The Prodigy-The Dirtchamber Sessions Vol. 1

Originally Written and Posted at Epinions.com on 3/25/09.

After the release of 1997's The Fat of the Land, the Prodigy were clearly the hottest electronic music act around the world. Despite their success, the band courted controversy over their single Smack My Bitch Up along with its accompanying music video. More problems emerged at the 1998 Reading Festival when the Beastie Boys asked the Prodigy not to play that song and they did as they were accused by feminists groups and such over misogyny. Around the same time, the Prodigy was now being looked as an electro-punk act thanks to the attention devoted to its vocalist/dancer Keith Flint and in his punk look. For the group's brainchild and producer Liam Howlett, the attention on the music seemed lost as he made a guest appearance on BBC radio doing some DJ mixes that proved to be popular. In response to its popularity, Howlett decided to release a compilation album of DJ mixes he created entitled The Dirtchamber Sessions Vol. 1.

Produced and compiled by Liam Howlett, The Dirtchamber Sessions Vol. 1 is a mixtape of material from Howlett compiling records from various artists into a mix album. Filled with an array of music ranging from the Beastie Boys, Ultramagnetic MC's, Chemical Brothers, Jane's Addiction, Meat Beat Manifesto, the Sex Pistols, and many others. It's an album that has Howlett taking control and deconstruct pieces of music into eight untitled tracks into a record of nearly fifty-two minutes of music. The result is a unique, entertaining album from Liam Howlett.

The album begins with thumping hip-hop style snare beats from RUN-DMC as it starts the record with a nice rhythm. Then the scratches come in for something more shimmering with its beats and bass lines as it segues into some scratchy tribal beats of old-school hip-hop. With some scratches and swirling synthesizers, it delves into 70s funk to maintain a nice groove with some disco bass lines. Then the Ultramagnetic MC's appear with a portion of Give The Drummer Some which includes the line "smack my bitch up like a pimp". The old-school continues with some scratchy, clapping beats and frenetic bass lines with synthesizers playing around with Chic heard in the background. With its thumping presentation continuing with Grandmaster Flash & the Furious Five appearing to continue along with the vibrant sounds of Bomb the Bass. With Flash and the Furious Five returning for some old-school hip-hop. The vibe changes with the Madchester sounds of the Charlatans UK as it is followed by various beats until the appearance of the Prodigy's own Poison to play the electronic vibe.

The barking dogs arrive for the sound of Jane's Addiction's Been Caught Stealing to shimmy up the record with Tim Dog making an appearance for some hardcore hip-hop with the Boogie Down Production also making an appearance. The mood suddenly changes into a 70s-style song of funk and hip-hop with warbling, melodic guitar playing with a female vocalist singing. With its movement towards old-school hip-hop and scratches from the Chemical Brothers, it becomes full-on old-school with layers of beats, voices, and tribal beats to the point that it's time to break-dance. Moving towards electronic-dance courtesy of Josh Wink, KLF, and many others, it dabbles into funk with an appearance from Meat Beat Manifesto's Radio Babylon with its shimmering beats. With scratchy beats and vocals coming, it returns to old-school hip-hop with appearances from Herbie Hancock's Rock It, the Beastie Boys, and the Prodigy's Smack My B*tch Up as it goes for an incredible mash-up that is intoxicating.

The Sex Pistols suddenly appear with New York in a full-on charge with their punk-rock attitude with the swirling, bumping beats of Fatboy Slim coming through as it changes the vibe from punk to big beats. The old-school hip-hop starts to return in a mash-up of various tracks that features the bass lines from Primal Scream's Vanishing Point along with its swirling synthesizers. The Beastie Boys appear for some old-school hip-hop with the soothing soul of Barry White joining them along with the charging sounds of Public Enemy. With the old-school hip-hop vibe returning, LL Cool J makes an appearance with his frenetic rapping style as the sounds of the Digital Underground's Humpty Hump making an appearance with a mesh of sounds from Cold Cut, Uptown, and the London Funk All-Stars. It becomes all hip-hop right to the end with scratchy beats, spurts of rap, and other old-school vibes like robotic vocals and tribal beats. Even as it features a shimmering presentation of funky saxophones and beats with grinding guitars playing along.

Released in February of 1999, the record came out with no major hype or buzz as it was just released to little attention. Yet, the record did receive some critical acclaim due to Liam Howlett's mash-up of various tracks by other artists as it was considered one of the best DJ mix tapes ever made. The record however, was really a stop-gap album in between studio projects for the band where Keith Flint and Maxim Reality decided to venture into their own side projects. In 2000, the group's longtime dancer/occasional keyboardist Leeroy Thornhill left the group to venture into his own career as a DJ. With electronic music moving forward into the Internet age and the use of laptops, it was clear that the Prodigy's reign as electronic music's biggest act had come to an end with a hiatus period that would prove to be troubling.

The Dirtchamber Sessions Vol. 1 is a brilliant, fun, and exciting record from Liam Howlett as he proves to be the reason why the Prodigy is one of electronic music's most popular acts. While it's not as accessible as their previous studio albums, the record is still one of the most enjoyable pieces of music as it stands to be one of the best DJ mix albums ever made. It delves into various styles with a fitting tribute to old-school hip-hop while proving that Liam Howlett has great ears for samples and such. In the end, The Dirtchamber Sessions Vol. 1 is a brilliant album that serves as a great party mix while giving the listener great excuses to break-dance

The Prodigy Albums: Experience/Experience Expanded - Music for the Jilted Generation/More Music for the Jilted Generation - The Fat of the Land - Always Outnumbered, Never Outgunned - Invaders Must Die

(C) thevoid99 2011

The Prodigy-The Fat of the Land

Originally Written and Posted at Epinions.com on 3/23/09.

After the huge success of 1994's Music for the Jilted Generation, the Prodigy were now becoming one of the leading acts of the burgeoning electronic music scene in Britain. Often coined as electronica, the Prodigy along with a slew of acts were bringing in a new sound of dance music that was filled with big beats, lots of hypnotic synthesizers, and something that even rock audiences can mosh too. It was considered to be the music of the future with some said that rock would be out and electronic music to be in. After a successful tour including a few shows at Lollapalooza in 1996, the Prodigy were clearly getting ready to take charge of the electronica movement where late that year, they released the single for Firestarter.

The single featured a music video that had the band's longtime dancer Keith Flint sporting a new punk look as he also sang lead vocals for the very first time. While Liam Howlett was the group's brainchild, Flint suddenly became the face for the Prodigy as the single managed to become an unexpected hit in the American modern rock charts. The sudden success in America brought attention to the industry and MTV with even bands like U2 and David Bowie jumping in on the burgeoning electronic movement as many were convinced that it was the music of the future. After another single called Breathe was released and became a hit both in the U.K. and U.S. with other electronic acts getting attention. It was clear that 1997 was going to be the year of electronica with the Prodigy leading the way as audience anticipated for the release of the band's third album entitled The Fat of the Land.

Produced by Liam Howlett, The Fat of the Land is an album filled with diverse styles of music ranging from big, industrial beats, trance-induced songs, hardcore dance numbers, and pulsating, heavy electro-rock tracks. Along with vocal contributions from members Keith Flint and Maxim Reality along with guest appearances from Kula Shaker's Crispian Mills, Republica's Saffron, and Ultramagnetic MC's vocalist Kool Keith. Along with contributions from future Pitchshifter guitarist Jim Davies, Soundgarden/Pearl Jam drummer Matt Cameron, and Rage Against the Machine/Audioslave guitarist Tom Morello on a bonus track. While it doesn't have the consistency or edginess of Music for the Jilted Generation, The Fat of the Land is still a phenomenal album from Liam Howlett and company.

The album opens with its controversial single Smack My Bitch Up which features a sample of the Ultramagnetic MC's song Give The Drummer Some which features the vocals of Kool Keith. With its droning, fuzzy synthesizer and smooth, pulsating beats with cymbal crashes, it features squealing noises and electronic drones. The song's infamous line from Kool Keith, "Change my pitch up, smack my bitch up" is a catchy line though it's heavily edited to make it controversial with its swirling noises of synthesizers and the eerie, trance-like vocals of Indian singer Shahin Badar. The album's second single Breathe that features vocals from Keith Flint and Maxim Reality is a hypnotic yet rhythmic track with big, heavy beats and melodic-flourishing synthesizers. With its throbbing bass line and beats along with scratchy sounds and thrashing guitars for the song's vocal parts sung by Flint and Reality as they trade verses towards each other. It's a song that is intense yet fun to dance to with its arrangements and production.

Diesel Power featuring Kool Keith on vocals and lyrics with its hollow bass-synthesizers that get louder with throbbing, pulsating beats with intense snare tracks. With its trance-like arrangements of bass, beats, and swirling synthesizers, it's Kool Keith's frenetic, intense rapping that really makes the track one of the album's standout cuts. The instrumental track Funky Shit with a voice sample of saying "Oh my God, that's the funky shit" from the Beastie Boys' Root Down as it pops up throughout the track. With its frenetic, warbling synthesizers, scratchy arrangements, and pulsating, throbbing beats, it's an instrumental that is a pure hardcore dance track with its layers of beats, swirling synthesizers, and intense performances. Serial Thrilla is an electro-rocker with industrial-like intensity in its pulsating beats, driving guitars with samples of riffs from the band Skunk Anansie. Yet, it's Keith Flint's punkish vocals and Howlett's layered, scratchy arrangements of driving synthesizers and beats that makes this track another stand out.

Mindfields is a largely-instrumental track with ominous synthesizer arrangements with Oriental-like notes, throbbing beats that come in a mid-tempo rhythm and warbling synthesizer melodies to accompany. Along with Maxim Reality's growling vocals, the track moves back and forth in terms of its production and mix as its sound lowers and then goes back full-on with breaks by Reality's vocals. The nine-minute Narayan with Crispian Mills on vocals is a trance-like track filled melodic synthesizer flourishes that delve into psychedelia. With its pulsating, snare-driven arrangements of beats and warbling, scratchy synthesizer, it's Crispian Mills' vocals filled with psychedelic-induced lyrics that kind of takes the song out of its element. Therefore, Mills' contributions is the only sore spot for the song as it often drags at times despite Howlett's arrangements and performance.

The album's leading single Firestarter that features samples of Art of Noise's Close (To The Edit) and the Breeders' S.O.S. With its blaring, wailing guitar solo, frenetic synthesizers, pulsating beats with additional live drums from Matt Cameron, it's a track that is intense and powerful due to Keith Flint's punkish vocals and angry lyrics. It's also the band's most defining single as it's a song that is a great mix of punk, rock, and electronic music. The instrumental Climbatize is a trance-like track with soothing keyboards and pulsating, hi-hat cymbal taps that is followed by a striking, melodic synthesizer and throbbing bass line. With smooth, tribal beats playing in the background, it's an instrumental that doesn't really do much as it drags the album near its closing momentum. The album's final track is a cover of the L7/Cosmic Psychos song Fuel My Fire is an electro-rocker that features intense, pulsating beats and wailing guitars. Yet, it's a track that sort of works in instrumentation for the most part except for annoying keyboard solo in the middle. What doesn't work is the annoying punk-like vocals from Keith Flint and the extremely backing vocals from Republica's Saffron as it closes the album with a whimper.

Two bonus tracks that appear in the Japanese version of the album includes a B-side and a track from the Spawn film soundtrack. The first is the B-side to Firestarter in Molotov B*tch. The instrumental track features siren-like sounds in the background with throbbing, bass-driven beats that pulsate through the entire track. With its scratchy arrangements and sweeping sounds of synthesizers makes this track a nice B-side proving Howlett's talents in arrangements and production. The second bonus track from the Spawn film soundtrack is track called One Man Army that features guitar work from Tom Morello. The bass-throbbing track with big, pulsating beats, blaring synthesizer sirens and scratchy arrangements includes Morello's scratchy, fuzzy guitar work and raps from an unidentified vocalist. The track is an excellent rarity that shows Howlett's superb arrangements and the superb guitar work of Tom Morello in its fusions for electronic music and rock.

Released in July of 1997, the album was met with a lot of hype and anticipation as it debuted at the top of the album charts in the U.K. and in the U.S. The latter of which was a surprise of sorts due to the hype as it became so far, the only electronic album to reach #1 in the U.S. album charts. Despite the Prodigy's success in America where the album sold two million copies, the American music industry who had hoped that its success would help break electronic music into the American mainstream only failed. Instead, the public consciousness for something lighter and simpler in the aftermath of grunge rock and gangsta rap was answered by the likes of new pop acts like the Spice Girls, Hanson, and the Backstreet Boys while hip-hop got glossier thanks to the likes of Sean "Puffy" Combs. While rock music got safer thanks to bands like Third Eye Blind and Matchbox Twenty, another music genre that grabbed the consciousness of the American public as an alternative scene was a ska music revival.

For the so-called electronica movement in America, it was clear that American audiences weren't ready like punk rock music 20 years before then. Though the Prodigy did become massively successful while courting controversy over its song Smack My Bitch Up which included a music video filled with drug use and strong sexual content that offended feminist groups. The Prodigy forged ahead as they toured some shows in the U.S. in 1998 while maintaining their status as electronic music's leading act in the U.K. Yet, the success would also prove problematic with Keith Flint suddenly being the face of the band that overshadowed the talents of its brainchild Liam Howlett.

While it doesn't have the brilliance or consistency of their first two albums, The Fat of the Land is still an excellent album from the Prodigy. While it's regarded as their most accessible work due to their famed singles along with some notable album cuts in the album's first half including Kool Keith's contributions. The album's unevenness in its second half due to a lackluster cover, misguided appearances, and moments where the album drags is what makes the album realize it's not great as people claim it is. Still, it's a fascinating record where at a time, people thought that electronic music would replace rock music. Yet, today, it remains an underground sensation with some moments appearing in the mainstream though still manages to remain daring and uncompromising. In the end, despite its flaws, The Fat of the Land is still a stellar yet fun album from the Prodigy.

The Prodigy Albums: Experience/Experience Expanded - Music for the Jilted Generation/More Music for the Jilted Generation - The Dirtchamber Sessions Vol. 1 - Always Outnumbered, Never Outgunned - Invaders Must Die

(C) thevoid99 2011

The Prodigy-Music for the Jilted Generation/More Music for the Jilted Generation

Originally Written and Posted at Epinions.com on 3/22/09

After the release of 1992's Experience, the Prodigy, led by its brainchild Liam Howlett along with vocalist Maxim Reality and dancers Keith Flint and Leeroy Thornhill, were riding a wave of success due to its singles and shows that were making an impact on the U.K. rave scene. Despite its success, anti-rave laws in Britain were proving troubling while the electronic scene was evolving with Liam Howlett paying full attention. Moving into the hardcore techno scene while experimenting with rock and industrial dance, Howlett began to take his experiments on a single that would eventually be called One Love as it became a success. The single's success would help Howlett take on a record that would prove to the Prodigy's greatest work to date entitled Music for the Jilted Generation.

Written, produced, and performed by Liam Howlett with additional work from Neil McLellan along with writing contributions from group vocalist Maxim Reality and the famed British alternative band Pop Will Eat Itself. Music for the Jilted Generation is an album filled with intense, sprawling tracks devoting to hardcore techno with industrial beats, rock numbers, and music suites as it delves into the subject matter of anti-rave laws and drugs. Confrontational yet energetic, it's an album that proves why Liam Howlett is considered to be one of the best artists of the burgeoning electronic music movement of the 1990s. The result isn't just one of the best electronic albums of the decade but an album that helped define a music movement.

The album begins with an intro of droning synthesizers, typewriters, soft chimes, and various noises with a man talking in noir-like rhythm. Then comes Break And Enter with its throbbing, pulsating tap beats and sounds of broken glass as it features backgrounds of pulsating, metallic beats and siren-like sounds. With its warbling, droning synthesizer flourish, it's a track that definitely sets the tone for its dark, rave sound with female vocals in the background courtesy of a sample of Baby D's Casanova. The electro-rocker Their Law featuring Pop Will Eat Itself with its grinding guitars, warbling synthesizers, thumping beats, and Clint Mansell's growling vocals. With lyrics about the anti-rave laws, it's droning synthesizer and aggressive tone makes this cut one of the album's key standout tracks.

Full Throttle is a fast, thumping track with swirling keyboards that becomes this vibrant track with pulsating tribal beats, distorted scratches, vocal samples, and wailing piano tracks. Along with a sample from the 1977 film Star Wars, it features frenetic synthesizers and piano tracks that plays up to the track's speedy beats. Voodoo People opens with grinding guitar by Lance Riddler with intense, pulsating beats that play through with squealing synthesizer notes that play through along with wailing melodies. Featuring a sample of Nirvana's Very Ape, it's one of the album's best cuts and one of the best singles from the Prodigy ever released. Speedway (Theme From Fastlane) is a fast track featuring noises of race cars passing by with fast, frenetic synthesizer blares and throbbing, pulsating beats with sirens in the background. With its layers of striking synthesizers along with another synthesizer playing wooing notes as it later becomes this swooning, hypnotic track.

The Heat (The Energy) is a pulsating track with its rhythmic, thumping beats and wavy synthesizer line that gets more intense with its speedy, heavy beats and scratchy keyboards. With sections of wailing synthesizer blares and swirling noises that play in the background, it's an intense track with speedy vocals as it's a full-on, hardcore rave track. Poison is a dark, heavy track with droning synthesizer warbles and layers of beats ranging from hi-hat accompaniments to pulsating, mid-tempo beats that serves as the driving force of the song. With Maxim Reality's growling vocals, it's a track that is heavy with its industrial-like aggression and blasting production that is truly amazing to hear. No Good (Start The Dance) is a hypnotic track with its speedy bass lines and frenetic, metallic beats with thumping rhythms and striking synthesizer blares. With speedy vocals sampled from Kelly Charles' No Good For Me, it's features swooning, swirling breaks from a synthesizer as it continues towards its frenetic presentation. An edited version of One Love with its blaring synthesizer flourishes and wailing vocals as it's accompanied by speedy, thumping beats. Along with speedy, organ-like synthesizers, it's a track that is intense while living up to its sound away from the music of Experience.

The next three tracks are all part of a suite known as The Narcotic Suite with its exploration into drugs. The first is 3 Kilos that opens with bubbling sounds as it plays up as a swinging, mid-tempo track with funky guitar riffs, smooth beats with metallic snares, and melodic piano touches. With a frenetic keyboards solo accompanied by a swooning synthesizer and a flute by Phil Bent. Skylined opens with a shimmering, synthesizer track that warbles through along with tapping, thumping beats playing in the background. With a thumping synthesizer track and beats intensifying with layers of pulsating, tribal beats in the background. With a frenetic synthesizer background appearing, it's a track with various layers and sounds that play up to its intensity. The album closer Claustrophobic Sting opens with samples of laughter as its dominated by frenetic, intense synthesizers and pulsating, thumping beats that plays up to its speedy presentation. With wailing vocals in the background, it's intensity and performance filled with quiet vocals makes this track as a fitting closer for the entire album.

From the 2008 expanded edition of the album are nine tracks featuring live songs, B-sides, and remixes. The first two tracks come from the BBC Radio 1 Maida Vale Sessions. First is Voodoo People that features live guitars and louder beats performed live through Liam Howlett's array of samplers, synthesizers, and sequencers as it's more intense than its original recording. Notably its extended guitar breaks along with Maxim Reality's growling vocals in the middle of the song. The second track from that session is Poison which also features a metal-laden guitar track and extended instrumental breaks featuring DJ scratches and flute tracks. Next is an edited live version of Break And Enter that features more intense beats and blaring synthesizer sirens as it's a fantastic live performance. Another live cut from the Pukkelpop music festival is a live version of Their Law. The live version is just as intense and powerful with its grinding guitars and Maxim Reality singing the song's lyrics along with Keith Flint.

From the No Good (Start The Dance) single is the (Bad For You Mix) by Liam Howlett, is a frenetic, fast-paced track with pulsating beats with metallic taps along with thumping bass beats. With intense, blaring synthesizers and speedy bass lines, it's a rave track to the fullest with hardcore big beats and speedy vocals. From the Poison single is a B-side called Scienide with its grinding, warbling electronic presentation including swirling, fuzzy synthesizers and slow, clapping beats. With fast, thumping beats coming around, it's a wonderful instrumental piece with blaring synthesizers and pulsating beats that is intense and frenetic in its hardcore techno sound. From the Voodoo People CD single is Goa (The Heat The Energy) Pt. 2 which is a remix of The Heat (The Energy) with thumping big beats, flying noises, scratchy electronic textures, and spurting vocals. With its warbling synthesizers that are sped up in its performance, it's a remix that is intense.

Two tracks from the Voodoo People remix EP are two remixes with the first being Rat Poison, a remix of Poison which its remix also appeared in its single. The remix features more warbling, thumping bass lines and frenetic beats with cymbal crashes along with Maxim Reality's grunting vocals that are mixed in sputtering rhythms. Along with grinding guitars and Maxim's vocals, it's a remix that intensifies the original song in its energy and presentation. The last track of the expanded version of the album is a remix of Voodoo People by the Chemical Brothers. With Maxim's vocals playing through repeatedly, the remix is filled with swirling loops, throbbing bass lines, and smooth, thumping beats. With its bass leading the track along with vocals of the original track, it's truly one of the best remixes ever made from the Prodigy's great electronic-music rivals in reshaping one of their defining tracks.

Released in July 1994 in Britain, the album was a surprise hit reaching #1 in the U.K. while being released in the U.S. in late February of 1995. The album gave the Prodigy great exposure as it drew rave reviews along with hit singles that helped boost the electronic music scene in Britain. Around the same time, British music was going through serious changes as it indie scene became Brit-pop with a horde of electronic acts getting the same kind of exposure as bands like Oasis and Blur were at the time. The Prodigy was also gaining attention as a live act while in 1996, they played some dates at the Lollapalooza festival in the U.S. It was clear that the momentum for the band was gaining as they were set to take on their most successful project to date.

Music for the Jilted Generation is an intense, sprawling, and heavy masterpiece from the Prodigy. The album is truly one of the best electronic albums ever made with its ode to dance, techno, industrial, electro-rock, and various forms of electronic dance. Thanks in part to Liam Howlett's vision, it's an album that doesn't stray from its intensity as keeps the listener dancing and going crazy. Though the expanded version of the album doesn't offer much rarities that hardcore fans already have. It's a record that is still vital to this day as Music for the Jilted Generation is the Prodigy's greatest achievement to date.

The Prodigy Albums: Experience/Experience Expanded - The Fat of the Land - The Dirtchamber Sessions Vol. 1 - Always Outnumbered, Never Outgunned - Invaders Must Die

(C) thevoid99 2011

The Prodigy-Experience/Experience Expanded

Originally Written and Posted at Epinions.com on 3/18/09.

When the British electronic music scene started to emerge from the late 80s after the dominance of synth-pop and the rise of the Manchester rave scene. It was clear that electronic music as well as various forms of it would start to emerge from the 1990s. One of the acts who would become the predominant act of the famed British electronic movement is the Prodigy. Formed in 1990 by musician Liam Howlett, the Prodigy was Howlett's brainchild as he formed the group with dancers Keith Flint and Leeroy Thornhill where in 1991, the band released a single to XL Recordings that became a hit in the rave circuits. After recruiting vocalist Maxim Reality, Howlett began work on what some considered to be a landmark in the British rave scene entitled Experience.

Written, produced, and performed by Liam Howlett, Experience is an album of frenetic techno and rave music with sprawling arrangements of pulsating beats, shimmering synthesizer notes, and tempos that range from various genres of electronic music to even dabbles of reggae. Featuring contributions from vocalist Maxim Reality and Simone, the album is mostly an instrumental record of sorts that serves as a soundtrack to the rave clubs of the 1990s. The result is a fascinating yet hypnotic debut album from Liam Howlett and his cohorts in the Prodigy.

The album opens with the single Jericho with its layers of frenetic, siren-like synthesizer sounds, pulsating beats, and blaring horn sounds. With wavy synthesizer lines following, it's a track that is led by its frenetic, pulsating rave beats and arrangements filled speedy vocals and even faster synthesizer melodies. Music Reach (1/2/3/4) is a track that continues the speedy, pulsating beats with more thumping bass beats and shimmering, wailing synthesizers as it features Simone singing throughout. Yet, it's dominated by layers of hypnotic synthesizers, sequencers, and beats as it features distorted, ludicrous-speed vocals. Wind It Up is a rave-inspired track that features a fast, melodic piano track and reggae-like vocals that is accompanied by furious, pulsating beats, and scratchy electronic backgrounds. With its throbbing yet intense presentation, it's a track that is perfect for a rave party with its melodic, reggae breaks.

A remix of Your Love opens with a speedy, high-pitch synthesizer solo that is scratchy along with running vocals and another vocal on top of it. With its frenetic beats and melodic piano flourishes, it's a track that is features siren-like keyboards and wailing, rhythmic vocals that plays up to the track's intensity. Hyperspeed (G-Force Part 2) starts with radio commentary and distortion as it goes into an intense, pulsating track of heavy big beats with breaks of smooth, wailing synthesizers, speedy vocals, and soft, pulsating beats. Going back to its heavy, fast big beats arrangement, it's a track that is intense yet undeniably hypnotic. Charly (Trip Into Drum And Bass Version) is a track featuring speedy, metallic beats and throbbing bass lines along with scratchy vocals. Along with melodic, fuzz-driven synthesizer tracks and frenetic arrangements, it's a track that explores the drum n' bass sub genre along with big beats and various electronic music styles.

The single Out Of Space is a reggae-inspired track featuring a sample of I Chase The Devil by Max Romeo along with a sample of the Ultramagnetic MCs track Critical Beatdown. With an intro of soothing synthesizers with melodic keyboard flourishes and scratchy beats, it's a track that features speedy vocals and bumping beats that plays through the frenetic track. Then it becomes a smooth, reggae track with various noises that returns to its frenetic presentation and moving it back and forth. Everybody In The Place (155 And Rising) is a track with hollow, melodic-swinging beats that pulsate through the entire track as it speeds up with blaring synthesizer tracks and shimmering beats that drive through the entire track along with speedy vocals. The eight-minute Weather Experience begins with a person talking about the weather on the news with haunting synthesizer tracks that becomes more sweeping in its arrangement. With its bass-heavy synthesizer distortion comes this thumping, heavy beat arrangement that plays through as it's one of the album's most haunting cuts which includes a slow bridge and sounds of thunderstorms.

The B-side single Fire (Sunrise Version) opens with a striking synthesizer track with reggae-like rhythms that is accompanied by pulsating, punchy beats and blaring vocals. Along with a melodic piano flourish in the background, it features a reggae break of speedy vocals and thumping beats with blaring synthesizer melodies. Ruff In The Jungle Bizness features speedy, scratchy vocals from Maxim Reality as it becomes this hypnotic track of melodic keyboard flourishes with pulsating, thumping beats that plays through in this jungle-inspired track which includes vocals from Simone. The album closer is a live version of Death Of The Prodigy Dancers opens with bumping bass beats and Maxim's growling vocals as it goes into this frenetic, intense track of scratchy electronics and pulsating beats. With blaring synthesizers that plays throughout, it's Maxim that drives the tracks on the vocals with whistles as it plays through its frenetic arrangements and intense performance.

From the 2001 Experience Expanded U.S. edition of the album are eleven extra tracks filled with B-sides and remixes. The first is the original version of Your Love with its upbeat, melodic piano flourishes with warbling, thumping electronic arrangements and speedy, tapping beats. With vocals playing throughout the track along with sliding guitar riffs that pop up every now and then, it maintains its hypnotic, frenetic presentation. Ruff In The Jungle Bizness (Uplifting Vibes Remix) features more striking piano melodies and frenetic beats that are more thumping in its pulsating arrangements. With its fuzzy, siren-like synthesizer tracks, it's a remix that's more intense in its presentation while adding more synthesizer layers to its track. Charly (Cat Alley Remix) is a track that features a slower yet mid-tempo rhythm with tapping beats and wailing synthesizers that play through the track. Along with an accompanying bass track and pulsating beats in the background, it features striking keyboard flourishes in the background and a squealing vocals.

An edited version of Fire includes blaring synthesizer sirens and intense, frenetic, and heavy beats that features driving keyboards that plays up to its arrangements. Along with reggae-like vocals that are sped up, it's an intense yet heavy track featuring big beats and driving rhythms. We Are The Ruffest is a remix of Ruff In The Jungle Bizness with bass-droning synthesizers, soft pulsating beats, and raga-inspired vocals. Then going into intense, thumping, and fast beats, it features speedy vocals and blaring synthesizers as it maintains its fast presentation. Weather Experience (Top Buzz Remix) features a shimmering, hi-hat cymbal track with thumping bass beats. With tapping beats playing along, it slows down into this somber yet melodic section of keyboards and soothing synthesizers with beats returning to accompany it in this moody yet pulsating remix. Wind It Up (Rewound) is a remix with speedier vocals and intense, fast tribal beats that get scratchier along with a melodic piano flourish that plays up to its tempo. With its reggae vocals still intact, it maintains its frenetic presentation of tribal beats and piano flourishes.

G-Force Pt. 1 (Energy Flow) begins with a soothing yet loud synthesizer track with blaring, horn-like sounds that includes intense, bass-heavy synthesizer tracks that play through. With its thumping, pulsating beats filled with layers of tapping beats underneath, the track includes speedy vocals and throbbing rhythms accompanied by striking synthesizers and piano flourishes for this superb rave track. Crazy Man is a track with bass-droning synthesizers, clapping beats, and blaring synthesizers that warble through the track. With the beats intensifying and getting faster, it's a track plays up to its rave atmosphere.

Out Of Space (Techno Underworld Remix) is a dub-inspired mix due to its reggae-like presentation and vocals as it warbles through with its speedy, droning tracks of beats and synthesizers. With thumping bass beats and soothing sections of melodic synthesizer flourishes, it's a track is filled with layers and sections that is wonderfully crafted in its remix. The closing track of the expanded version of the album is Everybody In The Place (Fairground Remix). With its blaring, droning synthesizers and frenetic, thumping beats, it's a remix that is more intense with speedy vocals and synthesizer sirens during the middle of the track. With scratchy synthesizers and intense beats, it's a fitting closer to the expanded version of the album.

Released in the fall of 1992, the album was considered to be a landmark in the burgeoning British electronic music scene. The record received critical acclaim as well as being a huge hit in the U.K. rave circuits while being an underground hit in the rising American rave scene. Along with singles that included remixes and B-sides, it was the that the Prodigy were helping the electronic movement gain attention just as Britain was about to take force with its indie scene. Yet despite its success, Britain was trying to create anti-rave laws along with changing movements that would inspire the Prodigy for their next album two years later.

Experience is an excellent from Liam Howlett and company that truly is one of the most fascinating albums of the 1990s electronic music scene. While it's not perfect and at times, musically repetitive. It's an album that serves as worthy soundtrack to the rave scene of the 1990s while being a great album for rave parties and such. Fans of the Prodigy will no doubt consider this as one of their essential with the material from its expanded version even though it's been in various singles from that record. In the end, for frenetic, intense music that will keep people dancing and having a good time. The Prodigy's Experience is the record to get.

The Prodigy Albums: Music for the Jilted Generation/More Music for the Jilted Generation - The Fat of the Land - The Dirtchamber Sessions Vol. 1 - Always Outnumbered, Never Outgunned - Invaders Must Die

(C) thevoid99 2011

Roxy Music-Avalon

Originally Written and Posted at Epinions.com on 6/26/09.

With the 1980s already underway with a slew of new bands coming out of the advent of the late 70s punk rock movement in Britain. A new scene was arriving in the form of bands with synthesizers as one of the acts the new bands were influenced by were Roxy Music. Taking the sounds and look of Roxy Music brought new inspiration as bands like Spandau Ballet, ABC, and Duran Duran acknowledge the great influence of the legendary 70s art-rock band. While Roxy Music was flattered by the compliment of the new acts, the band had lost some of its edge in the wake of two commercially-successful records that weren't well-received. The band, which was now a trio featuring vocalist Bryan Ferry, guitarist Phil Manzanera, and saxophonist Andy Mackay, now decided to forge ahead with a new sound that reveled in their sophistication and earlier experimental work for something more lush and adult-oriented entitled Avalon.

Produced by Roxy Music and Rhett Davies with several tracks written by Bryan Ferry with two co-written with Andy Mackay and one with Phil Manzanera. Avalon is an album that has Roxy Music diversifying their sound with more tribal beats but also a lush sound reveled in guitars and synthesizers that moved them away from the more commercialized material of the past two records. Featuring contributions from Squeeze/Mike & the Mechanics vocalist/keyboardist Paul Carrack on one track plus drums by noted session drummer Andy Newmark. The album is also the first to feature instrumental tracks that the band had never done in their career. The result is an intoxicating, mesmerizing, and atmospheric masterpiece from Roxy Music.

The album opener and leading single is the classic More Than This. With Phil Manzanera's ringing guitar melody and a swooning synthesizer, a smooth, bouncy rhythm arrives to accompany Bryan Ferry singing in a graceful, falsetto vocals. With its dreamy, imagery-laden lyrics, it's Ferry singing in a key that is unheard of but with such passion. With a chorus that includes an accompanying saxophone by Andy Mackay, it's a song that is purely rich with Rhett Davies' production maintaining a sense of atmosphere to the song as it includes an extended, instrumental coda with Manzanera's spurting guitar wails and a swooning synthesizer playing through. The Space Between is a song with tribal-like beats and bumping rhythms by its sumptuous bass lines, swanky guitars, and spurting saxophone wails. With Ferry singing in his cool, crooning vocal, the song is filled arrangements that is truly unique as it features array of percussions and sensual lyrics. With its production capturing every instrument that is playing, it's a track really sets the stage for the record.

The album's title track is a lush ballad with soothing synthesizers, bongo beats, swooning bass lines, and Ferry's melancholic yet cool vocal croon. With its mesmerizing yet enchanting lyrics, it's a song that encompass the lush atmosphere of the album with a female vocalist singing the chorus. With Manzanera's droning, scratchy guitars and Mackay's saxophone solo in its coda, it's a song that revels in its sophisticated yet trance-like presentation. The instrumental India is a track that is led by swooning synthesizer arrangements with Manzanera's droning, wailing guitars with smooth, wallowing beats, and Mackay's soothing saxophone. While My Heart Is Still Beating arrives with vibrant, bongo beats and flourishing pianos with spurting saxophones. Ferry starts to sing in an engaging, smoky vocal style with his melancholic, heartfelt lyrics. With Manzanera's ringing guitars and Mackay's swooning saxophone that plays to the song with its wobbly bass line and arrangements, it's a cut that helps maintain the lush tone of the album.

The Main Thing arrives with a warbling bass line and a thumping drum fill from Andy Newmark that is supported by hollow, tingling percussions. Along with a flourishing, wailing synthesizer and Manzanera's droning guitar, Ferry sings in an eerie, falsetto vocal with spurting saxophones from Mackay. With its arrangements of warbling bass and electronics, bouncy rhythms, and ringing guitars, it's a track that revels in the band's earlier, experimental work in its performance but from a more focused, trance-like feel in its performance and musicianship. Take A Chance With Me opens with a droning guitar solo from Manzanera with swirling synthesizers and hollow, pounding beats. Then it becomes a bouncy, mid-tempo track with Manzanera's ringing guitar, smooth bass lines, and Ferry's cool, crooning vocals. With its adventurous, nightlife lyrics, it features a great chorus that includes a wonderful synthesizer solo by Ferry as it's a song that includes top-notch production in capturing the rich sound of the instruments.

To Turn You On is another mid-tempo song with a wobbly bass line, soothing keyboards, and Ferry's intoxicating vocals filled with sensuality as he plays the seducer in the song. With Manzanera's melodic-flourishing guitar, Paul Carrack's piano accompaniment, and a thumping drum fill. With a spurting guitar solo from Manzanera that is played with such richness, it is a song plays up to its sophistication without going into bland territory. True To Life arrives with a melodic-bouncy synthesizer with Andy Newmark's smooth, rumbling drum fills. With Ferry's cool, crooning vocals filled with dreamy lyrics and soft vocal notes, it's a track that is rich in its production and arrangement that includes some fantastic guitar playing from Manzanera. The album closer is the instrumental Tara that features Ferry playing a soothing synthesizer with Mackay's somber yet enchanting solo on the saxophone. With an accompanying bass line and a piano from Ferry, it's a cut that serves as a fitting closer to the album.

Released in June of 1982, the album became the band's biggest hit in the U.K. reaching #1 while the critical response was overwhelmingly positive. In the U.S., the album went platinum though it peaked at #53. Yet, the album become a huge hit in the college radio circuit as did the song More Than This which attracted a new audience for the band. The band went on the road for about a year to support the album as it was a huge success. When the tour ended in 1983, the band announced that they were done for good as Bryan Ferry, Andy Mackay, and Phil Manzanera each embarked on different solo projects.

While Mackay and Manzanera went on to do careers as solo artists that was moderately well while working together on other projects and delve into other people's work. Bryan Ferry managed to maintain a very successful solo career in the 1980s which included the hit singles Slave To Love and Kiss & Tell that decade which included contributions from the likes of Pink Floyd's David Gilmour and the Smiths' Johnny Marr. Original drummer Paul Thompson, who left the band in 1980 following a motorcycle injury became a session musician working with the likes of Gary Moore. Then in 1990, Thompson briefly became a member of the L.A. alternative rock band Concrete Blonde where played in the band's biggest hit single Joey. Of all the members in Roxy Music, no one had a bigger profile than original keyboardist in Brian Eno. Since leaving the band in 1973, Eno created a string of widely-acclaimed albums while pioneering the musical style known as ambient. Eno also gained success as a producer working with the likes of Devo, David Bowie, U2, Talking Heads, and many others that continue to this day.

With the various members of Roxy Music taking low profiles in the 1990s with the exception of Brian Eno as a producer. Rumors about a reunion began to swirl about a possible reunion. There was speculation when at the 1998 Cannes Film Festival for the screening of Todd Haynes' glam-rock film Velvet Goldmine that featured several covers of songs by Roxy Music where attending the screening were Bryan Ferry and Brian Eno. A year later when promoting an album of standards, Bryan Ferry answered the rumors of a possible reformation with Roxy Music. Ferry revealed that he is considering reforming the band but with its original line-up though is aware that Brian Eno won't be touring since he rarely performs live.

Then in 2001, Bryan Ferry, Phil Manzanera, Andy Mackay, and Paul Thompson reformed Roxy Music with various backing musicians for a successful reunion tour that spawned a DVD and an acclaimed live album in 2003. Though Brian Eno chose not to be part of the reunion tour, talks about a possible album with Eno's involvement finally started to happen in 2005 though material that is being recorded is still in the works along with what label that is set to release it. As of 2009, the album is still in the works while the members of the band including Brian Eno are each doing different projects.

Avalon is a brilliant, sensual, and evocative masterpiece from Roxy Music. While it may not have the chaotic sounds of the band's earlier work from 1972-1975, it's a record that does match those predecessors in terms of consistency, strong material, and superb production by Rhett Davies. With a lush sound, intoxicating arrangements, and fantastic musicianship, it's a record that is dreamy as it leaves the listener in a trance. In the end, Avalon is soothing yet adventurous masterpiece from Roxy Music.

Roxy Music Albums: Roxy Music - For Your Pleasure - Stranded - Country Life - Siren - Manifesto - Flesh + Blood

(C) thevoid99 2011

Roxy Music-Flesh + Blood

Originally Written and Posted at Epinions.com 6/25/09.

1979's Manifesto brought Roxy Music back to the music scene after a four-year hiatus between albums where the band took a break to venture on solo and side projects. After a successful tour, the band lost one of its key members in drummer Paul Thompson as he got himself injured in a motorcycle accident. Thompson decided to leave the band for a while but eventually, he never returned until 2001. Now a trio, vocalist Bryan Ferry, guitarist Phil Manzanera, and saxophonist Andy Mackay decided to continue with session musicians including keyboardist Paul Carrack and drummer Andy Newmark to help them work on their seventh album. Also helping them would be engineer Rhett Davies, who had worked with the band since 1976's live album Viva! as he decided to produce their new album entitled Flesh + Blood.

Produced by Rhett Davies, Flesh + Blood is an album that moves Roxy Music away from the dance aesthetics of their previous Manifesto for a fuller yet slicker sound that would come to fruition in an atmospheric quality for their next record Avalon. With a majority of songs written by Bryan Ferry plus three co-written with Phil Manzanera. The album features two covers by Wilson Pickett and the Byrds. While the record features material that reaches the level of the slickness that hindered Manifesto, Flesh + Blood does prove that Roxy Music still has a few ideas left.

The album opens with a cover of the famed Wilson Pickett classic In The Midnight Hour with a funky, arpeggio-laden guitar, a smooth bouncy rhythm, and Bryan Ferry's cool, crooning vocals. With Andy Mackay's blaring saxophone, it's a song that slows the tempo of the original just a bit as it's an excellent cover with a production that works. Yet, it's not entirely great since it doesn't live up to the exuberance of the Pickett classic. The single Oh Yeah is a wonderful ballad featuring a smooth, flourishing piano with Phil Manzanera's chiming guitar wails as Ferry sings softly in a cool vocal as he is accompanied by a melodic synthesizer riff. For its chorus, Ferry sings about the joy of a radio that exudes nostalgia. The electronic-driven Same Old Scene with its sputtering yet rhythmic drum machine, blaring synthesizer melodies, and washy guitars by Manzanera. It's a song that is a return of sorts for the band into the world of art rock. With Ferry's mesmerizing yet melancholic vocal with somber lyrics, it's one of the band's best cuts along with some great synthesizer accompaniment by Ferry along with a blaring saxophone from Mackay.

Flesh And Blood is a track that is led by Manzanera's driving guitar riff with a bouncy rhythm and loopy bass line. With Ferry singing in a snarling vocal and dark lyrics, the song is accompanied by a swooning synthesizer as it's an excellent though drags a bit in its presentation. My Only Love is a haunting yet rich ballad that features amazing production in capturing the elegance of the pianos and synthesizers along with smooth, pounding rhythms. With Ferry's seductive yet wailing vocal, it's a song that is filled with melancholia in its lyrics as it's chorus features a nice, bouncy drum fill by Andy Newmark. With Manzanera's wailing guitar solo and scratches, it's one of the band's most underrated cuts as it's a seductive yet haunting cut which includes a sensual saxophone solo from Andy Mackay. Over You is an amazing cut featuring an upbeat, bouncy rhythm led by a driving bass line and a melodic synthesizer flourish. With Ferry's cool vocals with its somber, enchanting lyrics. With Manzanera's arpeggio-laden guitar flourishes and blaring saxophones, it's one of the album's standout cuts.

Next is a cover of the Byrds' classic, Eight Miles High. While it's a more upbeat version with dance rhythms and disco bass lines, a disco version of a psychedelic song doesn't seem to work despite Manzanera's shimmering guitar solo with Ferry singing in a cool style with psychedelic-induced lyrics. While it's a risky attempt, it doesn't entirely work since the Byrds' version was this chaotic, trance-like sound as Roxy Music kind of made it a bit bland. Rain, Rain, Rain is another synthesizer-driven track with hollow beats and warbling bass lines. With a slow, turgid rhythm, it has Ferry singing in a snarling vocal with eerie, sexual-laden lyrics. With Manzanera's swanky guitar, it's a song that is OK but its rhythm tends to drag the song in a bad way.

No Strange Delight is a bouncy, mid-tempo track with striking synthesizer spurts, loopy bass lines, and Ferry's cool, crooning vocal. It's a song that harkens to some of the band's earlier, experimental work though it maintains a smooth sound that is a bit bland in some spots. Still, it does manage to have some inspiring arrangements with its synthesizers and an oboe from Andy Mackay. The album closer Running Wild opens with a melodic-arpeggio guitar track from Phil Manzanera as it is followed by a slow, steady drum fill and soothing bass line. With Ferry singing in his crooning style, it's filled with lyrics of innocence and teenage nostalgia as it's got great production though it's a bit dull despite a great saxophone solo from Andy Mackay as well as Manzanera's wailing guitar to close the album.

Released in May of 1980, the album peaked at #1 in the U.K. album charts that spawned two top 5 U.K. hits with Over You and Oh Yeah plus a top-20 U.K. hit with Same Old Scene. While the album also did moderately well in the U.S., the album was not well-received with critics and some fans who felt that the band was getting more commercial. Despite the criticism, the band continued to forge ahead where in early 1981, the band scored a UK #1 hit with a cover of John Lennon's Jealous Guy in tribute to the fallen music legend.

While it's a bit of improvement over their previous album Manifesto, Flesh + Blood is a very good record from Roxy Music. While there's moments of blandness and song that don't work entirely, it's record that does have its moments in its production plus a few singles and a great album cut. While it's really a transitional record of what is to come from the next album. It's an album that really showed the band moving away from the adventurous side of their earlier work for something more commercial though it works but not entirely. In the end, Flesh + Blood is mesmerizing though flawed album from Roxy Music.

Roxy Music Albums: Roxy Music - For Your Pleasure - Stranded - Country Life - Siren - Manifesto - Avalon

(C) thevoid99 2011

Roxy Music-Manifesto

Originally Written and Posted at Epinions.com on 6/24/09.

The success of 1975's Siren helped Roxy Music reach a peak both creatively, critically, and commercially. Thanks in part to Bryan Ferry's cool persona as well as the musical talents of guitarist Phil Manzanera, saxophonist Andy Mackay, keyboardist/multi-instrumentalist Eddie Jobson, and drummer Paul Thompson. Roxy Music for that period seemed like the coolest band out there. Then in 1976 when the band was on tour, Bryan Ferry also achieved his first solo hit with Let's Stick Together as the band chose to go on a brief hiatus. With various members focusing on different projects, Ferry chose to keep his solo career going but he faced personal troubles in 1977 when longtime girlfriend Jerry Hall fell for legendary Rolling Stones singer Mick Jagger.

Heartbroken by Hall's departure, Ferry responded with The Bride Stripped Bare, an album that contained original material for the first time on album along with some covers. The record received a lukewarm reception critically and commercially in 1978 as Ferry decided to reform Roxy Music. Phil Manzanera, Andy Mackay, and Paul Thompson decided to join the reformation but keyboardist Eddie Jobson wasn't asked to return as he chose to work on other projects. During this reformation, the band found themselves out of place in the advent of the punk, post-punk music scene in the U.K. while in America, disco was ruling the charts. Seeing that artists like the Rolling Stones and Rod Stewart achieving success with disco songs, Roxy Music decided to jump ahead with the trend for their sixth studio release entitled Manifesto.

Produced and performed by Roxy Music, Manifesto is an album that features the band moving in transition as the adventurous art rock sound of their past recordings. With half of the songs written by Bryan Ferry, four of which were co-written with Phil Manzanera, and one with Andy Mackay. Featuring backing from several session musicians including future Squeeze/Mike & the Mechanics vocalist Paul Carrack on keyboards. The album showcases the band moving towards dance music as they go for more rhythmic textures and production scales that are more polished than previous albums. The result would be a decent though underdeveloped record from the legendary band.

The album's title track serves as the opening cut with its ominous bass line, slow yet steady drum fill from Paul Thompson, and an eerie synthesizer. With Manzanera's guitar arriving after a couple of minutes, Bryan Ferry starts to sing in his snarling croon with decadent lyrics as it maintains a bouncy presentation. Though the song does drag a bit as it makes a somewhat successful attempt for the band to delve into their art-rock sound. The single Trash arrives with Manzanera's washy, charging guitars with bouncy rhythms from Thompson's drums and melodic-blaring synthesizers. With lyrics about the new trends that are coming around in Britain, Ferry sings in a humorous vocal style with squealing saxophones from Andy Mackay along with scratchy guitars from Manzanera. It's a good song though its production is a bit flat in some parts. Next is the rhythmic single Angel Eyes in a remixed form than its more hollowed version in the original album version. With throbbing disco rhythms from its drums and bass, Mackay's swooning saxophone, and Manzanera's guitar. It's supported by flourishing synthesizers as Ferry sings in a crooning vocal style with lyrics about a woman's eyes as it's one of the album's best cuts.

Still Falls The Rain arrives with a swooning guitar solo from Manzanera and a slow, throbbing rhythm from Thompson's drums and bass. With Ferry singing in a crooning style, it starts out smooth until its chorus for a more bouncy rhythm with a horn section and backing vocal. With its arrangements to go for something more pop and quirky lyrics, it's a song that tries to be both arty and pop but doesn't mesh well along with its production where it sounds a bit rough. Stronger Through The Years opens with a slow keyboard riff from Paul Carrack as it features a smooth, bouncy rhythm with Manzanera's snarling guitar wail. With Ferry singing in a hollow vocal croon, its mix isn't very good as he tries to sing through some kind of distortion with nonsensical lyrics. It's a song that has a good presentation but doesn't work in mixing various styles as well as it's attempt to be arty.

Ain't That So features a swanky guitar riff along with Thompson's bouncy drum fills that picks its tempo a bit with Mackay's saxophone, a throbbing bass line, and then slows down when Ferry sings. With its cool, sensual-laden lyrics, it's a song that is filled with unique arrangements but there's part that lags in its performance while the production tries to be very slick which doesn't work. My Little Girl opens with an excellent, bouncy drum fill from Paul Thompson and Phil Manzanera's driving, washy guitar. Then the song goes into a more throbbing style that is almost in a disco style but with a slick production and keyboards that kind of makes the song bland. Even as Ferry sings in a crooning vocal with cool lyrics as it's a song that doesn't really work despite a great start. The single Dance Away, which appears in a remixed version than in the original album version, is a song that has Roxy Music delving a bit into disco. With its smooth, throbbing rhythm as it starts out smooth with Ferry's cool vocal with mesmerizing lyrics. Then the tempo picks up for its chorus with swooning piano and Manzanera's wailing guitars.

Cry, Cry, Cry is an upbeat song with a wailing horn section, bouncy rhythms that is nearly reminiscent of disco, wailing saxophones, and Ferry's soulful vocals that includes a group of backing vocalists singing in the chorus. While it has Ferry delving into some soulful territory, it's a song that kind of feels out of place with the record while it also tries to delve into many styles. The album closer Spin Me Round is a ballad that features Paul Carrack's somber keyboards and Ferry's soft vocals. With a smooth drum and guitar performance arrive, it's a song that has dreamy lyrics along with nice arrangements though it's production falters a bit along with an extended instrumental coda that doesn't really go anywhere.

Released in March of 1979, the album was a hit in the charts and with a mainstream audience in Britain while in the U.S., it peaked at #23 in the album charts. Despite its success due to its remixed singles for Dance Away and Angel Eyes, the album was not well-received with some critics and fans who felt that the adventurous side of the band's earlier work was traded for a bland sound to keep up with the times. Despite the criticism the band received, the band went on a successful tour for the record. After that tour, the band hit a road bump when drummer Paul Thompson injured himself in a motorcycle accident as he decided to leave the band for a while. Yet, the members of Roxy Music decided to forge on as a trio with various musicians backing them up as they're about to enter the 1980s.

While it's the weakest album in the band's rich discography of albums, Manifesto is still a decent record thanks to two fantastic singles (in remixed forms) and some inspiring performances. While its production either lags from being under-produced in spots to sometimes, very slick and bland. It's a record that shows a band having a bit of success in keeping up with the times though they lose some of their edge with this record. In the end, Manifesto is a record that has its moments but doesn't live up to the albums that preceded the great work from Roxy Music.

Roxy Music Albums: Roxy Music - For Your Pleasure - Stranded - Country Life - Siren - Flesh + Blood - Avalon

(C) thevoid99 2011