| | INXS Shabooh Shoobah CD INXS Discography of CDs
 (1 Customer Review)
INXS's first US album--the Sydney-based sextet had previously released two Australian-only albums, INXS and UNDERNEATH THE COLOURS--didn't have quite the commercial success they achieved five years later with KICK, but 1982's SHABOOH SHOOBAH is arguably the group's best and most consistent album. Certainly it leads off with their most ingenious single; "The One Thing" melds new wave angularity with good old-fashioned rock and roll swagger in a fashion both intriguingly new and comfortingly familiar. The closing "Don't Change" is nearly its equal, an anthemic rocker as memorable as anything by, say, Foreigner, only way cooler. Between them, the group explores slightly more mysterious and artsy climes, with the shuffling "Spy of Love" and the clattering "Black and White" particular highlights. INXS were never exactly hipsters--long before anyone knew who he was, Michael Hutchence was plainly an old-fashioned Jagger-style rock star--but SHABOOH SHOOBAH is their hippest album.
Recorded at Rhinoceros Recordings and Paradise Studios, Sydney, Australia.
INXS: Kirk Pengilly (vocals, guitar, saxophone); Garry Gary Beers (vocals, bass); Jon Farriss (vocals, drums); Michael Hutchence (vocals); Tim Farriss (guitar); Andrew Farriss (keyboards).
Engineers: Mark Opitz, David Nicholas, Andrew Scott.
INXS Shabooh Shoobah Songs | 1. | One Thing, The |
| 2. | To Look at You |
| 3. | Spy of Love |
| 4. | Soul Mistake |
| 5. | Here Comes |
| 6. | Black and White |
| 7. | Golden Playpen |
| 8. | Jan's Song |
| 9. | Old World New World |
| 10. | Don't Change |
|
Shabooh Shoobah Music Review Purchase Shabooh Shoobah CD To buy, Click on price to add to cart | Elvis Costello Live At Hollywood High/The Costello Show Vol. 2 CD (2010)
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| | Charlotte Gainsbourg Irm CD (2009)
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A lot happened to Charlotte Gainsbourg between the release of 5:55 and IRM. Along with appearing in I'm Not There as one of Bob Dylan's wives, a 2007 water skiing accident pushed her brain to the side and filled her skull with blood, a condition that should have killed or paralyzed her. After emergency surgery, Gainsbourg was fine physically, but still convinced she could die at any moment, undergoing several MRI scans to prove she was all right. She also took one of her most daring roles as an actress, appearing in Lars Von Trier's uncompromising film Antichrist as a violently deranged, grieving mother who disfigures ...
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It has been said that watching Valerie Smith perform is "like being an eye-witness to a thermonuclear explosion!" Her boundless energy and explosive delivery ensures that audiences are treated to unique and memorable performances every time. Valerie's fascination with music began at the age of five. Her mother, who played bass and sang, and her father, a dobro player, introduced her to bluegrass and country music in her hometown of Holt, Mo. It was there that Valerie began listening to and identifying with such pioneer artists as the Carter Family, the Louvin Brothers, Emmy Lou Harris, Kitty Wells, Hank Williams and Lorretta Lynn. Valerie earned her degree in vocal music education from the Conservatory of Music at the University of Missouri in Kansas City where she studied jazz, pop, broadway and opera. Her love of bluegrass music never dimmed, however, and she interwove the music into plays and musicals for her elementary school. Eventually Valerie and her husband, Kraig, made the move to Nashville. They became regulars at Bell Buckle Cafe in Bell Buckle, Tenn., where both participated in writer's nights. Valerie found a home for her music there and became a regular with the "Front ...
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| | Strike Anywhere To Live In Discontent CD (2005)
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To Live in Discontent bundles Strike Anywhere's out-of-print 2001 EP Chorus of One with outtakes from 2003's Exit English, a handful of previously vinyl-only material, and a few choice covers. Despite the grapeshot it's a pretty cohesive release, sacrificing none of the Virginia-based hardcore collective's political vitriol, nor its flair for brain-stinging melody. Fans of wide-angle acts like AFI will rally behind the harmonies and triumphant chord changes of "Antidote" (from a 2000 7" for Fat Wreck), but then Thomas Barnett rips into a line like "Poverty is the biggest and strongest jail that the government ever built," and you know you're dealing with kids who grew up on the righteous ethos of D.C. hardcore. That's what's great about Strike Anywhere -- its consciousness is catchy. That sound continues through "Chorus of One" (where this comp's title comes from), the strident guitar breakdowns of "Incendiary," ...
| | Radio Dept Pet Grief CD (2006) (Import) Sweden
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In the chorus of Pet Grief's lead single and catchiest song, Radio Dept. head Johan Duncanson makes the touching if rather petty confession that the only reason he's able to withstand his jealous despair is the knowledge that his would-be romantic rival has "the worst taste in music." Well, if it makes him feel better, there's certainly no doubting his and his bandmates' taste -- like their buzzy, buzzed-about debut, Pet Grief evinces an impeccably fashionable roll call of influences from British post-punk and shoegaze to more recent electronic indie and dream pop, and if that's not enough, the hook of "What Will Give?" offers the gratuitously hip reference: "I want to hide, like Jandek before playing live." But taste only gets you so far -- if you're going to wear your influences on your sleeve, you'd better have your heart on it too, if not some other tricks up it as well. Lesser Matters had the heart, the humanity, the class, the confidence, and the pop chops, in spades, to pull off its stylish simulations without ever seeming rotely regurgitative, but this sophomore set, to some extent, lets its stylishness supersede its substance. It's not that Radio Dept. have dramatically altered their approach, although there are definitely discernible differences. The band's always somewhat fluid lineup is now down to three -- they've gained a keyboard player and lost a bassist and a drummer since the first full-length, and the (apparently intentional) effects are evident in an increased reliance on synthesized atmospherics and programmed drum machine beats, which still sound as gloriously cheap as ever. Their lush lo fi luster is only slightly diminished -- that is to say: these productions are, on the whole, slightly more polished, though they're still amply capable of generating that woozy, wistful warmth. And there's a somewhat streamlined feeling to the album in dynamic terms as well, with less song to song variety -- there are none of the shambolic, nearly twee numbers which were so effective interspersed among Lesser Matters' oceans of fuzz, and in fact, apart from the spirited, saturated "Every Time," there's not even all that much distortion here. But the main issue is that songs themselves just aren't as engaging this time out. Duncanson's vocals are practically buried in reverb throughout, which certainly doesn't help matters on ...
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