| | Ichiro Toba Oyakobune CD Single - Import Ichiro Toba Discography of CDs
Ichiro Toba Oyakobune Songs | 1. | [Untranslated] |
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| Oyakobune Review
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Purchase Oyakobune CD To buy, Click on price to add to cart | Soft Cell Tainted Love CD (1999)
Oyakobune album
$9.59 Although they released three full albums, a number of EPs and a seemingly endless stream of compilations, Soft Cell will always and forever be known as "the duo who did 'Tainted Love'." This obscure R&B single, given a techno-trash workover by singer Marc Almond and keyboardist Dave Ball, was an enormous hit on both sides of the Atlantic and has been revived endlessly ever since its 1982 release. This 1994 EP, released to cash in on the song's newfound popularity ...
| | Van Morrison It's Too Late To Stop Now CDs (1974) Bonus Tracks; Remastered; Remastered & Expanded
Oyakobune CD music
$17.19 "Though he's released several fine live recordings over the course of his career, this is the definitive live Van Morrison album. From his fertile early-'70s Celtic soul-man period, this 2-disc set presents Morrison as one of the premier re-interpreters of American roots music. Backed by a loose-but-funky, horn-driven band, he recontextualizes Muddy Waters (""I Just Want To Make Love To You""), Sonny Boy Williamson (""Help Me""), and Sam Cooke (""Bring It On Home To Me"") for the post-Beatles generation.
At the same time, the versions of classic Morrison songs like ""Domino"" and ""Into The Mystic"" are even more fully realized than the studio recordings, with Morrison pouring his soul into every tune. The set list reaches as far back as Morrison's days with Them (""Here Comes the Night,"" ""Gloria""), and continues up through tunes from 1973's HARD NOSE THE HIGHWAY. A stirring, 10-minute-plus version of ""Cypress Avenue"" from ASTRAL WEEKS closes out the concert, and puts the cap on this ...
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| | Depeche Mode Only When I Lose Myself (2007)
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$7.49 Once more releasing singles on the British lines -- meaning two at a time -- this and the other version of the single are curious in that the actual song itself doesn't appear on either them, just remixes. Thankfully, said remixes on both discs are top-notch. On this first single, the lead remix comes from one fine boardsman, Dan the Automator -- his distinctly hip-hop sensibilities get applied to the moodier trip-hop crawl of the original, finding a smart middle ground between the two. Gahan's vocals get isolated at the start, leading into a heavy, crackling break and scratching which underpins the remainder of the take, even when other elements like the song's piano line return. The other remix comes courtesy of Danny Briottet, whose "Subsonic Legacy" mix is a quicker, louder revamp of the track with a fine beat that matches Gahan's vocal quite well. Meanwhile, hardcore fans will be pleased by the inclusion of not one but two wholly new B-sides. "Headstar" is a nicely messy instrumental, in that the guitar fuzz and feedback gets produced and arranged all over the low funk crawl of the beat just right. It's like a more active version of "Painkiller," the short track which concluded Ultra. "Surrender," meanwhile, starts with a bassline similar to the mood-setting start of "In Your Room," but then shifts to a darkly beautiful late-night jazzy feel not far off from "Only When I Lose Myself" itself, with a snaky guitar line at the center. Gahan's singing, meanwhile, turns the track into a grand ballad, barbed like many of such songs by Depeche are, but his new singing abilities take all the higher. Luke Slater pops up at the disc's end to contribute his own mix of "Headstar" -- as might be expected from him, it's a fast techno workout. ~ Ned Raggett
For the second of this song's accompanying remix EPs, center stage is taken by Icelandic avant-garde pop outfit Gus Gus. Given Depeche's long lyrical history of conflations of sex, religion, and death, combined with Gus Gus' own bemused regardings of same, such a matching up made sense on more than just musical levels. A "Shortplay" and "Longplay" mix were each contributed, the latter, unsurprisingly, a lengthier version of the former. As redone by Gus Gus, the song acquires that group's sense of quite deep synth-bass grooves and steady, straightforward beats. It's incredibly easy to imagine the band's own singers delivering something over it, but Gahan's vocals remain ...
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