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Best experienced live, the 24-member robe-clad group draws criticism from many quarters, with much of the bile seemingly directed at anything but their music. As strange as their appearance is, the fact that they do not peddle in angst truly makes them alternative in an environment where scowls are slapped on pretty faces and Exacto blades carve up designer jeans in the name of reaching a target audience. That said, the Spree may consciously be trying to target its “positive” outlook and very self aware visual presentation to its own target audience. But no matter. It’s the songs that ultimately matter and on that count the Spree deliver the goods.
The ex-Mutton Bird frontman’s first solo effort is a hand’s down winner. McGlashan is the rarest of songwriters, someone who seemingly includes every word and note for good reason. Though many of the tunes are long, they are heavy on muscle and have little to no fat. Earnestness (now inexplicably a bad thing to many) and an attention to detail shine through.
Pysch-pop that strongly evokes the sixties yet still sounds new and fresh.
In its debut, the Fields serve up a propulsive, psychedelic and shoegazey sonic stew.
Though not as affecting as some of Brian Eno’s (who Budd has collaborated with) most powerful ambient works—such as the gorgeous yet eerie Ambient 4: Onland—this ambient offering is worth having. Several spoken word tracks could easily have gotten in the way but they generally please more than they interfere largely due to Budd’s imaginative firepower.
Lush, unhurried and melodic, this offering has a commercial sheen that initially may make one wonder about its underlying substance but this record has loads of integrity and wonderful orchestral flourishes that should keep listeners coming back repeatedly.
Roxy Music reaches an artistic peak on this brilliant 1974 offering. Yes, Avalon is flawless, but it’s not as varied or adventurous as Country Life, which excites, titillates, rocks and swings from style to style with nary a false step. Ferry’s persona is on full display, sweetly sauntering from romantic triumph to abject heartbreak. The amazing thing is that this was recorded more than 30 years ago! Truly ahead of its time.
A very very good record that falls short of being excellent, it mixes varied moods, rhythms and hooks with ease (“Mohammed,” “Solid,” and “Cool Scene”) but the tunesmithery gradually runs dry. At 56 minutes this could have been super dandy had it been a bit shorter.
Everything about this record is unique: the album’s title, the song titles, the lyrics, the artwork and above all the songs themselves. A fascinating and abrasive document produced by Frank Zappa.
Accomplished late 70s punk/pop a la Undertones-Buzzcocks-Fingerprintz.
