Listened to this little adrenalized nugget. I heard it years ago and remember liking it. I like it more now with more of an appreciation of what it does well and what it was doing slightly different from the contemporaries.
Hardcore punk but with more hooks, more fun, less macho ethos. Its solid.
Perhaps i'm just not in an inspired mood or maybe I'm just still not a big enough fan to wax peotic, but yeah I don't have much to say about this. Its quite good. didn't blow me away I suppose.
anyway, its been moved up a bit to 27, just behind Plastic Surgery Disasters by the DKs and just ahead of Miami by The Gun Club. And I may come back to it when I'm more into punk.
One of my all-time faves. Would be in my top ten for sure. HOF#1
MercuryTurn your back on the pay-you-back last callProfile St. Louis
was listening to this as I tackled making a relatively ordered list of my 1982 "Hitlist", and it worked quite well as a soundtrack to the proceedings. Its a beautiful, heartfelt, emotional, contemporary folk album with some seriously pretty acoustic guitar which sometimes takes on drippyreverby resonating qualities which create an interesting and mysterious atmosphere. Luis takes his distinctive sound and goes into some kinda trippy folk rock areas which I didn't see coming especially on the closing track.
Anyway, despite not understanding what exactly he was singing about, it was a thoroughly engaging record which manages to be both poppy and catchy and also playful and unique. Not much to say. Its a good listen and I need to come back to it and listen again sometime.
anyway, moved to number 21, just ahead of Avalon and just behind that Discharge album. _________________ -Ryan
Listened to this little adrenalized nugget. I heard it years ago and remember liking it. I like it more now with more of an appreciation of what it does well and what it was doing slightly different from the contemporaries.
Hardcore punk but with more hooks, more fun, less macho ethos. Its solid.
Perhaps i'm just not in an inspired mood or maybe I'm just still not a big enough fan to wax peotic, but yeah I don't have much to say about this. Its quite good. didn't blow me away I suppose.
anyway, its been moved up a bit to 27, just behind Plastic Surgery Disasters by the DKs and just ahead of Miami by The Gun Club. And I may come back to it when I'm more into punk.
One of my all-time faves. Would be in my top ten for sure. HOF#1
honestly I get it. Its been awhile since a west coast or any coast/region hardcore punk album, with hooks or otherwise, really hit me hard and made me fall in love. It may be a thing where I need to get into the mindset, not sure.
Again, yeah I like it, and i like it a lot, and much more than I did in the past listens. will return to it. _________________ -Ryan
was looking for a good copy of So Far by bob Thiel on Youtube. I am unsuccessful, but i listened to this the opening track. Its... fucking amazing. Its as passionate and poetic as In The Aeroplane Over The Sea and as mysterious and vibrant as, Idk, ... shit, ryan you've gotten yourself in a pickle, hurry up and think of something mysterious and vibrant... come on you idiot!!! ... its as mysterious and vibrant as like, THE FRIGGIN MONA LISA!!!
ah yes, "One From The Heart", an album dripping with romance and loss and all that jazz. I've never given this the attention an album from peak Waits and the talents of Crystal Gayle deserves. Now as I listen, I am swept up right into the drama and the rain-soaked longing of the orchestral sweeps and the piano chords and the duets between 2 young lovers. Its really a beautiful album with its own nice space and world in which all the music lives.
Perhaps I'm just a sucker. A sucker for sax solos overlaid with strings. A sucker for Crystal gayle's gorgeous and romantic voice. A sucker for sad basslines and short piano runs. But yeah, the moments I love (and I mean LOVE) on this album feature those things just mentioned. Those are the moments which strike me right here, here in heart (i said that in my head like a 6 year old).
But there is a run of tracks in the middle of this album which skew to the other side of this album, the one with the more Waits-esque feel of strange beat poetry with less appy instruemntals, and faster tempos. Those are, strangely, the moments that lose me. And I found and I find myself waiting for the slower duets and waiting for Crystal to get me back in the teary eyed sadness which I came here for. Thankfully the album obliges with the stunning Title Track, and the absolutely sickeningly perfect and brutally emotional for me "Take Me Home". Followed by the pitch-perfect closer "Presents" (30 or so seconds of bells and piano or something making me feel like a kid... that is how you end an album such as this).
I'll tell you what, this album is great. I forgive its 3-4 songs of strangness which I didn't like much. The moments which lean into the duets, the strings, the somber piano, the sax, the bitter-sweetness are seriously 10/10 level stuff. The Tom Waits doing solo Tom Waits things, aren't what I want that is what pulls this album down a bit.
Grade: 8.7/10. I'm a sucker so I'm moving it was up to... let's see... Number 8 of '82, just ahead of Imperial Bedroom and just behind Nebraska. _________________ -Ryan
ah yes, "One From The Heart", an album dripping with romance and loss and all that jazz. I've never given this the attention an album from peak Waits and the talents of Crystal Gayle deserves. Now as I listen, I am swept up right into the drama and the rain-soaked longing of the orchestral sweeps and the piano chords and the duets between 2 young lovers. Its really a beautiful album with its own nice space and world in which all the music lives.
Perhaps I'm just a sucker. A sucker for sax solos overlaid with strings. A sucker for Crystal gayle's gorgeous and romantic voice. A sucker for sad basslines and short piano runs. But yeah, the moments I love (and I mean LOVE) on this album feature those things just mentioned. Those are the moments which strike me right here, here in heart (i said that in my head like a 6 year old).
But there is a run of tracks in the middle of this album which skew to the other side of this album, the one with the more Waits-esque feel of strange beat poetry with less appy instruemntals, and faster tempos. Those are, strangely, the moments that lose me. And I found and I find myself waiting for the slower duets and waiting for Crystal to get me back in the teary eyed sadness which I came here for. Thankfully the album obliges with the stunning Title Track, and the absolutely sickeningly perfect and brutally emotional for me "Take Me Home". Followed by the pitch-perfect closer "Presents" (30 or so seconds of bells and piano or something making me feel like a kid... that is how you end an album such as this).
I'll tell you what, this album is great. I forgive its 3-4 songs of strangness which I didn't like much. The moments which lean into the duets, the strings, the somber piano, the sax, the bitter-sweetness are seriously 10/10 level stuff. The Tom Waits doing solo Tom Waits things, aren't what I want that is what pulls this album down a bit.
Grade: 8.7/10. I'm a sucker so I'm moving it was up to... let's see... Number 8 of '82, just ahead of Imperial Bedroom and just behind Nebraska.
One of my absolute favorite records of all time. Actually gave this a 100 and one of the few records of the 80'sthat got that score. Need to visit it again.
MercuryTurn your back on the pay-you-back last callProfile St. Louis
Well, this was a joy to listen to. I think I may love this more than Murmur, which took the same sound but made it more mysterious and darker. Both are great, so can't say I really love this more.
The opening track "Wolves, Lower", "Carnival of Sorts" and "Stumble" are particular stand outs to me. They possessed such a quiet energy in these early years. And the jangly textures are so infectiously upbeat. And the drums throughout to a degree but especially on "Stumble" are perfect.
Obviously, this EP and the debut EP ended up having HUGE influence on the shape of rock to come, but even listening to this without considering that (as best I can) the record is a gem not taking significance into account.
Jangle Pop, College Rock, and most of the music of the ilk is not really my cuppa, but this really breaks through and causes great joy.
Easily a classic EP and gets an arbitrary rating of, hmm... 9.0/10. Giving LPs a bit more weight than EPs as I do, I will be ranking this a bit lower than the rating would indicate. Still it lands squarely (as of now) at... #12 of '82, just behind Shoot Out The Lights and just ahead of Ambient 4 On Land _________________ -Ryan
For another record from 1982, I would recommend you to listen to this record. It's called Seven Waves by Suzanne Ciani. Love it a lot. Can find it on Youtube.
Okay, this is ranked number 102 of 1982 on RYM. Mostly I was really curious about the state of singer/songwriters in 1982, considering as that along with Blues is my main genre wheelhouse. And the album I wanted to hear was So far by Bob Theil, but its not available on the prefered format I am using at this time (will search it out and listen). But now I am listening to this, and: holy shit... this is, like, really good.
The opening track is so hard to pin down. Its not quite like anything I can recall hearing. The vocals are absolutely stunning and soaring and happy, and all these guitars with varying amounts of effects are sort of wafting through the recording, playing off each other, running into each other, intermingling to make this jangly sweet happy vibe which is perfect for the singer to exist in. I can't imagine a better opening statement for the album. The harmonica on this opening track, called "Premonitions - The Fantasy" btw, is a nice added flavor, the drums are relaxed and in the background keeping the beat. The song is sort of a jangly, sunshiney psychedelic folk song which is exactly what the doctor ordered. Lets see how the rest of the album holds up.
... (45 minutes pass, Ryan smokes, has coffee, empties his dishwasher and reloads it, stresses about finances, has more coffee, pees, then returns to give his proclamations on this out-of-nowhere album)...
okay, i am not sure this is real life. how could it be? This album... what did i hear? This album is seemingly an artifact of some parallel dimension. On this album everything is familiar, but slightly askew. The melodic nature of the record is dreamy, ethereal, emotional, floating-clouds-airy-etc. The guitars troughout (when they are clearly heard in the mix that is) are jangly and warm and welcoming. They mingle with the beautiful young Kate Bush-esque vocals of Mr. Trimble. The harmonica solos on the 2 Premonition tracks are familiar and grounded, but they seem to come and go without a trace, never fully pinned down.
The random vocal snippets, the phone operator message which comes and goes, the young boy's contribution on track 5, the squeaky sound effects found here and there, the whole atmosphere of the album just treads the line between genre and era so masterfully that at no point did I really think to myself "yeah i get it! This is an early 80s take on late 60s psychedelic folk" or "oh yeah makes sense this is a freak folk album" or "yeah this is pretty squarely a folk pop release" etc. Cuz everytime I started to get some inkling of the form or aim of the record, it would throw a curveball which would make me sit up in my chair and say "hey wait, what's this now?" - like on track7 "Selling Me Short While Stringing Me Along" the song starts with a warbly effect that leads into a lovelorn melody, then 30 seconds later this sharp distorted guitar buzz encroaches and I am back at square one - utterly in love and invested but at the same time in awe and confused. then still later a fukcing screaming pissed off man is yelling in the background. what. the. fudge.
the next track starts like a bad trip, disorienting, noisy, then stops on a dime and morphs into something else, then there's a bit of studio banter, then the drums come in and the mix is all wonked out and harshly in the red and yet again i am at the aforementioned square one. This album is a masterpiece. I am convinced this is about as great as it gets.
the RateYourMusic descriptors and genre tags are
Psychedelic Folk, Singer/Songwriter, Psychedelic Pop
androgynous vocals, autumnal, psychedelic, melancholic, sparse... and these fit. But yeah still doesn't express the full breadth of the ethereal shape-shifting power of the album.
I am in love with this. And I had not previously even heard of this album. I had seen on this site the front cover of Bobb's debut album "Iron Curtain Innocence" and I never listened to it. I think I will now. if its even 60% as impressive as this, his sophomore album, I'll like it a lot.
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anyway, this shoots straight to number 2 on my 1982 faves. I can't quite put it ahead of the epochal Thriller, but, still, this is so indescribable that if you listen to it, even if you don't love it, you'll be engaged and entertained at the very least methinks.
first listen rating: 9.5/10
best tracks: 1. "Premonitions - The Fantasy", 2. "If Words Were All I Had", 4. "Armour of the Shroud", 5. "Premonitions Boy - The Reality", 7. "Selling Me Out While String Me Along", the closing track 10. "Another Lonely Angel".
🥰🥰🥰
this is AMAZING!
MercuryTurn your back on the pay-you-back last callProfile St. Louis
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