HBĬatch a Fire (Jamaican version) (1973), Bob Marley and the Wailers Propulsive polyrhythms drive against the lyrical pleas for us to stop and take stock. “Facts are simple and facts are straight / Facts are lazy and facts are late…” sang David Byrne, submerging personal and planetary anxieties about fake news and conspicuous consumption in dense, layers and loops of Afrobeat-indebted funk.
Although that was really the only mediaeval imagery they conjured up – they ripped Dungeons & Dragons clichés out of the lyrics and replaced them with the apocalypse, with bassist Cliff Burton, drummer Lars Ulrich, guitarist Kirk Hammett and singer/rhythm guitarist James Hetfield serving as the four horsemen. This album is about storytelling – the mediaeval-influenced guitar picks on opener “Battery” should be enough to tell you that. In 1986, they released one of the best metal records of all time, which dealt with the potency and very nature of control, meshing beauty and raw human ugliness together on tracks like “Damage Inc” and “Orion”.
HBĭespite not featuring any singles, Metallica’s third album was the UK rock radio breakthrough they’d been looking for. You can hear her listening to the band, biding her time before firing up her voice to demand “R-E-S-P-E-C-T”, 50 years before the #MeToo movement. The Queen of Soul gave herself the same space. When Jerry Wexler signed the daughter of a violent, philandering preacher to Atlantic records, he “took her to church, sat her down at the piano, and let her be herself”. One potential deal-breaker: though the disc is enhanced by the inclusion of dialogue as some tracks segue from one to another, it could be frustrating for listeners making their own mixes and playlists.I Never Loved a Man the Way I Love You (1967), Aretha Franklin
The actual Joy Division material here could be called the big three: "Dead Souls," "Love Will Tear Us Apart," "Atmosphere." A version of "Transmission" recorded by the cast members is impressive, almost uncanny, while the Killers' cover of "Shadowplay" gets better after the intro and even better once you're able to block out the vocals. Representation from JD contemporaries is limited to Buzzcocks (a post- Howard Devoto live version of "Boredom," recorded at the Roxy) and an F-word-laced rant from John Cooper Clarke. Out of the inclusions released prior to Joy Division's formation, there is one surprise, and it is the fantastically frilly and schizophrenic "She Was Naked" by obscure Holland prog rockers Supersister - in the liner notes, director Anton Corbijn, who photographed Joy Division shortly after relocating from Holland to England in 1979, alludes to pulling a fast one with the song's insertion, only to find out that JD drummer Steven Morris had each of the band's albums. Can would've likely made sense, or perhaps even Nektar (there is actual published photographic evidence that Ian Curtis was a Nektar fan), but there are no miscues, and there is enough to open up a new world for those who are only slightly familiar with the band and its roots. Nearly every proto-punk artist a Joy Division expert would expect to hear in the film's background is represented: a who's who featuring the Velvet Underground, Roxy Music, Kraftwerk, Iggy Pop, and two David Bowies (the glam and Berlin/ Eno Bowies). Initial screenings of Control were met with no short amount of praise, including a standing ovation at Cannes and approval from each surviving member of Joy Division, so it is not a surprise that the film's soundtrack - released the same day as Rhino's Joy Division "collector's edition" (not to be confused with "deluxe edition") reissues of Unknown Pleasures, Closer, and Still - is commendable as well, put together with similar degrees of knowledge and care, though a second disc containing New Order's full score would not have been a bad thing.
0 kommentar(er)
