13-02-2019 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1997-1992

Sleater-Kinney

13-02-2019 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1997-1992  >>Sleater-Kinney, Lamb, Modest Mouse, Blur, D’Angelo, Moloko, The Stone Roses, Stereolab, Morphine, Joe Strummer, Adrian Belew, Cowboy Junkies<<

M U S I C

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1997-1992

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
Heart Factory (Sleater-Kinney) 3:54
Turn It On (Sleater-Kinney) 2:47
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
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
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
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
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...

Manchester baggies whose classic 1989 debut made them indie legends and a highly influential name for countless alternative bands to follow. Meshing '60s-styled guitar pop with an understated '80s dance beat, the Stone Roses defined the British guitar pop scene of the late '80s and early '90s. After their eponymous 1989 debut album became an English sensation, countless other groups in the same vein became popular, including the Charlatans UK, Inspiral Carpets, and Happy Mondays. However, the Stone Roses were never able to capitalize on the promise of their first album, waiting five years before they released their second record and slowly disintegrating in the year-and-a-half after its release.
The Stone Roses
Breaking Into Heaven 11:19
Driving South
Ten Storey Love Song 4:29
Daybreak 6:33
from Second Coming 1994
There's no denying that Second Coming is a bit of a letdown. None of the songs are quite as strong as the best on their debut, but there is plenty of good music on the band's much-delayed second record. The Stone Roses create a dense tapestry of interweaving guitars and pulsing bass grooves. Ian Brown growls a little more than before, but he isn't the center of the music; John Squire's endlessly colorful riffs are. It's clear that Squire has been listening to a bit of hard rock, particularly Led Zeppelin. While the songs occasionally take a back seat to the grooves, several tracks -- "Ten Storey Love Song," "Begging You," "Tightrope," "How Do You Sleep," and "Love Spreads" -- rank as true classics. It might not be the long-awaited masterpiece it was rumored to be, but Second Coming is a fine sophomore effort.

One of the most distinctive, influential acts of the '90s and 2000s, thanks to Laetitia Sadier's mesmerizing vocals and Tim Gane's droning keyboards. One of the most distinctive alternative bands to emerge in the '90s, Stereolab either celebrated forms of music that were on the fringe of rock, or brought attention to strands of pop music -- bossa nova, lounge-pop, movie soundtracks -- that were traditionally banished from the rock lineage
Stereolab
Three-Dee Melodie 5:02
Transona Five (Tim Gane / Laetitia Sadier) 5:32
Ping Pong  (Tim Gane / Laetitia Sadier) 3:02
from Mars Audiac Quintet 1994
By the time of 1994's Mars Audiac Quintet, Stereolab had already highlighted the rock and experimental sides of its music; now the band concentrated on perfecting its space-age pop. Sweetly bouncy songs like "Ping Pong" and "L' Enfer des Formes" streamline the band's sound without sacrificing its essence; track for track, this may be the group's most accessible, tightly written album... While it's not as overtly innovative as some of Stereolab's earlier albums, Mars Audiac Quintet is an enjoyable, accessible forerunner to the intricate, cerebral direction the group's music would take in the mid- and late '90s.

Addictive, offbeat, and totally original indie rockers from Boston, driven by a blistering baritone sax rather than guitars. Morphine is a rarity -- bluesy, bare-bones rock & roll without any guitars. Instead of guitar riffs, the trio relies on sliding two-string basslines, raucous saxophones, and wry, ironically detached vocals. During the mid-'90s, Morphine gained a sizable cult following in America, primarily due to good word of mouth, heavy college airplay, and positive reviews.
Morphine
Dawna 0:43
Buena (Mark Sandman) 3:19
I'm Free Now (Mark Sandman) 3:24
All Wrong (Mark Sandman) 3:40
from Cure for Pain 1993
With their cult following growing, Morphine expanded their audience even further with their exceptional 1994 sophomore effort, Cure for Pain. Whereas their debut, Good, was intriguing yet not entirely consistent, Cure for Pain more than delivered. The songwriting was stronger and more succinct this time around, while new drummer Billy Conway made his recording debut with the trio (replacing Jerome Deupree). Like the debut, most of the material shifts between depressed and upbeat, with a few cacophonic rockers thrown in between... And again, Mark Sandman's two-string slide bass and Dana Colley's sax work help create impressive atmospherics throughout the album. Cure for Pain was unquestionably one of the best and most cutting-edge rock releases of the '90s.

Frontman and co-founder of the Clash who explored an eclectic variety of rock, folk, and music styles as a solo artist. As frontman and main songwriter of the Clash, Joe Strummer created some of the fieriest, most passionate punk rock -- and, indeed, rock & roll -- of all time. Strummer expanded punk's musical palette with his fondness for reggae and early rock & roll, and his signature bellow lent an impassioned urgency to the political sloganeering that filled some of his best songs. 
Joe Strummer
Love Kills (Joe Strummer) 3:59
Trash City feat. The Latino Rockabilly War (Joe Strummer) 4:11
Joe Strummer & the Mescaleros - Yalla Yalla (Pablo Cook / Richard Norris / Joe Strummer) 6:53
from Joe Strummer 001 Rec. 1993 (2018)
Few bands in the history of rock & roll left behind as powerful a legacy as the Clash, and no one in that group symbolized passion and belief like singer, guitarist, and songwriter Joe Strummer. The Clash were a great band, with all members vital to the whole, but it's impossible to imagine them without the blazing intensity of Strummer's full-hearted bray, thoughtful but rabble-rousing lyrics, and relentless rhythm guitar work. While Mick Jones may have been the band's most talented member, it's significant that Strummer could lead a flawed but credible version of the Clash without him (even if the album Cut the Crap captured almost none of the virtues of the group's final lineup). Strummer's work with the Clash casts a long shadow, but the music he made outside of the band is often regarded as a footnote, and that gives a vital part of his body of work short shrift. It's true that Strummer never played in a band better than the Clash, yet his talent and ambitious creative vision was clear regardless of the context, and the 2018 collection Joe Strummer 001 is a testament to his restless muse and the depth of his work as a tunesmith... This is hardly the last word on Joe Strummer's music outside the Clash, but Joe Strummer 001 should convince any doubters that the man never stopped being a talent to be reckoned with, regardless of the size of his audience.

Acclaimed guitarist's influence has ranged from progressive to indie rock. Although Adrian Belew has played with some of rock's biggest names over the years (Frank Zappa, David Bowie, the Talking Heads, King Crimson, etc.), he remains one of the most underrated and woefully overlooked guitarists of recent times. Like all great guitarists, Belew has his own recognizable style/sound (one that admittedly tends to be quirky and off-the-wall at times), and is an incredibly versatile player, as he's always found a way to make his signature style fit into a wide variety of musical genres: hard rock, funk, new wave, experimental, Beatlesque pop, and more.
Adrian Belew
Inner Revolution (Adrian Belew) 3:13
This Is What I Believe In (Adrian Belew) 3:29
Standing in the Shadow 3:45
from Inner Revolution 1992
Here's to adversity. This album was recorded after a difficult divorce and shows Belew in a moment of self-actualization -- taking positive steps to overcome pain and hardship. And this is one of the strongest critiques of this record..."God Adrian, do you have to be so upbeat about everything?!" This is a misconception, however; the transcendental pinings are so strong in places that the darker ins and outs of this recording are often overshadowed. Nearly all instruments are played by Belew... From beginning to end, this is a fun romp and a fine example of Belew's prowess -- creating inventive music that is simulateously experimental and accessable. One of his finest offerings.

Soporific Canadian country dream poppers, captured Americana imagination in the late-1980s & early-'90s. Canada's Cowboy Junkies' create a music grounded in traditional country, blues, and folk, filled with languid guitars and ethereal vocals courtesy of Margo Timmins.
Cowboy Junkies
Southern Rain (Michael Timmins) 4:50
Oregon Hill (Michael Timmins) 4:53
This Street, That Man, This Life (Michael Timmins) 3:14
from Black Eyed Man 1992
The Cowboy Junkies' Black-Eyed Man is an excellent return to form following their disappointing third LP, The Caution Horses. Where Michael Timmins' songwriting was stilted and overly self-conscious on the previous record, here his character studies are literate and finely-etched; like Robbie Robertson before him, Timmins' Canadian roots allow him to view the rural American experience with unique objectivity, and narratives...