As much as I love this album I have to say, "Get 'em High" through "Breathe in Breathe Out" is one of the weakest streaks. Seriously, this album would be in my top 25 albums if that streak was just cut out... _________________
Memo to myself:
Do the dumb things I gotta do
Touch the puppet head
So chill... of course knowing the movies adds to the faded charm of these soundtracks.
😲 fuck just realized de Roubaix'd been sampled on Portishead's "Biscuit"! Couldn't find mention of it on the Internet but just struck me as obvious ("Boulevard du Rhum" for de Roubaix). I think they might have taken another cue or two from de Roubaix's music for Le Samouraï as well.
People of taste, surely.
😲 double fuck! Robbie Williams' "Supreme" is sampled on de Roubaix's "Dernier domibile connu" score!
Friends get on a de Roubaix best-of asap, sample fest.
Last edited by Norman Bates on 03/03/2015 20:20; edited 2 times in total
ButterThumbzI always used to wonder if she wore false earsProfile O'er the hills and far away
Although I have always rated it very high and knew at first listen this was going to be one of my favourite of the decade if not more, upon relistening now I swear I hadn't really realized it was this good. Soembody's understood everything to synthesis. The anger and the subtlety.
NickVolosSegnahc Reve4Profile Land of the Argonauts, Centaurs and other such creatures
Although I have always rated it very high and knew at first listen this was going to be one of my favourite of the decade if not more, upon relistening now I swear I hadn't really realized it was this good. Soembody's understood everything to synthesis. The anger and the subtlety.
From The 101 strangest records on Spotify: "What never fails to amaze me about this record is how it sounds like it was recorded about a week ago, yet it dates from autumn 1973, back when Neil Young’s Time Fades Away and Funkadelic’s Cosmic Slop were the hot new platters that mattered.
The mighty Camel’s breakout hit Hello Hello had come out on Kama Sutra way back in winter 1966. They were the first San Francisco band to have a hit, but within six months of getting recognised they imploded. In 1970, the band got back together and The Miraculous Hump Returns From The Moon was their attempt at a comeback. Except, of course, it’s nuts and no one bought it – and then they went on tour and their van caught fire and they lost all their equipment.
To be fair to them, Sopwith Camel were always more of an art project than an actual band – and that artistic bent is what makes this record such a gem. Taking in elements of FM schmaltz, prog-rock, jazz, showtunes, Krautrock and indian classical music, this is an album that overflows with ideas, but never overwhelms. Orange peel is cooly funk-scented ambient-jazz, Dancin’ Wizard is what Incredible String Band might have sounded like if they’s grown up with sunshine rather than rain, while Coke, Suede and Waterbeds is as lush and indulgent as the title suggests. However, it’s the last track Brief Synthoponia that is most startling. A fantastically stream-lined experimental jam, it manages to cram an awesome breakbeat, sax and synth squalls and some super-skronk hep-cat dynamism into its fifty-three second lifespan. A tiny masterpiece." _________________ "And can’t you see you’re in on it?
You were born though you need not
And is that not some cause
For worship, being born among these trees?"
RockyRaccoonIs it solipsistic in here or is it just me?ModeratorProfile Maryland
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