19-03-2019 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1994-1989

19-03-2019 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1994-1989  >>The Stone Roses, Morphine, Joe Strummer, Adrian Belew, Cowboy Junkies, Jethro Tull, The Jesus Lizard, Nick Cave and the Bad Seeds, Mark Lanegan, David Byrne, Jack Bruce<<

M U S I C

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1994-1989

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
Daybreak 6:33
Breaking Into Heaven 11:19
Driving South
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.

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
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
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...

Courtly progressive rock tinged with folk, led by charismatic flutist Ian Anderson and author of progressive landmarks including Aqualung. 
Jethro Tull
This Is Not Love (Ian Anderson) 3:58
Occasional Demons (Ian Anderson) 3:48
Roll Yer Own (Ian Anderson) 4:25
from Catfish Rising 1991
Jethro Tull's best album of the 1990s, a surging, hard-rocking monster (at least, compared to anything immediately before or since) that doesn't lose sight of good tunes or the folk sources that have served this band well. The lineup this time out is Anderson on acoustic and electric guitars, flute, and electric and acoustic mandolins, Martin Barre on electric guitar, Doane Perry on drums, Dave Pegg on bass, and Andrew Giddings on keyboards...

Chicago noise rockers who mask the proficiency and precision of their musicianship with the ravings of their maniacal frontman, David Yow. 
The Jesus Lizard
Then Comes Dudley 4:23
Nub (Duane Denison / The Jesus Lizard / Mac McNeilly / David Wm. Sims / David Yow) 2:30
Rodeo in Joliet 4:49
from Goat 1991
The Jesus Lizard's second album followed in the vein of the first with little immediate variation: loud, excellently produced by Steve Albini, plenty of space in the recording to emphasize the sheer force of McNeilly's drums and Sims' bass, and more besides... The whole album seems like a party in hell, not to mention demonstrative proof that there's still plenty of fun to be had with a basic rock lineup; it's all in the matter of how it's handled.

Eclectic and powerful post-punk band that's steadily evolved under the leadership of one of rock's most celebrated songwriters. 
Nick Cave and the Bad Seeds
Foi Na Cruz (Nick Cave) 5:40
The Good Son (Nick Cave) 6:03
Sorrow's Child (Nick Cave) 4:39
from The Good Son  1990
Losing Wolf, aside from the final reprise of "Lucy," but otherwise making no changes in the line-up, the Seeds followed up Tender

Nick Cave

Prey with the equally brilliant but generally calmer Good Son. At the time of its release there were more than a few comments that Cave had somehow softened or sold out, given how he was more intent on exploring his dark, cabaret pop stylings than his thrashy, explosive side. This not only ignored the constant examples of such quieter material all the way back to From Her to Eternity, but Cave's own constant threads of lyrical darkness, whether in terms of romance or something all the more distressing...

and the Bad Seeds

The frontman for Screaming Trees who went on to a fascinating solo career marked by an acoustic tone and dark, folk- and blues-inspired songwriting. 
Mark Lanegan
Mockingbirds (Mike Johnson / Mark Lanegan) 2:29
Down in the Dark (Mike Johnson / Mark Lanegan) 3:21
Where Did You Sleep Last Night? (Lead Belly / M. Christian) 3:59
from Winding Sheet 1990
Removing himself for a moment from the rowdy world of grunge, Screaming Trees singer Mark Lanegan put his best solo foot forward with a set of acoustic dirges. His menacing voice haunts each track as the blues come to life throughout the album. Capturing the melancholy mentality of the Pacific Northwest, his words descend like raindrops upon deep puddles of mud... An emotional journey through the pains of life, The Winding Sheet is an album that accurately expresses the candid underbelly of the grunge aesthetic.

Long-time frontman of the Talking Heads, went on to be a respected solo artist and label owner with strong world music influences. 
David Byrne
Independence Day (David Byrne) 5:43
Make Believe Mambo (David Byrne) 5:23
The Call of the Wild (David Byrne / Johnny Pacheco) 4:53
from Rei Momo 1989
On his first full-fledged solo album, Byrne indulges his fascination with Latin and South American musical styles, employing a variety of native musicians but mixing up the sounds to suit his own distinctly non-purist vision and singing over the tracks the same kind of witty, oddball lyrics found on Talking Heads albums.

Best known as the bassist and vocalist for Cream, but also a remarkable talent who bridged free jazz and hard rock via countless collaborations. 
Jack Bruce
Blues You Can't Lose 5:26
No Surrender 4:25
Obsession 3:55
A Question of Time 5:33
from A Question of Time 1989
A Question of Time is an album to appreciate, as Jack Bruce nicely wraps his diverse styles up in rock & roll packaging. Willie Dixon's "Blues You Can't Lose" is extraordinary noise, the late Nicky Hopkins bringing his unmistakable piano to a mix of Albert Collins' leads, Jimmy Ripp's slide and rhythms, Bruce's bass, harmonica, and voice, and the strong drumming of Dougie Bowne... Produced by Joe Blaney and Bruce, the song "A Question of Time" is a bizarre, colorful mix of clashing images and sound, while the album A Question of Time is one of the more complete Bruce recordings for those fans who know him from his pop radio hits. It is one of the most accessible discs by rock's premier bassist for both those in his cult and the casual fan. This project uses his mastery of jazz, pop, acoustic, and blues to give listeners what Jack Bruce does best: rock & roll.