| | Spacemen 3 Sound Of Confusion CD Spacemen 3 Discography of CDs
SOUND OF CONFUSION, the Spacemen 3's 1986 debut, is the band's most song-oriented album. CONFUSION features several covers-including Glen Campbell's "Mary Anne," Iggy Pop's "Little Doll," and the band's excellent extended reinterpretation of the 13th Floor Elevators' psychedelic classic "Rollercoaster"- alongside such originals as "Walkin' With Jesus," the song that would become the Spacemen 3's signature track.
Recording with a full-time drummer for the only time in the band's six-year career, Pete "Sonic Boom" Kember and Jason "Spaceman" Pierce here show only hints of the sound-for-sound's-sake obsessions of their later solo projects Spectrum and Spiritualized-particularly on the mesmerizing "Hey Man" and the sleepy "2.35." Instead, most of the comparatively pop-oriented SOUND OF CONFUSION recalls the Velvet Underground's "Sister Ray" as reinterpreted by a group of electrified new-age musicians. The Taang! reissue contains bonus alternate versions of three tracks plus the otherwise unavailable "Feel So Good."
Recording information: Birmingham, England. Spacemen 3 Sound Of Confusion Songs | 1. | Losing Touch With My Mind |
| 2. | Hey Man |
| 3. | Rollercoaster |
| 4. | Mary Anne |
| 5. | Little Doll |
| 6. | 2.35 |
| 7. | D.D. Catastrophe |
| 8. | Walking with Jesus |
| 9. | Rollercoaster |
| 10. | Feel So Good |
| 11. | 2.35 - (Demo) |
|
Sound Of Confusion Review
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Purchase Sound Of Confusion CD To buy, Click on price to add to cart | Spacemen 3 Perfect Prescription CD (1987)
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| | Silver Apples/Contact CD (1968)
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Digitally remastered by Erick Labson (MCA Music Media Studios, North Hollywood, California).
When the Silver Apples were formed in the mid-60's, Simeon Coxe and Danny Taylor had no way of knowing that they were forging the prototype of experimental electronic music. Connecting over a dozen oscillators, Coxe created a homemade synthesizer which produced a world of futuristic bleeps, sweeps, distortions, and repetitious basslines. With the addition of Taylor's drums, they sounded like The Velvet Underground fronted by Nikola Tesla. In 1968 they released their eponymous album. Where their sound wasn't met simply with perplexity, it was met with perplexity and success--the single, "Oscillations," even cracked Philadelphia's top ten.
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The last Stones studio album of the '60s finds the band, for perhaps the first time, accurately reflecting the spirit of its age. The erstwhile bad boy outsiders of rock now found themselves firmly in the center of the social and political post-'68 whirlwind, and faced up to the challenge magnificently. The band's confident climb to its artistic peak was begun by BEGGAR'S BANQUET, but LET IT BLEED is a quantum leap even from that musical milestone.
The album's opener, "Gimme Shelter," with its insinuating guitar introduction, leads us decisively out of Flower Power and into a world where rape and murder are "just a shot away," and the Devil of BANQUET is very much alive and taking names. There's a nod to seminal influence Robert Johnson, whose "Love in Vain" is a mandolin-accompanied highlight. ...
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Front 242 never allowed the commercial world to embrace them, pulling back from the brink in 1993 with a pair of radical, difficult albums just as the rest of middle America appeared ready to embrace the Deutsch darlings of 120 Minutes. Since they undoubtedly had little to fear from the mainstream circa 2003 -- ten years after their last discernible studio album -- the trio returned to their vision of detached but hooky industrial angst with Pulse. The record begins with "SEQ666," a five-track suite of gritty, hi-res EBM instrumentals -- slightly updated, with the help of Cubase, but clearly recognizable and pure joy to fans ...
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Two Israeli expatriates who stumbled upon one another on the New York jazz scene, pianist Roy Assaf and bassist Eddy Khaimovich put together a debut that capitalizes on the theme of modernization, updating not only classic compositions with new arrangements and reworkings, but updating the stylings of classic players through the quartet's stylings. The album opens with a groove-heavy rendition of Cole Porter's "All of You," also unveiling the quartet's secret weapon: guest soloing courtesy of Roy Hargrove on a handful of tracks. Assaf makes some Keith Jarrett-style solo moves and Khaimovich pumps out the first of many bass solos beyond the standard for quartet recordings. Hargrove takes the stage somewhat more fully in "You Don't Know What Love Is," though simplifying the solos a bit. "Stuv" shows off Khaimovich's composition skills with a more contemplative feel and a cooler mood. Not to be outdone, Assaf contributes his first original to the record with "On the Way," making use of Hargrove and sax player Robin Verheyen in tandem for some jumping lines in the vein of Coltrane and Weather Report. Trading compositions back and forth, this combination becomes apparent again, with Khaimovich contributing easier going, more emotive pieces (though featuring at least one higher-energy sax solo in "The Saga of Imaba") and Assaf using phrasing and a strong playing approach to infuse a little more drama and power into his ballad than might be expected from a simple waltz. The album closes with a more sweeping piece, a dramatic tune with charging chords courtesy of Assaf and stunning soloing courtesy of Verheyen that makes the rest of the album seem a little pale in retrospect. All of the elements of the quartet ...
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