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.

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.