| | Ddamage Radio Ape CD Ddamage Discography of CDs
Live Recording
Arranger: dDamage.
Personnel: dDamage (sound effects); Jbhak (vocals, guitar, keyboards, electronics); Reiko Underwater, Ceweecee, Very Ape (vocals); Fredhak (electronics, sampler).
Recording information: Home Bad Home (2001-2003).
Ddamage Radio Ape Songs | 1. | Pressure | $0.99 | |
| 2. | Interlude | $0.99 | |
| 3. | Insects Are Human | $0.99 | |
| 4. | Liquid Words | $0.99 | |
| 5. | Aeroplanes | $0.99 | |
| 6. | Try Again | $0.99 | |
| 7. | Keedz | $0.99 | |
| 8. | Agueev | $0.99 | |
| 9. | Ink | $0.99 | |
| 10. | Maeban | $0.99 | |
| 11. | I Feel So Badd | $0.99 | |
| 12. | On Precinct 13 | |
| 13. | Tsunamiii | $0.99 | |
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Radio Ape Review
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Purchase Radio Ape CD To buy, Click on price to add to cart | Sigur Ros CD (2002)
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| | John Howard Can You Hear Me Ok? CD (2005)
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This catchy and groovy release from rocker John Howard includes 19 songs, such as "You Keep Me Steady" and "Quiet Success."
After RPM issued Technicolour Biography, a collection of incomplete demos intended for John Howard's follow-up to his 1975 debut, Kid in a Big World, it seemed like the John Howard vaults were emptied out. As it turned out, that's not quite the case. After CBS rejected the Technicolour Biography material for not being commercial enough, Howard wrote a brand-new set of songs in a little over a month, and then headed into the studio with a commercially savvy producer endorsed by CBS: Biddu, the man who helmed Carl Douglas' camp disco classic, "Kung Fu Fighting." On paper this didn't seem like an ideal match, but the label wanted Howard to have a disco hit, and Biddu seemed to be the producer to deliver on this promise. Such careful plans have a way of unraveling, and CBS' scheming backfired. Howard and Biddu had known each other for a few years prior to recording the album that wound up as Can You Hear Me OK?, and Biddu had wanted to record the singer/songwriter for years. When they teamed for this particular project, they had commercial success on their mind, but it didn't take the shape of what the label had been thinking. Howard wrote a set of a bright, cheerful pop tunes and love songs, sanding down many of the eccentricities that marked Kid in a Big World and Technicolour Biography, yet retaining his exceptional sense of songcraft and very British sense of theatricality. It was a deliberately mass-market spin on his style, and Biddu followed Howard's lead, giving it a lush, sleek sound that falls halfway between mid-period Wings and Al Stewart's Time Passages. It's a smoother album than Kid in a Big World, traveling a little bit closer to the middle of the road and lacking the left turns and detours that make that record such a rich experience, but that doesn't mean Can You Hear Me OK? isn't a rewarding listen; Howard is still an immensely gifted pop craftsman, and the fact that he could streamline his work so successfully on this album is just further testament to that. Can You Hear Me OK? does seem like it could have been a soft rock hit in 1975/1976, but after its excellent first single, "I Got My Lady," failed to make an impression, CBS pulled the album from release, and it sat on the shelves until RPM released it in 2005, in the wake of the success of their previous Howard reissues. It was a long wait, but anybody who found Kid in a Big World an enchanting listen will likely love this as well.
RPM filled out the CD of Can You Hear Me OK? with four bonus tracks that comprise the entirety of John Howard's two singles recorded with a pre-Buggles Trevor Horn. Ironically enough, these two singles are exactly what CBS was looking for when they brought Biddu in to produce Howard: relentlessly bouncy, catchy pop-disco numbers. Indeed, the first of these, "I Can Breathe Again," was written in the style of Tina Charles, a singer who rose to success thanks to her Biddu-produced singles. The flip, a ballad cleverly titled "You Take My Breath Away," is a solid but very slick soft rock tune, while the second Horn-produced single, "Don't Shine Your Light," is a thumping piece of infectious Eurotrash dance-pop that was a finalist for England's entry into the Eurovision contest in 1978. While these four cuts are more dated than anything on the proper Can You Hear ...
| | Don't Turn Your Back On Me/This Is Jackie Deshannon CD (2005) (Import) United Kingdom
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Jackie DeShannon was one of the most interesting figures to come out of the Los Angeles pop scene of the 1960s -- she had a superb voice, she was a truly gifted songwriter, she had a keen ear for talent (she helped to discover both Randy Newman and the Byrds), and her instincts in the recording studio were all but faultless. If she wasn't a top-shelf star, she was a truly exceptional talent, and this two-fer release from Beat Goes On Records features two early Jackie DeShannon albums, 1964's Don't Turn Your Back on Me and 1965's This Is Jackie DeShannon; compared to what most of her peers were doing at the time, the results are both consistently strong and impressively sophisticated. Jack Nitzsche handled the arrangements for Don't Turn Your Back on Me, and the two were a perfect match in the studio; the supple strength of DeShannon's vocals was an ideal complement for the textures of Nitzsche's backgrounds, and they assembled an exceptional collection of songs, including the stellar "When ...
| | Patrick Watson Close To Paradise CD (2006)
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Before starting his quartet, Patrick Watson explored a variety of musical forms, from rock to electronica, and though Close to Paradise is clean indie pop, these other influences show up in the album frequently. A Coldplay for the hipster crowd (that's X&Y-era Coldplay, not Parachutes Coldplay), Watson and his band write lush, ethereal, spacey melodies that swell into Jeff Buckley-esque symphonies or relax into measured shoegazer riffs; there are hints of ambient too, the way everything tends to swirl and coalesce, the occasional subtle drum programming, the stuttering loops, but there's also chamber pop in the string arrangements and piano arpeggios and even, at times, a tendency toward cabaret. But despite all these things happening, the album never comes across as busy or overwhelming. In part this is thanks to the Canadian folk influence -- the moan of the lap steel, the flitting banjo -- that sweeps over everything like a prairie wind, Neil Young allusions and all, grounding the pieces in simple chord changes or wisping lines, but it's also very much because of guitarist Simon Angell (from Watson's high school ska band Gangster Politics), who adds his lightly distorted electric guitar at just the right moments, ...
| | Olthuis & Van Veenendaal Stripes & Spikes & Strikes CD (2005)
Radio Ape CD music
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