December 26, 20204 yr Yes I think 1985 Now Christmas was the first Xmas compilation, if you don't count Phil Spector's Christmas album. That was several artists, Crystals, Ronettes, Darlene Love but all produced by him and very similar sounding so not really a compilation. I have seen it described as the first one though. Like Steve I bought It's Christmas first in 1989 then in 1992 It's Christmas time. Edited December 26, 20204 yr by CHRIS-TMAS
January 2, 20214 yr Author SECRETS - Human League (2001) This is a Christmas present from a mate who bought 2 copies, one for me, and not one I've heard. It seems as though ti was well-received but didn't sell well, not helped by the record label going bankrupt shortly after release (Papillon). 1. ALL I EVER WANTED Jolly lead track, fairly typically Human League fair, it could have been made in the 80's to be honest as a bonus to Dare, or equally have been put out in 1990. Quite catchy, but not up to the same standard as say, even their minor hits from 1990. Peaked at 28 in my charts 2. NERVOUS Pleasant instrumental, also very 80's, which I guess it was we wanted in those days - we didn't want Phil & the gang trying to sound 21st century. 3. LOVE ME MADLY This is probably a better route to be going, it's more frantically uptempo, sounding more 21st century than the Heyday stuff, and lyrically is more interesting, but it lacks a proper hook to make it memorable. 4. SHAMELESS Another pleasant song, it's one I no doubt sat patiently through on the floor of the tour waiting for the classic stuff. Perfectly competent, some nice harmonies, but you'd struggle to sing the tune 20 minutes later. 5. 122.3 BPM I'm guessing this is what it says on the label. Short instrumental. 6. NEVER GIVE YOUR HEART I think it's Susan singing lead on this one, always handy having one of these to give Phil a vocal rest on the tour. Have I mentioned Human League are one of the best Great Nights Out? At least when we were allowed to go to concerts. Always great. It's OK. 7. RAN Starts off all Blade Runner, setting up high hopes. And then it ends. 8. THE SNAKE and runs into this one, as it becomes Phil in low-ranged Love Action territory, but the rhythms are delicious, very evocative of that forgotten gem from Banderas - This Is Your Life. This is low-key, but the best track so far, it's got lots of twiddly interesting bits going on, a better chorus to counterpoint the verses. Should have been called Join Us, though. Like this one a lot. 9. RINGING LOW Another low-key, more subtle, rhythmic track. Largely instrumental and moody, pretty good overall. 10. LIAR Starts with an annoying electronic repeat alarm-clock of a bleep, and then goes into more early Human League-ish Being Boiled-era till the hook "Liar". I don't imagine this could be playlisted on the radio, it would just sound odd. 11. LAMENT Now this one doesn't sound like the Human League at all, more like an ambient instrumental dance track from Zero 7, and then that ends and merges into the next one after a minute. What a shame! Could have been pretty decent. 12. REFLECTIONS Back into traditional Human league Hysteria-sounding territory with this one, dark and sparser. Find myself liking this one quite a bit, no poppy hooks, but none needed, the electronic-spoken bits and "demons of the mind" gentle hooks work much better. Quite funky underneath it all too. 13. BRUTE Presumably an ode to the 70's aftershave. Instrumental yet again, getting the picture every alternate track is instrumental in some form, again early HL in style, quite pleasant and lasts 2 minutes or so. 14. SIN CITY Nice intro, all dramatic, then drops into very dark images and negativity lyrically and not much in the way of a tune. The hook oddly is pretty good, shame they didn't start with that and take it up a notch for the choruses. Very industrial-sounding. I like it. 15. RELEASE Let me guess, a short instrumental! 2 minutes in, so not a short one, and it's pretty good too. I'm liking these short instrumental breaks, they are varied enough to enhance the overall listening experience without detracting from the main songs, more like a pleasant rest from the singing than an interruption. 16. YOU'LL BE SORRY More of a duet, this one, Phil/Susan, and a funky track with a "yeh yeh, yeh yeh" hook. You'll Be Sorry, apparently. You've been told. Not bad. 17. TRANQUILITY A Bonus Track. Just as well as the fade out on the the previous was underwhelming, not a track to end on. Well, don't expect tranquility. It's more funkiness. S'OK. CD2 is endless remixes of what looks like was intended to be 3 singles, tracks 1, 3 & 16. I'll spare myself (and you) listening to them cos I have always found multiple remixes of a song tedious, and I've no intention of changing now! I can tolerate one remix, if it's genuinely interesting, radical or fuller-bodied, but anything beyond is just marketing for different clubs and hardcore fans. As an album, CD1 isnt bad. It's not Dare (but then what is) and it's not even Hysteria or Human, but it deserved better than it got in 2001, as a sort of return to traditional-sounding 80's decent form, but lacking any obvious hit singles.
January 10, 20214 yr Author HOPES AND FEARS - Keane (2004) An unbelievable 14 years old for this monster which I've just bought recently. 1. SOMEWHERE ONLY WE KNOW Well this is something of an arrival, the key Keane track up first. Still sounds great, it was great at the time, and improved with age enough to top my charts some years later on a second run (having peaked at 4 first time round, 3 in the UK) after Lily Allen covered it. Top notch. 2. BEND AND BREAK Well, errr, I know this track, even though it wasn't a hit either in my charts or the UK charts. No idea why. It's OK, singalong and memorable, keeps the more-rousing downbeat mood going. 3. WE MIGHT AS WELL BE STRANGERS Much more low-key, and I can see why the romantics among us went for this album with huge sales, sensitive male singer-songwriters singing about love lost - but without the obligatory constipated vocal refrains so popular these days. Tom Chaplin's vocals are under-rated, I think. Terrific singer. 4. EVERYBODY'S CHANGING The other big hit off the album, 2nd-time lucky, it's pretty good but not in the same league as Somewhere Only We Know (peaked at 20 in my charts, 4 in the UK charts), but again one I know very very well, it's never not had occasional airplay over the years so it sounds recent, still, to me. Time does that as you get older, 20 years ago is recent. It's a lifetime when you're 25. 5. YOUR EYES OPEN A tuneful ditty, it jogs along, one of the more upbeat ones. Pleasant. 6. SHE HAS NO TIME Much more sombre in mood, and tempo, and goes for those upper-ranges heading for the emotional-sad button. Not a single by any stretch of the imagination, but one to give an album a bit more depth and variety. 7. CAN'T STOP NOW Bit of a 60's-song-vibe this one, though the piano seems too upfront and the strings too far back in the mix. I like sweeping strings. Decent though. 8. SUNSHINE Lovely Beach Boys/Brian Wilson harmonies/melodies on this one, and it's a relief not to have tinkly jangly piano to the forefront, gives it more space and subtlety. Definitely my fave of the non-singles, wistful rather than self-indulgent. I'd bet on repeat plays this ends up my second-fave track. 9. THIS IS THE LAST TIME Peaked at 15 for me, 18 in the UK charts, and another decent single, I liked the song construction more than Everybody's Changing, it runs smoothly between verse and chorus, but the hook is strong. 10. ON A DAY LIKE TODAY Another break from format here, a sort of slow heartbeat rhythm to it, with added synths, at least early on. Tom can't find the words to say, and he doesn't know why. Probably concentrating too much on being negative about it! Builds nicely, though. He certainly proves he can't find the words by repeating it endlessly.... 11. UNTITLED 1 Going for hazy, laid-back vibes here, tastefully swirling synths under the moody melody, the breaks with the falsetto melodies are lovely. Almost got a psychedelic hint to it in places, probably the most interesting track, and one I'd like to hear more of. 12. BEDSHAPED Hit 10 in the UK charts, this closer, and only 30 in my charts, I'd kind of forgotten this one - unlike the flop Bend And Break, this sounds oddly less familiar. It's quite plaintive, but in an understated, gentle way that appeals. The chorus is the more uptempo hook, but I think I like that it's a right old mix, including the more rousing instrumental break. I under-rated this one. All in all, a very nice album, very much late-night mood music, and yes I'd stick it on as background to faffing about and see which tracks lodge themselves, I'd prob skip the singles I'm familiar with (cos I'm like that, I don't like hearing tracks over and over and over once they are familiar and the freshness has gone) and place my bets on tracks 6, 8, 10, 11, 12.
January 10, 20214 yr Hopes And Fears is great. Was set to be best-seller of the year until the Scissor Sisters debut album came along on 31st Dec and pipped it.
January 10, 20214 yr Good review. It's an album that's stood the test of time. Of the non-singles, my favourites would be On A Day Like Today and She Has No Time while I think Bedshaped is the best single.
January 21, 20214 yr Author Thanks Chris & Rollo :) Up next is one relevant to a thread....and an album I've never heard! PARKLIFE - Blur (1994) 1. GIRLS & BOYS This is a goodie, the lead single to the album chunters along beautifully, and one Pet Shop Boys have covered - it totally suits them - and it's sort of genre-mashing, Britpop with a bit of a dance flavour to it. Still sounds out of it's time, loads of 90's stuff sounds like it was made in the 90's, but this could have been any time in the last 40 years. 2. TRACY JACKS Not merely British-sounding, but more specifically London-sounding, with it's roots in 60's British pop, with a 90's gloss. I can imagine this being a 1966 or 1968 track from one of a few acts around then. Not sure about the ooh-ooh-ooh-oohs at the end, but it's upbeat and fun. 3. END OF A CENTURY Another single, always liked the tune to this one, and the lyrics are well-observed semi-amusing cynicism, it seems to me. Maybe it was the darker grunge attitude sneaking in. Under-rated. 4. PARKLIFE Phil "Quadrophenia" Daniels doing the talky bits, and a glorious chorus, feeding the whimsical slice of British urban life, I bought the CD single when it came out, and still gloriously catchy and singalong. Damon sings it just right....! Fab. 5. BANK HOLIDAY Goodness me, it's the Buzzcocks! OK, it's not, but it sounds like it could have been! Frantic, early-punk, lively throwback. Short and punchy. 6. BADHEAD The first mellower track, an ode to a hangover-mood and staying in bed and a tempo to suit, with some nice little twiddly instrumental bits weaving alongside. It doesn't have a chorus, I like the background vocal harmonising, multi-tracked I guess. Not bad. 7. THE DEBT COLLECTOR Oom-pah oom-pah-pah, is this from Oliver?! "Everyone oom-pah-pah". Seems to be an instrumental fairground Victorian throwback, which isn;t at all what I was expecting on the album! 8. FAR OUT Ooh, sci-fi noises intro, I'm already sold! A list of distant moons, some stars from the Milky Way, and then fade....into... 9. TO THE END That intro is just to die for. Major classic alert. The chords give me goosebumps, and then the plaintive singing, and forlorn, super-melodic chorus and verses are just amazing. This topped my charts, I bought it, I loved it, I love it now, and it is a total work of art. The chorus gets me every time. SO beautiful, so sad, so hopeful. Love the fairground reference throwback, that makes more sense in the album context, but is fine anyway. Should have been a huge chart-topper, and should have won the Blur Rate: (pause for minor grumpy disagreement from some quarters) - "Oh yes, it should have!" 10. LONDON LOVES Well this is a bizarre track to follow-up To The End, talk about abrupt change of mood. Not a pre-London song, as such, London loves the way you fall-apart and fail, more like. Another New Wave-era feel to it, circa 1979/80 with a grungey, monotonous rhythm. Probably the least-memorable so far on the album. 11. TROUBLE IN THE MESSAGE CENTRE This is still New Wave/Punk-influenced, liking the guitars riffing, very retro. Minimal song, I'm enjoying the period keyboard bits. The tune, such as it is, is "In. Sooooo much. Trouble" and cue the la la las to fade. I like it, though not a single by any stretch of the imagination. 12. CLOVER OVER DOVER Seagulls. I enjoy a good sound affect. The rest of it sounds like a Blur single that they decided wasn't catchy enough to get released. It's OK. Doesn't have a hook. 13. MAGIC AMERICA Hmmm, a cynical dig at folk who like holidays in America. Sort of hinting that anyone who sees America through rose-tinted spectacles must be an idiot, I'd assume. Thanks guys, I spent the 90's doing just that (minus the rose-tinted spectacles, I see things for what they are)! Quirky. I wonder if it put off the USA..... 14. JUBILEE Seems like a Sex Pistols referencing-track to me, minus the aggression, and plus a sense of self-awareness and whimsy. Like the horns, very X-Ray-Spex, but a bit back in the mix. Yeah like that one. 15. THIS IS A LOW Feted as a single, never heard this one, but aware of it. A slow, sombre semi-anthem semi-ballad. Sprawling towards the end, for the instrumental break. Yes, I would have been OK with this as an extra single - though not as a replacement single. Bet it's a grower not a show-er! 16. LOT 105 Ey-up, Sale Of The Century keyboards on electro-beat (sorry lost on anyone under 40, that one). Clearly having a bit of a laff to end on! So, overall? A bit too long. I'd have cut a couple of the lesser tracks and made a much punchier album, but there's nothing bad on it. And there's some classic stuff on it. Varied, referencing, interesting.
February 6, 20214 yr Author Ooh, just noticed some kind soul (dandy*) has slotted in the album covers! SO grateful! Thank you kindly! THE ORIGINAL SOUNDTRACK - 10CC (1975) I'm a 10CC fan, but I never bought this album! I borrowed the first 4 albums off mate Pete Lambert from school who rated this one as the best, and then the follow-up. My tastes were poppier, I liked the whimsy, sub-Americana, creativity and variety of the first two albums much more (and still do), so I taped the first two and didn't bother with this one (I already had the singles). That was in 1976, so 45 years on how is it sounding? Well, I've just bought Essential 10CC, which hammers the Mercury Years, and has all of the tracks, bar 2, of this album. Plus the bonus tracks from the 1997 reissue. 1. UNE NUIT A PARIS (Parts 1, 2 and 3) As the title suggests, it's a bit of a mish-mash this one. 8 minutes and 40 seconds long, it's more of a musical journey than a song. The more avante-garde Kevin Godley & Lol Creme were behind it but all 4 members sing on it, there's an instrumental tinkly piano bit, quirky bits, melodic bits, and they sing the One Night In Paris "hook" with a fake French accent. I say "hook" because there isn't a hook in any shape or form, it's like listening to a musical series of excerpts from a Broadway show in a classical or jazzy structure. To me, in 1976, I thought it was a mess without focus. It still sounds very self-indulgent. 2. I'M NOT IN LOVE Pure genius. State of the art at Strawberry Studios, multi-tracking masterpiece, and an exercise in how to make a supposed-non-love song about as romantic as you can. Written by 60's hitmakers, and the other half of 10CC, Eric Stewart and Graham Gouldman, it remains the focus of the album and as fresh as a daisy, a worldwide hit, and not a trace of whimsy in the recording. It might have irony, but then the recordings of the classic 10CC line-up remain super-smart and a bit too detached emotionally for some critics. This one is pure emotion, though. Their secretary doing the Big Boys Don't Cry line is wonderful & effective too. 3. BLACKMAIL Youtube to hear this one. A rocker this time, again from Gouldman & Stewart. I like the wailing guitars, though not to the extent I adored (and tried it in the BJSC) Speed Kills from their first album, which puts this in the shade a bit. I can hear riff echoes of the poppier future Good Morning Judge in it. Gets a bit random to the fade, but I'm still a fan of electric guitars and solos. 4. THE SECOND SITTING FOR THE LAST SUMMER All 4 wrote this one, with references biblical galore, chuntering poprock which charges on at a decent pace. While the genre may be orthodox, the musical style (as ever with 10CC) isn't. They've never been ones for the short & catchy repetitive chorus-hook-bridge format, they go wherever they feel like going. I like it. 5. BRAND NEW DAY Lol Creme and Kevin Godley on this one, with Kev on lead vocal - I think his voice is the purest, and the has the best range of the 4, especially on touching ballads - and this is a lovely one. Again, it changes tempo and style too much to be a hit single, Godley & Creme sowing the seeds of their forthcoming Gizmo and exit from 10CC the following year, before coming back to pop in the 80's. 6. FLYING JUNK Back to Youtube for this one. Back to Eric & Graham. I think may have this on a B side. Pleasant enough, if forgettable, and has a reference to Singapore (hence the "junk" title I guess, as in the ship) so bonus points for that. 7. LIFE IS A MINESTRONE The first single off the album, the most fun track, and the track most like their earlier stuff, similes with a smile, metaphors with mirth, and images with a wry smile and unusually breaking the 2 writing pairs, again harking back to earlier days, with Lol Creme (the main instigator of whimsy, it seems), and Eric Stewart (good with the rock side of things), and the combination is much better than I thought at the time. A great single, but a single I liked the least of all their singles in the original line-up, mainly due to the lyrics. Too many food references! 8. THE FILM OF MY LOVE Back to Godley & Creme in French-Italian-movie-theme-pastiche-mode, and very nice it is too. Of all the album tracks, this is the only track that could have been lifted as a single. Not a big hit single in the musical climate of 1975, but it might have sold a few more copies of the album (their biggest). This could have fit on the first two albums, but stands out alone on this one as not really fitting in with the avante-garde/rock theme much. Definitely my fave non-single though! 9. CHANNEL SWIMMER (Bonus track) Never heard this before. Kev & Graham teaming up for this, more Graham than Kev I'd suggest, as regards the style. Oddly, given the more usual writing teams during their heyday, those are the two who remain on good terms, and have produced some great stuff together in the 21st century (not as 10CC). This is quite ordinary and wise to drop it. 10. GOOD NEWS (Bonus track) Godley & Creme, another I've never heard before. Gentle, laid-back, bossanova rhythm, but again wouldn't have enhanced the album as such. The lyrics seem deliberately minimal, and the record understated. Quite nice, though. Overall, I still think the first two albums are the essential ones, every track is a gem, and the wild variations in style exciting, this one doesn't have enough WOW! moments as a complete whole, though it is never less than competent and professional.
February 12, 20214 yr I agree with your friend Pete. This is my favourite album, followed by How Dare You. The first two albums are, of course, very good as well. My favourites from this one are Une Nuit A Paris, I'm Not In Love, Brand New Day, Life Is A Minestrone and The Film Of My Love.
February 13, 20214 yr Author I agree with your friend Pete. This is my favourite album, followed by How Dare You. The first two albums are, of course, very good as well. My favourites from this one are Une Nuit A Paris, I'm Not In Love, Brand New Day, Life Is A Minestrone and The Film Of My Love. Hi Rollo, I kind of thought those would be your fave albums from your previous rundowns :D It's certainly much better than I gave it credit for at the time and at the very least I should have cherry-picked some tracks off it :lol: I find myself now wanting to hear some of them again, which is a good sign. I might do the follow-up album next if only to hear I'm Mandy Fly Me again, which I still adore and doesn't get the radio plays it deserves.
February 16, 20214 yr Ooh, just noticed some kind soul (dandy*) has slotted in the album covers! SO grateful! Thank you kindly! Haha, you're most welcome!
May 29, 20214 yr Author OK it's been that long since I last played one of purchased-never-played albums so here's a 50th anniversary introduction to: CARPENTERS - Carpenters (1971) I love the Carpenters (note: Karen & Richard had no time for "The", keep it simple, and annoy the rock journo's with lush melodies and distinctly no current trends). 1. RAINY DAYS AND MONDAYS A US hit and UK flop, it eventually got the recognition it deserved with the huge-selling Carpenters Singles 1969-73 collection, but this really should have hit in the UK, it's slow, emotional and classy and it's a Paul Williams song. Paul Williams is a fave of mine as singer-songwriter but has also had a good movie/TV career in stuff like Battle For The Planet of The Apes, Babylon 5, Voyager, Muppet movies, The Penguin on Batman animated series, and much much more but it's his songs, like We've Only Just Begun, the Bugsy malone soundtrack, A Star Is Born soundtrack (Streisand version), Rainbow Connection (Muppets) and even Scissor Sisters (Ta Dah!) that I especially love. So, obv this one is classy! 2. SATURDAY Used as a radio jingle in the 70's, this is Richard singing lead on one of his own songs. It's jolly, whimsical, and very short. 3. LET ME BE THE ONE Back to Karen, and a song I know from way back but had forgotten I know it. Oh, another Paul Williams song (and his regular co-writer Roger Nicholls I should add). It'd got a memorable hook, though the rest of the song, while still classy, really sets up the hook more than anything else. Pretty good though. 4. A PLACE TO HIDEAWAY This has the feel of a lush Christmas song, all it needs is sleigh bells and we're there. Quite nice, but not quite A-league Carpenters. Sweet. 5. FOR ALL WE KNOW The UK record label didn't bother to release this great US hit single, at least not until Shirley Bassey had already grabbed a cover version hit and they stuck it as a bonus double A on the last single on the album (up next). Shirley's version is pretty good, but this is better, it's a strong song, says what it's saying, and then finishes fairly quickly. 6. SUPERSTAR One of their greatest moments, I adore this aching ballad from Leon Russell and Bonnie Bramlett, both cool rock singer-writers of the era, and a signal that Karen & Richard had no qualms about moving into the rock arena for great material. Karen is at her most sad when doing tortured lost-love songs, and this should be on any list of Great Tracks of 1971, as well as Greatest Carpenters. 7. DRUSCILLA PENNY Another quirky Richard track, all harpsichord, but it interrupts the flow of the album. At least the first one was very short, this really doesn't belong. 8. ONE LOVE This is better, Karen's back doing one of Richard's songs (and co-writer John Bettis) - that said it's not as good as the guest writer ballads (but wait till 1972 for that to change!). S'OK. 9. BACHARACH/DAVID MEDLEY OK they got the Carpenters a breakthrough with Close To You, and Burt & Hal have an amazing first-rate timeless catalogue of songs, but.....this was a bad idea. Know When To Leave is musak to start off with, and they ruin all the following great songs with the same jolly uptempo treatment. Carpenters don't do "jolly" well as a rule, it's all about the sorrow or darkness under the lush arrangements. This is rubbish. Skip. 10. SOMETIMES Henry Mancini was a great melody writer (think Pink Panther theme, Moon River and hordes of other great scores and songs and TV themes) - so this is back to quality, as he's involved in the arrangement. Restrained vocal & piano, which if nothing proves Karen didn't need the lush arrangements to support her great voice. 31 and half minutes, a bit of filler on 3 tracks, but 7 pretty good to classic ones, so, flawed but there's greatness in there too.
July 24, 20222 yr Author It's been a long while, but trying to restart playing all those albums Ive never played but bought years ago. Up first, cos I saw The Killers a couple of months ago, and this album is an unlikely 16 years old now: SAM'S TOWN - The Killers (2006) Track 1: SAM'S TOWN A Springsteen-esque start with a track I've never heard and a banger to boot, strong enough to be a single. What a shame it wasn't one! We are into Americana rock, which is fine by me. The booklet has widescreen desert scenes, not entirely unlike Joshua Tree, U2's equally widescreen epic rock. 2. WHEN YOU WERE YOUNG And onto the biggie. Possibly their greatest moment, and yes way better than THAT track, this is pure Bruce "Born To Run" as the inspiration, and every second of it is thrilling, rousing, widescreen, and it came over brilliantly at St. Mary's Stadium in Southampton mere weeks ago. 3. BLING (CONFESSION OF A KING) Keeping up the pace, more U2 than Bruce this time, and another track with instant impact, and another that should have been a single. Rocking and then it ends on a quiet note. Fab. Never heard this before. 4. FOR REASONS UNKNOWN This one was, bizarrely, a single. It peaked at 65 in my personal charts, it really should have stayed an album track the hook is weak, it's more plodding than majestic like the first 3 tracks. A little bit punky, if not for the full-bodied production. 5. READ MY MIND Single number 3 off the album, this one's pretty decent (top 20 for me) and a little more pop/jolly than any track so far - but, apart from the guitar solo, lacks the oomph of the opening salvo trilogy, but it would fit fine on their debut album Hot Fuss, which I bought and loved at the time. 6. UNCLE JONNY Ooh one about me (from me niece/nephews' points of view). Love that insistent riff that forms the core of the song. Never heard this before, I like it. Comes over a bit Sparks' tongue-in-cheek at times, too off the wall to be a single but pretty damn good anyway. 7. BONES Single 2 was also top 20 for me, and it's not one that has stuck in my mind in the years since, nor is it on the Hits CD. Very odd choice for the second single. Better than For Reasons Unknown, but not as good as the rest of the album so far. Not bad, of course, just that there's better on offer. 8. MY LIST Pace slowed down to a crawl for this one, understated is the word till 2 minutes in, then the guitars boot in but the pace stays ambling, if thumping. If I was streaming, I would skip this one on the whole, though it gives the frantic mood of the album a break, I guess. 9. THIS RIVER IS WILD Back on form here, just how I like my Killers, fast and rocking, a bit punk-ish, fuzzy guitar, widescreen landscape imagery. Sounds like a better choice of single than actual singles 2 and 4, though I'd go more for Sam's Town or Bling myself. 10. WHY DO I KEEP COUNTING? And finally...a slow intro before rousing into an All These Things That I've Done vibe, and another good 'un that could have been a single. I keep rattling on about singles because they are the gateway to albums. I bought Hot Fuss after I heard All The Things That I've Done and Somebody Tell Me and they were worthy of the album overall. I never bought this one because they had one epic single and 2 quite good singles and one OK track. This a great album, way better than the chosen singles indicated it was. That cost them a sale at the time. Shoulda stuck with the Springsteen trilogy and the last 2.... Note: there are 2 short musical interludes which I've ignored, and a hidden bonus track at the end which def doesn't fit in with the album at all. A CD single bonus track would have been a better idea...
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