08-01-2019 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1999-1995

The Greenhornes

08-01-2019 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1999-1995  >>The Greenhornes, Tom Waits, Suzie Higgie & Conway Savage, Mick Harvey, David Bowie, Sleater-Kinney, Lamb, Modest Mouse, Blur, D’Angelo, Moloko<<

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1999-1995

Ohio born and bred Nuggets-meets-Stooges garage band; provided the rhythm section for the Raconteurs. Cincinnati, OH's the Greenhornes earned a devoted following during the garage rock boom of the 2000s, but while the band was clearly influenced by classic blues-based acts of the '60s (the Yardbirds, the Rolling Stones, the Kinks) and first-era garage rock (the Sonics), their instrumental skill and songwriting chops put them well ahead of most of their peers. 
The Greenhornes
So Cold 3:42
Good Times 2:11
Hold Me 3:50
from Gun For You 1999

On this sizzling garage rock debut, Cincinnati, OH's Greenhornes showcase their talents at combining solid early- to mid-'60s Stones/Kinks-style rock with a jovial mod influence and Detroit blues-rock punchiness. Their lineup features former members of the Nevada Death Band, including Craig Fox on guitars and vocals, Brian Olive on guitar and backup vocals, Patrick Keeler on drums, and Jack Lawrence on bass; the pervasive organ right up front in the mix comes courtesy of spectacular keyboardist Jared McKinney...

A neo-beatnik songwriter who grew weirder and wilder in the '80s, earning a cult following that only grew larger as the years passed. In the work of American songwriter Tom Waits, swampy blues, Beat poetry, West Coast jazz, Tin Pan Alley, country, 1930s-era cabaret, and post-Civil War parlor songs meet neon-lit carnival music, and the wheezing, clattering, experimental rhythms (often played by makeshift musical instruments from car radios to metal pipes and tin cans -- hence his love of Edgard Varese and Harry Partch) form a keenly individual musical universe. It has often been imitated but never replicated...
Tom Waits
Hang on St. Christopher  (Tom Waits)  2:44
Temptation  (Tom Waits) 3:48
Clap Hands  (Tom Waits) 3:48
from Beautiful Maladies / The Island Years 1998
Tom Waits' brilliance is messy -- he has so many ideas that sometimes unrealized songs are juxtaposed with moments of greatness on his albums. That may make for the occasional uneven record, but each album has its own distinct tone that makes it a unique listening experience, whether it's a masterpiece or a missed opportunity. And that's the reason why his work, especially his sprawling Island albums, doesn't lend itself to retrospectives like Beautiful Maladies: The Island Years. On the surface, the collection looks promising...

Suzie Higgie was the singer/songwriter for the Australian group the Falling Joys, who put out numerous releases (including three albums) over the course of a decade... Her material is slightly jazzy, breezy singer/songwriter rock, delivered with a cool restraint.
Conway Victor Savage (27 July 1960 – 2 September 2018) was an Australian rock musician. He was a member of Nick Cave and The Bad Seeds, providing piano, organ and backing vocals from 1990. From 1993, Savage had a solo career and released albums...
Suzie Higgie & Conway Savage ‎
Wishbone 3:19
Just One Of Those Things 5:11
from Soon Will Be Tomorrow 1998
Vocals, Guitar, Bass – Suzie Higgie
Vocals, Piano, Organ, Keyboards – Conway Savage

Australian multi-instrumentalist and producer known for his longtime collaborations with Nick Cave and his own project, Crime & the City Solution. Multi-instrumentalist Mick Harvey is best known for his deep roots in the tangled family tree of singer Nick Cave. Playing a pivotal role in the Cave-fronted Boys Next Door (1977-1980), Birthday Party (1980-1983), and Bad Seeds (1984 on), Harvey added intricate details and anonymous atmospherics that gave life to the singer's ominous narratives...
Mick Harvey
Pink Elephants (Bertrand Burgalat / Serge Gainsbourg / Mick Harvey) 2:35
Requiem.... (Michel Colombier / Serge Gainsbourg / Mick Harvey) 2:35
Comic Strip (Serge Gainsbourg / Bill Solly) 2:42
Scenic Railway (Serge Gainsbourg / Mick Harvey) 2:52
from Pink Elephants 1997
Pink Elephants continues what Mick Harvey began with Intoxicated Man -- it's the second collection of Serge Gainsbourg covers that the Bad Seeds guitarist has recorded. This time around, he concentrates on lesser-known songs... while the results aren't as immediately beguiling as those on Intoxicated Man, it's still rich, evocative, seedy, and alluring...

Mick Harvey by Sam Baker London 1997

The mercurial music icon widely considered the original pop chameleon and figurehead for countless musical movements. The cliché about David Bowie is that he was a musical chameleon, adapting himself according to fashion and trends. While such a criticism is too glib, there's no denying that Bowie demonstrated a remarkable skill for perceiving musical trends at his peak in the '70s. 
David Bowie
Little Wonder  (David Bowie / Reeves Gabrels / Mark Plati) 6:02
Looking for Satellites (David Bowie / Reeves Gabrels / Mark Plati) 5:20
Battle for Britain (The Letter) (David Bowie / Reeves Gabrels / Mark Plati) 4:49
from Earthling 1997
Jumping on the post-grunge industrial bandwagon with Outside didn't successfully rejuvenate David Bowie's credibility or sales, so he switched his allegiance to techno and jungle for the follow-up, Earthling. While jungle is a more appropriate fit than industrial, the resulting music is nearly as awkward. Though he often gets the sound of jungle right, the record frequently sounds as if the beats were simply grafted on top of pre-existing songs. Never are the songs broken open by a new form; they are fairly conventional Bowie songs with fancy production... Still, the record falls short of its goals, and it doesn't offer enough intrigue or innovations to make Earthling anything more than an admirable effort.

Arguably the most important punk band of the 1990s and 2000s, with feminist songwriting matched by taut melodicism and jaw-dropping sonic complexity. 
Sleater-Kinney
Dig Me Out (Sleater-Kinney) 2:40
Turn It On (Sleater-Kinney) 2:47
Heart Factory (Sleater-Kinney) 3:54
from Dig Me Out 1997
Having reinvented the girl-punk wheel with Call the Doctor, Sleater-Kinney continues to expand the boundaries of the form with the stunning Dig Me Out. Leaner and more intricate than its predecessor, the record is remarkably confident and mature; instead of succumbing to the pressures of "next big thing" status, the trio finds vindication in all of their critical adulation -- the vocals are even more ferocious, the melodies are even more infectious, and the ideals are even more passionate.

Mancunian downtempo and drum'n'bass duo Lamb earned notice as one of the first groups to add a lyrics-based vocalist to steadfastly jungle-based productions. Unlike other vocal-based groups (such as Everything But the Girl and the Sneaker Pimps) who dabbled in rolling breaks as a quiet accompaniment to a clearly dominant vocal lead, Lamb dwell in brash musical contrasts and, occasionally, contradictions that make their songs as musically complex and exploratory as they are vocally catchy. Formed in 1994 by producer Andrew Barlow and vocalist Louise Rhodes .
Lamb
Lusty (Andy Barlow / Louise Rhodes) 4:09
God Bless (Andy Barlow / Louise Rhodes) 5:53
Cotton Wool (Andy Barlow / Louise Rhodes) 5:07
from Lamb 1996
Using the postmodern torch music of Portishead as a foundation, Lamb spin out into new sonic territories on their eponymous debut album. The group sports a heavier techno influence, incorporating the buzzing rhythms of drum'n'bass into their music in particular, yet they cut their modernistic electronic influences with a dark sense of melodicism. Most of the album is devoted to jazzy songs that are broken apart by Andy Barlow's synthesizers and sampler and are anchored by Louise Rhodes' seductive vocals, which prevent the electronics from becoming cold. It's sophisticated urban music, one that's miles away from the avant-garde sensibilities of Tricky and the haunted romanticism of Portishead, or even the pop leanings of Sneaker Pimps and the soul-inflected grooves of Morcheeba. Instead, Lamb is classy, detached, and cool -- a more club-oriented and less melodic variation of Everything but the Girl's Walking Wounded. Although Lamb may run a little long, it's one of the more hypnotic byproducts of trip-hop yet released.

Jagged, often melodic, lo-fi post-rock, the indie rockers slowly burbled from cult sensations to unlikely alt-pop stars. 
Modest Mouse
Dramamine 5:42
Lounge (Modest Mouse) 6:33
Exit Does Not Exist 4:57
from This Is a Long Drive for Someone With Nothing to Think About 1996
Expanding upon the themes of emotional and geographic isolation found in the band's previous work, This Is a Long Drive for Someone with Nothing to Think About finds Modest Mouse mixing slow, brooding numbers... The general mood here is one of loneliness and desperation, eloquently expressed through both the lyrics and the rhythmic, sprawling instrumentation. "Dramamine," for instance, with its driving, mid-tempo beat and ricocheting guitar line, sums up the hopelessness of a doomed relationship...  In general, This Is a Long Drive for Someone with Nothing to Think About is a fine album, and Modest Mouse distinguishes itself here with songs whose meanings are simultaneously universal and painfully personal.

Innovative, ever-morphing Brit-pop band with punch that nabbed constant critical adulation and the occasional massive hit. 
Blur
Stereotypes (Damon Albarn / Graham Coxon / Alex James / Dave Rowntree) 3:11
Country House  (Damon Albarn / Graham Coxon / Alex James / Dave Rowntree) 3:56
Best Days (Damon Albarn / Graham Coxon / Alex James / Dave Rowntree) 4:49
from The Great Escape 1995
In the simplest terms, The Great Escape is the flip side of Parklife. Where Blur's breakthrough album was a celebration of the working class, drawing on British pop from the '60s and reaching through the '80s, The Great Escape concentrates on the suburbs, featuring a cast of characters all trying to cope with the numbing pressures of modern life. Consequently, it's darker than Parklife, even if the melancholia is hidden underneath the crisp production and catchy melodies...

A neo-soul pioneer whose smooth sounds aimed to bring the organic flavor of classic R&B back to the hip-hop age. 
D’Angelo
Brown Sugar (D'Angelo / Ali Shaheed Muhammad) 4:22
Shit, Damn, Motherfucker (D'Angelo) 5:14
Cruisin' (Smokey Robinson / Marvin Tarplin) 6:24
from Brown Sugar 1995
By the mid-'90s, most urban R&B had become rather predictable, working on similar combinations of soul and hip-hop, or relying on vocal theatrics on slow, seductive numbers. With his debut album, Brown Sugar, the 21-year-old D'Angelo crashed down some of those barriers. D'Angelo concentrates on classic versions of soul and R&B, but unlike most of his contemporaries, he doesn't cut and paste older songs with hip-hop beats; instead, he attacks the forms with a hip-hop attitude, breathing new life into traditional forms. Not all of his music works -- there are several songs that sound incomplete, relying more on sound than structure. But when he does have a good song -- like the hit "Brown Sugar," Smokey Robinson's "Cruisin'," or the bluesy "Shit, Damn, Motherfucker," among several others -- D'Angelo's wild talents are evident. Brown Sugar might not be consistently brilliant, but it is one of the most exciting debuts of 1995, giving a good sense of how deep D'Angelo's talents run.

Alternative dance duo of Róisín Murphy and Mark Brydon, whose influences encompass house, acid jazz, and hip-hop.
Moloko 
Fun for Me (Mark Brydon / Róisín Murphy) 5:09
Day for Night (Mark Brydon / Róisín Murphy) 5:23
Party Weirdo (Mark Brydon / Róisín Murphy) 7:01
from Do You Like My Tight Sweater? 1995
The aptly named Do You Like My Tight Sweater? slinks and bounces on a funky backbone of fat basslines and innovative beats that support singer Roisin Murphy's sly, theatrical vocals and lyrics. Part catwoman, part droid, her singing ranges from a knowing purr to an androgynous growl and creates characters like party weirdos, dominatrixes, killer bunnies, and ghosts. As dramatic as her vocals are, however, Murphy is an antidiva; her musical surroundings equal her singing in importance. The other half of Do You Like My Tight Sweater?'s individuality comes from Mark Brydon's arrangements, which combine fluid tempos, sudden breakbeats, witty sound effects, and unearthly keyboards in sci-fi grooves that appeal to the brain and body...