Music Review
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20 Features March 1, 2005 THE RETRIEVER Ill–legitimate Music Review 80’s week The Police Rowen Frazer Retriever Staff Writer Ranked by many as one of the most innovative and talented bands of the 80s, The Ghost in the Machine Police certainly created a masterpiece when cutting Ghost in the Machine. This isn’t a record that you scroll through and only listen to the hits. The album is almost entirely available since October ‘81 comprised of hits; a truly upbeat composition, not lacking style, harmony, or originality. A&M Records I’m sure you all have come to know and kind of despise Sting by now, but I beg you not to be fooled by his coming-of-age, softly-lit facial close-ups Rating (out of 10) 8.7 during videos on MTV. He is by all means legit, and while fronting The Police he created music which practically paved the way for a new echelon in 80s music. For you that know nothing of The Police, I urge you to at least sample this album from someone who does. No music background is necessary – if you like dancing and having fun, this is an album you should own. And for those of you who consider yourselves “music buffs”, this album falls about two pelvic-thrusts short of perfect as far as production and musi- cality – the sui generis of the 80s. The Talking Heads Rowen Frazer Retriever Staff Writer Normally, I try to remain as unbiased and impartial as I can before I review a piece of More Song About Buildings & Food work. But I can’t deny that this album is one of my favourite albums of all time. Few can abjure from admitting its mastery – one of the Heads’ most down-to-earth and rhythmically available since July ‘78 intriguing pieces of all time. Warner Brothers The crew involved is surely a means for the great creation. Produced by Brian Eno and David Bowie, this album quickly became notably set-apart from other works in its genre. Rating (out of 10) 9.1 Though the album was created in ’78, I included it in the 80s review week because of its class. It does not fall into class with other 70s rock and pop, rhythmically or melodically. It is extremely upbeat, flowing more so along the frequency of 80s funk. The bassist, Tina Weymouth, is undoubtedly one of the most original and funky red-headed/fair-skinned bassists of all time. The bass jumps at you in almost all the songs – over the drums and over the guitar – a trait that is not often found in rock music. For anyone who is anyone, and for you who are everyone, and for I who is one, and for them who are they, buy this album. It’s all you can do to keep from smashing yourself in the mouth with a striped bass for not seeing The Talking Heads in concert. Chris Mewes Retriever Staff Writer The Replacements Despite a resurgence of eighties culture and music that has come to pass as of late, rock fans have yet to rediscover the brash post-punk stylings of The Replacements. Campy eight- Let It Be ies fashion may be all the rage, and a middle-aged Duran Duran may be capitalizing with a reunion tour for a quick buck, but unless your hairline is receding you’ve probably never available since January ‘84 heard of The Replacements. Many hardcore fans will tell you that no band fell from the limelight faster than the Twin/Tone Records Mats did after their onstage blowup in 1991 and subsequent breakup. It was said of The Replacements that they were both the Rating (out of 10) 9.0 best live band and the worst; depending on which night you saw them. For most of you who’ve never heard of The Replacements, they’re often characterized as early REM, filtered through a garage band (Let It Be contains a guest appearance from REM’s Peter Buck). This is truer of their earlier efforts, but not Let It Be. To many their seminal work, to me my sentimental favorite, Let It Be marks the band’s evolution from brash garage rock as in “Beer for Breakfast” to a more mature, thoughtful sound, with the lyrics of Paul Westerberg at their most effective (that’s right folks, he was in the Mats). Songs like “Tommy Got His Tonsils Out” are snotty enough for any punk rocker, while others like “Unsatisfied” can move you to tears. If you’ve ever been an outsider, a misfit, or just young, Westerberg’s lyrics will speak to you in ways few can. Always counted among the top albums of the decade, Let It Be may not surpass it’s namesake as an album, but it comes incredibly close, which is good enough for me, and more than most bands can hope for in a lifetime. Chris Mewes Retriever Staff Writer The Pixies Whether the Pixies reunited to turn a quick buck, as I suspect of Duran Duran, or to reprise their role as a wet dream of a live band I can- Doolittle not say. What I know of the band and the deep schism between lead singer Frank Black (Black Francis) and bassist Kim Deal that caused their initial available since April ‘89 breakup suggests the former, but who really cares. The fact that this band is still drawing sellout crowds of fans young and old is a testament to their Elektra mastery. On this, their major label debut, The Pixies move towards a more Rating (out of 10) 9.3 commercial sound without sacrificing the artistry that defined their previ- ous works, most notably Surfer Rosa. The album’s biggest single, “Here Comes Your Man” exemplifies this, with Kim Deal spouting the most irresistible hook in the bands storied career, atop a bassline and a melody you’ll want to hum while on the crapper. The lighthearted romp that was the album’s biggest single, and perhaps the band’s biggest sin- gle, does not define the album exclusively however. Black Francis’ lyrics and the sonic outbursts of guitarist Joey Santiago let you know the album is still very much classic Pixies, at times lyrically dark and weird, always dynamic. Doolittle’s coup d’grace, Gouge Away, is a gloomy, nihilistic jaunt and The Pixies at their very best. The Pixies’ unmistakable influence on 90’s alternative rock (just listen to Nirvana’s Bleach) puts this album in context, and shows its profound importance. Easily a top album of the decade, Doolittle sounds eighties without sounding dated, and its absolute zero filler policy makes for many a worn out cassette. In the immortal words of Donny Delectable, “scoop it” all photos courtesy of amazon.com.