| | No-Man Heaven Taste CD No-Man Discography of CDs
HEAVEN TASTE contains B-sides, rarities and outtakes recorded between 1991 and 1993.
A B-sides and rarities collection, Heaven Taste doesn't take in all the various odds and sods of No-Man's life from the early '90s, but it does make for a handy sampling of some of the best. Most notable of the inclusions is the title track itself, a 22-minute instrumental collaboration with the same Japan-minus-David Sylvian lineup that helped out on Sweetheart Raw. It's an easygoing piece, one that perhaps verges on being merely tasteful rather than being truly stunning at the start -- while Mick Karn's sax work is just fine, it also calls up the specter of smooth jazz in combination with the rhythm and keyboards. Of the remaining tracks, two feature early member Ben Coleman on violin, who also appears on "Heaven Taste" itself. While perhaps he simply couldn't or didn't want to make the journey to where No-Man went next, his contributions do lend a lovely edge to the recordings. "Long Day Fall" makes for a great way for the album to begin, starting with little more than Coleman's work before a rich combination of guitar and sequencers (and fretless bass, though not from Karn) comes in, suggesting Porcupine Tree a touch. Tim Bowness' singing, as ever, is the lovely icing on the cake. "Babyship Blue," meanwhile, having originally appeared on the Flowermix compilation, here gains vocals while otherwise still sounding as wonderful as ever. As for the remaining numbers, "Bleed," which surfaced on the "Sweetheart Raw" single, here gets a reworking with a slow, muffled funk beat, adding to the elegant mystery of the original and its central, fragile keyboard line. Part of "Say Baby Say Goodbye" appears at the end, though without credit on the sleeve. There's also another hint of No-Man's wide-ranging roots with a cover of Nick Drake's "Road," delivered in appropriately understated fashion. ~ Ned Raggett
No Man: Tim Bowness (vocals); Steve Wilson (various instruments, background vocals); Ben Coleman (violin); Mick Karn (saxophone, fretless bass, dida). No-Man Heaven Taste Songs Heaven Taste Review
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Purchase Heaven Taste CD To buy, Click on price to add to cart | No-Man Returning Jesus CD (2001)
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| | Steve Turner And His Bad Ideas CD (2004)
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Steve Turner is back!And badder than ever!Bad ideas all around.He's got a band-The Bad Ideas.He's got a new record-Steve Turner And His Bad Ideas.He is no longer the simple folk singer/balladeer of yore.n fact he's turned his back on the revolution he started: Skate-Folk.Let all the Johnny come-latelys have it. It was a bad idea.Funny stuff.OK. Enough of that.His new record is called Steve Turner And His Bad Ideas. And he thinks this record's a lot better than the last one. It was hard won.It was a shitty year after recording "Searching For Melody". A monthafter finishing, Mom was diagnosed with a brain tumor. She died sixweeks later. A few weeks after that Dad was diagnosed with livercancer. Six months later he was dead too. "Searching For Melody" had just come out by that time, and Steve hit the road. Played a lot of shows to very few people. Learned the art of humility. Drank a lot. Wrote some new songs, figured out how to play them. Went to Spain a couple times where he was reminded that life can be good. Wrote some more songs. Grew his hair way too long. Worried what was left of his family.If Mickey Newbury was still alive, he could write a great song about it all. Steve's still working on it. He wrote some more songs and made plans to record them all. Lots of friends both old and new pitched in to help. Johnny Sangster is all over it with his trademark guitar as well as keyboards and bass, his brother Jim was drafted in on bass, dobro and mandolin, Dan Peters on drums, Kevin Warner on drums, Bruce Brand on drums, Holly Golightly adds her vocals, Anne Marie Rudjavich on the violin, viola and backing vocals, Stone Gossard on cymbal and hi-hat of course, and a few more lent their hand. Johnny Sangster produced a bunch, Tucker Martine produced a bunch and Liam Watson in London produced a bunch. It was not cheap. But it was worth every penny. It's not a simple record. Don't expect it to maintain a mood or blend into the background. It starts off with a little thing called "The Grand Introduction", and it is. A wall of guitar feedback, falsetto vocals, crashing cymbals, violin, etc. It's all over in a minute. Then "Zero On The Scale" finds our hero being chased by a garage-rock band on his way to...where. ...
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myspace /frankhopkins sweetdreamrecording catandmouserecords The Portland Phoenix/Feb. 9,2007 editionDoomsday Device: Frank Hopkins introduces us to our own mortalities by Sam Pfeifle Frank Hopkins is Portland's last angry man. Like the old Jewish doctor in that 1959 Oscar winner, played by Paul Muni, Hopkins is a throwback who spends most of his time upholding old-time values and helping others largely for the sake of its own reward. In Hopkins's case, those old-time values are the anti-establishment underpinnings of rock and roll, and the help he doles out is largely in the form of recording and production work with his Sweet Dream Recording studio for much of the Cat & Mouse crowd and various other up-and-coming singer/songwriters. His playing credits would fill feet of Web space on allmusic if anybody ever took the time to catalog them. On Hopkins's sophomore record, Make Love 'Til Doomsday, his anger often manifests itself in a dark cynicism, though he describes it as a 'blueprint for enjoying human survival in the next century.' It's enough to make you wonder what his definition of 'enjoying' is. Right off the bat, in 'Einstein Song,' Hopkins makes clear his belief that 'this world, it's a world full of lies' in the context of a love song that also forces the conclusion that 'I believe in love, why's it never enough?' A broken heart and a serious political disillusionment is a powerful combination. It's all very much worth a listen as long as you can get past Hopkins's uncanny aping of Tom Waits with his delivery. While Hopkins dresses his vocals in more digital effects than ...
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