Elvis 30 Number One Hits Torrent __TOP__
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Elvis 30 Number One Hits Torrent
The paradigm Google wants to foster is one that asserts that the booty-shakin? college girl video has the same intrinsic value as the Emmy Award-winning TV show and that the value of either will only be determined by the number of hits each receives in cyberspace.
This is where I think the schism between technologists and creators becomes ideological and sociological. The serious artist is offended to have his work ground into mouse fodder, valued identically with the garbage; and the consumer should be offended, too. The paradigm Google wants to foster is one that asserts that the booty-shakin? college girl video has the same intrinsic value as the Emmy Award-winning TV show and that the value of either will only be determined by the number of hits each receives in cyberspace.
The techno comp I discovered on a $50 boombox as I sat by thelake with my beloved, the Morrison and Turner and King when my twobeloveds commandeered the Benzi on various superhighways. And mostof the Honorable Mentions provided moments of pleasure that didn'tgo all the way--Gus Cannon is considered breakfast music around myvacation retreat.THE BREEDERS: Last Splash(4AD/Elektra)Kim Deal can't sing andneither can Kelley--not with force, anyway. But what the hey.Unabashed models of feminine weakness, they murmur, they chant,they make a pass at harmonizing, thus revealing the once-ominoustunings of sonic youths everywhere for the benign art-school movethey are. No way are these songs "pop"--they won't make littlechildren smile or Mom pat her foot. But their sweetness is no lesscertain for that, and considerably rarer. A MINUSBOBBIE CRYNER(Epic)Not only does she sound like John Andersonwith a higher voice and better hair, she writes. Cleverly, too,even if "This Heart Speaks for Itself" speaks for her aesthetic--stompersand weepers like "I'm Through Waitin' on You" and "I ThinkIt's Over Now" are a decisive tad more straightforward than hook-ladenMusic Row koans like "The One I Love the Most." Expressingherself or exerting her professionalism, she's thoughtful anduntamed, a natural-born womanist who's taking no shorts. NeotradNashville has not seen her like. But it will. A MINUSDESMOND DEKKER: Rockin' Steady: The Best of Desmond Dekker(Rhino)For those who find ska compilations forbiddingly random, Dekker'scrude pop sense and eerie, offhand falsetto provide a focus and away in. There'll never be another "Israelites." But if the titles"Shanty Town" and "Intensified" mean anything to you, which theyshould, take a chance on "Mother Long Tongue" and "Fu Manchu." A MINUSJIMMIE DALE GILMORE: Spinning Around the Sun(Elektra)Never one for automatic poetry, Gilmore chooses to showcase precisely fourof the new songs he's managed in the past two years,and even though ButchHancock and Al Strehli provide appropriate camouflage, somebody upthere must have expected a grander statement, because this major-labelfollow-up is gussied up like just that. The voice transmutesMajor Tom into Roy Orbison, the production glistens like Garth, andfast or slow the tempos never waver. All of which may strike thepure of heart as icky, or inappropriate, but I doubt I'll hear amore gorgeous country record--maybe a more gorgeous record--anytimesoon. And unlike "After Awhile", this one doesn't let up--ends witha spooky Lucinda Williams duet and three of those four new songs,two of which were definitely worth the trouble. AHIS NAME IS ALIVE: Mouth by Mouth(4AD)Proudly eclectic,reflective, and obscure--hell, arty--this is mood music for moremoods than you'll first believe are there, including plenty of sexfor the polymorphously inclined. Think Big Star's Thirdas wittingaesthetic strategy rather than failed attempt to make the world goaway. Warren DeFever adds an electric flaneur's world-musiccollection and an extra coupla decades of pop-studio perversity tothe sonic palette. Karin Oliver sings as if being pretty is aspiritual attainment. A MINUS[Later]B.B. KING: Blues Summit(MCA)The artist's flair for the duet issuch that the most arresting solo here comes when B.B. is driven tonew heights by his favorite collaborator, the B.B. King Orchestra.And because he doesn't want to give away his come-ons yet (or elsedoesn't have any), he sounds more comfortable with the men than thegals. But that's not to say the likes of Robert Cray and Etta Jamesand John Lee Hooker aren't extra added attractions. Or that theydon't inspire him to focus--which is really all he needs. B PLUSVAN MORRISON: Too Long in Exile(Polydor)You know, exile--likeJoyce and Shaw and Wilde and, oh yeah, Alex Haley. All on accountof those "Bigtime Operators" who bugged his phone back when he wasgreen. Now getting on to grizzled, he seeks guidance from the kasof Doc Pomus and King Pleasure and "The Lonesome Road," anunutterably sad spiritual recast as an upbeat vibraphone feature.And especially, on three cuts, his old soulmate John Lee Hooker,who doesn't come close to sounding overexposed on Them's "Gloria"and Sonny Boy's "Good Morning Little Schoolgirl" and something newby Van called "Wasted Years," about how the dumb stuff is behindthem now. I don't know about Hook, but Van's just jiving--when hewanders "In the Forest," it's never a safe bet that he'll get out.A MINUSTECHNOSONIC VOLUME 3(Sonic)Only maniacs and ecstatics tracktechno subgenres, but since this comp is subtitled "A Journey IntoTrance," figure it's in "ambient" territory--that is, "boring."It's from Antler Subway Records in Belgium, a famous label for whatthat's worth, and the reason it isn't "boring" is that this tranceseems designed to bring blood to the erectile tissues: "Drive MyBody," "Sensual Motion," "Just Can't Get Enough," done mostly withrhythm and texture rather than the porny spoken-word come-ons sofashionable in the Brussels we've come to know. With a littlepoetic license you could call the first side/half the build to arelaxed orgasm. Relaxed by techno standards, anyway--in real-timemeasure, only maniacs and ecstatics fuck this fast for more than 30seconds. The rest is more traditionally trancelike, with occasionalforays into afterplay. Brian Eno could do a lot worse, and has. A MINUSTINA TURNER: What's Love Got To Do With It(Virgin)This respectsliteral chronology even less than the movie, which has her doing"Proud Mary" before Creedence released it. But there's a logic tothe willy-nilly segues--in which, for instance, two glossilyintelligent new products of her pop-diva phase, the thematic "IDon't Wanna Fight" and the pneumatic "Why Must We Wait UntilTonight?," flank B.B. King's 1964 "Rock Me Baby" and the Trammps'1978 "Disco Inferno," neither of which has ever had her name on itbefore. In essence, she's reenacting her career as timeless myth,submitting every brilliant exploit and humiliating compromise tothe unmatched lust and lustre of her 54-year-old pipes. She's neversounded more beautiful or more alive. Or more enigmatic--it's asimpossible as ever to glimpse what she might be like in "reallife," or even to pin down an artistic appeal that at this pointseems to inhere in the the raw fact of her survival. As for thesex, it's more abstract and calculated than ever. And right--lovehas nothing to do with it. A MINUSLOUDON WAINWRIGHT III: Career Moves(Charisma) In a music wherescions of the upper-middle class are supposed to camouflage theircultural impoverishment, one of the many irritating things aboutL-III is that he's never bothered. Another is his great subject,which boils down to divorce whether the metaphor is his kids or hismom or his goddamn waitress. And at 47, he's so callow that it'seasy to forget how consistent he's kept the product. So here's avivid reminder. His second live album adds six new ones to aselection that concentrates on his Rounder period, after he gave uphis puny dreams of pop glory and settled into the folk-circuitgrind, and except for a dumb Elvis song, every one is a gem. Accepthim for what he is and the man can flat-out write. Just becausehe's so shameless, he doesn't miss a detail--baby shampoo andunwaxed dental floss, pissing in the sink and coming in yourcummerbund. More important, he doesn't miss a nuance, either--evenin Nashville they don't pin down the vagaries of male chauvinistresentment quite so tight. And to top it off he has revealingthings to say about his life in art. Inspirational Verse: "Out onthe road, out on the road/You're Willie Loman and Tom Joad/Vladimirand Estragon/Kerouac, Genghis Khan." A[Later]PAUL WESTERBERG: 14 Songs(Sire/Reprise)Like most know-nothings--well, who else says shitlike "Knowledge is power/Got your books,go read 'em/Wisdom is ignorance/Stupidity--I call freedom"?--heequates freedom with individualism and wisdom with unbridledsentiment. But the Replacements were a monument to bad faith by theend, and being as it's time for him to shit or get off the pot, heshits. "Things," to a woman who deserves better than the guy whowrote this song, will tempt you to forgive the the stupid songpoemsabout junkyard flowers and runaway winds. "Down Love" and "A FewMinutes of Silence" are new ways to say shut up. You'll want tohear that riff again--that one too. Because his official solo debutis considerably more raucous than Don't Tell a Soulor All Shook Down. B PLUSDud of the Month4 NON BLONDES: Bigger, Better, Faster, More!(Interscope)Except maybe for a few pie-eyed corner-cutters over inmarketing, nobody born before Never Mind the Bollocksthinks LindaPerry is "alternative." It was to avoid music that might distractfrom her big vague voice--referents: people she never heard of likeLydia Pense and people you wish she never heard of like AnnWilson--that she axed her female guitarist for a male hotshot onceher male producer took her aside. Janis is dead, unfortunately.Also unfortunately, her vision of meaningful rebellion lives on. CAdditional Consumer NewsHonorable Mention:Gutterball (Mute): New Zevons for a pomo world("Trial Separation Blues," "One by One")PJ Harvey, Man-Size (Island import):album-available single plus two utterly disparate signature B sides("Wang Dang Doodle," "Daddy")The Fall, The Infotainment Scan (Matador):great original sound, one hell of a cover band ("Lost in Music," "I'mGoing to Spain")Street Music of Java (Original Music): love thatgirl-group dangdut, appreciate the rest ("Asoi," "Kuda Lumping," "HaiCuim Dong")Cannon's Jug Stompers, The Complete Works1927-30 (Yazoo): love that medicine-show rag, appreciate therest ("Going to Germany," "Madison Street Rag," "Bring It With YouWhen You Come")The Coup, Kill My Landlord (Wild Pitch):collegiate revolutionary cliche equals gangsta revolutionaryrevelation ("Dig It!," "I Know You")Stevie Ray Vaughan and Double Trouble, In theBeginning (Epic): live and unfledged, 4/1/81--blues as abarely controllable torrent of electric sound ("Shake for Me," "TinPan Alley")Champion Jack Dupree, One Last Time (BullseyeBlues): the band boys listen like they might not get another chance("Bad Blood," "School Days")Chris Smither, Happier Blue (Flying Fish):expansive new songs, congenial new band, and the stompingest foot thisside of John Lee Hooker ("Happier Blue," "Honeysuckle Bone")Mary McCaslin, Things We Said Today: The Best of MaryMcCaslin (Philo): progressive schoolmarm as spirit of the West("The Bramble and the Rose," "Last Cannonball")Bash & Pop, Friday Night Is Killing Me(Sire/Reprise): where the Replacements were antiintellectual, they'rejust unintellectual--as opposed to untalented, or even uninspired("Fast & Hard," "Loose Ends")Brokin English Klik (Wild Pitch): they aim theirhostility where it belongs--at cops, you, me, and the next fella("Who's Da Gangsta?," "Youth Gone Mad")Frank Black (Elektra): the trivial Pixie ("FuManchu," "I Heard Ramona Sing")The Fall, Kimble (Strange Fruit): greatoriginal sound ("Spoilt Victorian Child")Pere Ubu, Story of My Life (Imago): postpunkas likable litterateur, band as predictable support ("Story of MyLife," "Kathleen")Van Morrison, The Best of Van Morrison VolumeTwo (Polydor): post-'84--the Great Ruminator ("Real RealGone")Choice Cuts:Sid Selvidge, "Keep It Clean," "Tell Me Why You LikeRoosevelt" (Twice Told Tales, Elektra Nonesuch)Iggy Pop, "Louie Louie" (American Caesar,Virgin)Space, "Judas Priest" (Sonic Screwdriver, SubBass import)John Hiatt, "Perfectly Good Guitar," "Buffalo River Home"(Perfectly Good Guitar, A&M)Buddy Guy, "Country Boy" (Feels Like Rain,Silvertone)System 01, "Drugs Work" (Berlin 1992: A TresorCompilation: The Techno Sound of Berlin, NovaMute).Duds:Cracker, Kerosene Hat (Virgin)Chris Mars, 75% Less Fat (Smash)Meat Beat Manifesto, Satyricon (Mute)Tresor II: Berlin-Detroit . . . A Techno Alliance(NovaMute)Village Voice, Sept. 28, 1993 350c69d7ab