  7. Cry Wolf – Lisa Germano (song) (4:57)
  8. The Affair – Neil Finn (score) (3:41)
  9. Black Sally – Human Instinct (song) (6:35)
  10. Boat Dawn – Neil Finn (score) (1:17)
  11. Boat Joyride – Neil Finn (song) (1:01)
  12. Kids Floating – Neil Finn (score) (1:09)
  13. Batman – Neil Finn (score) (1:59)
  14. Shower – Neil Finn (score) (1:35)
  15. Phantom Love – Lisa Germano (score) (3:22)
  16. Drive Home – Neil Finn & Edmund McWilliams (song) (5:39)
  17. Lucid Dream – Liam Finn (song) (4:17)

Released by: EMI New Zealand
Release date: 2002
Total running time: 49:29

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2002 D Depeche Mode Non-Soundtrack Music

Depeche Mode – Exciter

Depeche Mode - ExciterI’ll admit it upfront: Depeche Mode lost me for the longest time. I wasn’t the biggest fan of Violator, though there was stuff to like on that album. But it was the group’s 90s output – especially Ultra – that had me tuning them out. But at the risk of sounding a little too cheesy, I found Exciter much more exciting. This album sees Depeche Mode – and specifically core members David Gahan and Martin Gore – on the rebound from some of the events that helped the group hit that low ebb.

Gore’s songwriting acumen, which seemed to be on the decline, is back in full force with a number of fascinating and listenable tunes. And it helps that Gahan is back in fine form (and even better voice) for the first time since Violator. Normally I point out standout tracks, but the truth is, there’s little on Exciter to not enjoy. My personal favorites, however, have to be the dreamy “Comatose” – replete with the kind of mesmerising chords and structure that haven’t been a mainstay of the pop music landscape for decades, only with an updated sound and some of the best Gahan/Gore vocal harmonies ever – and the bouncy and slightly sarcastic “I Feel Loved”. Other highlights include the slinky Breathe and a thundering anthem to the goth generation, “The Dead Of Night”.

Overall, I’m thrilled with Exciter – this is the best thing Depeche Mode has done in rating: 4 out of 4years. When they started out, they were mavericks on the pop scene, abandoning any sign of traditional instrumentation for the innovative sounds they could coax out of the then-new synths and samplers available in the new wave days. Even though that field’s pretty crowded now, Depeche Mode surprised me with this album, which shows they’re still the innovators they were twenty years ago.

Order this CD

  1. Dream On (4:19)
  2. Shine (5:32)
  3. The Sweetest Condition (3:42)
  4. When The Body Speaks (6:01)
  5. The Dead Of Night (4:50)
  6. Lovetheme (2:02)
  7. Freelove (6:10)
  8. Comatose (3:20)
  9. I Feel Loved (4:20)
  10. Breathe (5:17)
  11. Easy Tiger (2:05)
  12. I Am You (5:10)
  13. Goodnight Lovers (3:48)

Released by: Warner Bros.
Release date: 2001
Total running time: 56:48

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2002 F Neil Finn Non-Soundtrack Music

Neil Finn – One All

Neil Finn - One AllSome of us self-confessed pop music addicts are so gaga over just about anything by the Finn Brothers that we’ll plunk down thirty bucks to import an album that appears to have no chance of arriving on store shelves in America. And that was the case when I got One Nil, the second solo album by Neil Finn. And while my music-buying budget isn’t that big, $30 is worth it for a finely crafted album like One Nil.

One All, on the other hand, is the American version of the album, arriving a year later, subtracting two songs (both of which I liked a lot) and adding two more (both of which I like a lot). Why any tracks had to be deleted, I’ll never know, but Finn himself made that decision. He also had several of the surviving One Nil tracks remixed by Bob Clearmountain (who did so much to make Crowded House’s Together Alone album the masterpiece of atmosphere that it was), and changed the running order a bit.

The result is a nice album, but one which may now be missing its emotional core. One All is still, like its original version, largely about fidelity in a relationship, but the addition of the lovely “Lullaby Requiem” (possibly the most tragically beautiful pop song I’ve ever heard) and the quirky “Human Kindness” jars that running theme a bit. Even more than that, the absence of “Elastic Heart” – an abstract, atmospheric song about anger and forgiveness and stretching a relationship to its limits – damages whatever flow One All might’ve had even with the two new songs. I know “Elastic Heart” was probably a song that most listeners considered “weird,” but I grew to like its unusual melancholy brass-band ambience and especially its lyrics. I miss its presence here.

4 out of 4Overall, however, my reaction is one of relief that the album has been released in the U.S. in any form at all. I have a few minor gripes about the remixing done on some of the songs (I actually preferred the moody and sometimes murky mixing of the songs in their original One Nil form), but the songs themselves are still worth the price tag.

Order this CD

  1. The Climber (4:15)
  2. Driving Me Mad (3:56)
  3. Hole In The Ice (4:06)
  4. Last To Know (2:59)
  5. Wherever You Are (4:42)
  6. Secret God (5:24)
  7. Lullaby Requiem (3:44)
  8. Human Kindness (4:41)
  9. Turn And Run (3:41)
  10. Anytime (3:23)
  11. Rest Of The Day Off (3:57)
  12. Into The Sunset (4:12)

Released by: Nettwerk America
Release date: 2002
Total running time: 49:00

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