| Author | Message | ||
     Victor Prose Unregistered guest |
Anybody have "Clear Water"? | ||
| delroy sims Unregistered guest |
good question! | ||
| Martin Schori Member Username: Martin_s Post Number: 22 Registered: 05-2006 |
Hi Victor I can send you an mp3-file. Send me a message to mschori@gmx.net. | ||
| Victor Prose Unregistered guest |
Done & done. Many thanks. | ||
| Stuart Wilson Member Username: Stuart Post Number: 278 Registered: 10-2006 |
And is it worth having?? | ||
| Jeff Whiteaker Member Username: Jeff_whiteaker Post Number: 1592 Registered: 10-2004 |
I echo Stuart's question! | ||
| Victor Prose Unregistered guest |
It's gorgeous, rootsy and understated in the way of Forster's solo records; its foreign origin give it a unique feel that somehow rings more overtly Appalachian (using that as a catch-all word for "old-timey" "westerny" or "mountainy") than Danger In The Past. That said, the songwriting isn't quite at Forster's literary level, and the material takes its time fully sticking out. Naturally, Baby You Know is not a knockout conglomerate of trailblazers like most great bands. But the group plays and sounds well, and as side projects go, it sure beats Far Out Corporation, not to mention most of Cleopatra Wong and Jack Frost (though I know Jack Frost has its deeply devoted fans). Verdict: a solid record of audible artistic integrity that's well worth owning for those who are interested. I was not disappointed. But I would be a lying sack o' lies if I denied that "I Love You Still", in a version that sounds vaguely like early Mazzy Star (that's neither a compliment nor an insult), was still currently my favorite song. The tune was tailor-made for a project with the distant beauty of this one, but personally, I imagine it's difficult to achieve a "distant beauty" on the level of the Botany Sessions, which for me are some of the most gorgeous songs the GB's ever wrote overtoned with that intriguing, rare air of ethereal mystery bootlegs like The Great White Wonder are somehow blessed with. | ||
| Jeff Whiteaker Member Username: Jeff_whiteaker Post Number: 1598 Registered: 10-2004 |
I quite like that first Jack Frost record. Haven't heard the second. To this day, I have never heard Cleopatra Wong. | ||
| Victor Prose Unregistered guest |
Cleopatra Wong sounds like the Pet Shop Boys with worse lyrics and female singers. (At least, Egg does - haven't listened to Cleopatra's Lament yet.) Contrary to earlier statements I made on this board, I actually like Snow Job better than the self-titled now that I've heard it a bunch, though nothing beats "Thought That I Was Over You". The way I see it, the first side of the first JF record is pretty good, but elsewhere there's a shocking amount of material that really drags, or is drowned in 'atmosphere' ("Number Eleven", "Everything Takes Forever"). Then again, a lot of people apparently think that "Under The Milky Way" is the best Australian song of the last 25 years, and that The Church were as good as or better than the GBs, so maybe I'm missing something. | ||
| Michael Bachman Member Username: Michael_bachman Post Number: 1434 Registered: 01-2005 |
I thought "Under The Milky Way" was decent tune, however to me it always sounded like a song that Echo and the Bunneymen could have done in their sleep in their heyday (no pun intended!). Compared to the other great albums of 1988, Starfish doesn't come near to cracking my top 10. | ||
| Randy Adams Member Username: Randy_adams Post Number: 1955 Registered: 03-2005 |
Jimmy Little does an excellent version of "Under the Milky Way" which illustrates the song's considerable merit as a song. I've never heard a Bunnymen tune that used a lounge jazz chord progression like that but I bailed out of the Bunnymen after just a few albums. It's too bad this board doesn't have a platform for sharing songs or I could post Little's version. Is it the best Australian song of the last 25 years? Obviously not. I like both Jack Frost records, though I am usually a little embarrassed by Grant's more rock 'n rollish efforts and Snow Job in particular bristles with them. I love "Angela Carter" though. From the first album "Everything Takes Forever" is one of my favorites. I suppose you have to be into that sort of psychedelic stuff. The Church's main problem is that they've made too many records and they still do. Are they on the Go Betweens' level? Obviously not. Egg is not a classic, to put it kindly. I haven't heard Cleopatra's Lament either. I've yet to like anything on FOC. It's probably time to pull it out again to see if anything appeals to me now. | ||
| Victor Prose Unregistered guest |
Cleopatra's "Thank You" deserves singling out, I think -- Lindy Morrison and Amanda Brown weren't exactly brainless, so I'm not inclined to think their goal with CW was generica. That wonderful, impeccably crafted Egg tune would've been a perfect mixture of pop satire and pop sincerity had it been released as a single, and it still stands up admirably under repeated plays. But the rest of the EP doesn't exactly lend credence to the idea that there was a lot of intellectual heft behind LM and AB's music. I still can't stand "Tina's Story", the work of a lyricist that learned nothing from her GBs partners. The psychedelophilia argument is valid with much of Jack Frost and the Church, but I still don't get "Everything Takes Forever". Lyrically, it's off-puttingly mystagogic; musically, I simply find it unpleasant. Nor do I dig Steve Kilbey's unthematic "psychedelic" poetic interjections in "Thought That I Was Over You", even though I know he's not taking himself too seriously. Such lyrics fare better on "Didn't Know Where I Was" and "Every Hour God Sends". Also, chain me to the wall -- my favorite song on "Snow Job" is "Jack Frost Blues", and I ain't no mindless rockaholic!!. I more-or-less detest Far Out Corporation - Grant loved to do generic rock, but generic rock was way worse in '98 than it was in '91 or '93. However, the last three songs, particularly the oft-cited "Suicide At Home" and "Parachute", offer a sudden break from the rest of the album and sound like classic, if not ideal, McLennan. And since this is a discussion of side-projects, I want to say again that I really get a kick out of that Baby You Know record. It's better than Bright Yellow Bright Orange, let's put it that way - sort of like Country Phone's cheekier, less writerly cousin (and currently my car is enjoying a CD with both albums on it). I highly recommend "Outlaw". Now I just need to hear Club Hoy! | ||
| Victor Prose Unregistered guest |
Just saw some Club Hoy videos, "On an On" and "Green & Blue" (don't know if he produced the latter). Cute pair of girls. Listening to these, I can't help but imagine that McLennan must've LOVED Cleopatra Wong when they came out. | ||
| Stuart Wilson Member Username: Stuart Post Number: 282 Registered: 10-2006 |
Well, just back from a visit to Regensburg, and I must admit I was disappointed not to walk into one of its second-hand music shops and immediately find a copy of Clear Water...silly optimism of course, and indeed didn't find anyone who'd ever heard of Baby It's You either! Beautiful town though, and much excellent beer. |