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Rock - Verschenen op 1 januari 2000 | Capitol Records

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Rock - Verschenen op 1 januari 1997 | CAPITOL CATALOG MKT (C92)

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Rock - Verschenen op 1 januari 2003 | Capitol Records

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Alternative en Indie - Verschenen op 21 juni 2010 | Capitol Records

The Dandy Warhols began their career on the indie label Tim/Kerr and eventually founded their own independent imprint, Beat the World, but a big chunk of their albums were released by one of the most major of majors: Capitol Records. Best of the Capitol Years 1995-2007 does what it advertises, distilling the band's eight-year stint on the label down to its essence. Though it leaves off the Dandys' sometimes confounding, often druggy experimental moments, it still captures the sarcastic and searching sides (and the tension between them) that make the band unique. "Not If You Were the Last Junkie on Earth," "Bohemian Like You," "We Used to Be Friends," and "All the Money or the Simple Life Honey" display Courtney Taylor-Taylor and company's dead-on eye for pop culture satire, skewering hipsters, conspicuous consumption, and frenemies with takes-one-to-know-one wit. Meanwhile, "Godless," "Holding Me Up," and "Good Morning" remain among the group's most beautiful and introspective moments, adding depth to their body of work. Interestingly, the collection switches out a couple of tracks from Welcome to the Monkey House ("Scientist" and "Plan A") with versions of those songs from the 2009 remixed version of that album, The Dandy Warhols Are Sound. It's a change that perhaps only the most devoted Dandys fans will notice, but it reflects the care that went into the compilation. Best of the Capitol Years 1995-2007 is one of those fairly rare greatest-hits sets that brings a group's work into focus instead of reducing it to just the singles. © Heather Phares /TiVo
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Pop - Verschenen op 1 januari 2013 | Capitol Records (CAP)

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Alternative en Indie - Verschenen op 8 april 2016 | Dine Alone Music Inc.

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Alternative en Indie - Verschenen op 25 januari 2019 | Dine Alone Music Inc.

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Rock - Verschenen op 1 januari 1998 | Capitol Records

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Alternative en Indie - Verschenen op 23 april 2012 | naïve

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Alternative en Indie - Verschenen op 24 november 2008 | [PIAS] Cooperative

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Rock - Verschenen op 1 januari 2001 | Capitol Records

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Rock - Verschenen op 1 januari 2005 | Capitol Records

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Rock - Verschenen op 24 maart 2014 | The End Records

Booklet
While 13 might be unlucky to some, the Dandy Warhols embraced the inauspicious number on their first live album. Recorded in 2013 to celebrate the 13th anniversary of their third album, Thirteen Tales from Urban Bohemia Live at the Wonder finds the band re-creating its breakthrough album track for track. Although over a decade has passed since the album was originally released, this live set is dripping with the effortless cool of the original, offering fans a clear reminder of why these guys were the darlings of neo-psych both at home and abroad. The Dandys have claimed that they've tried to record live albums in the past, but Thirteen Tales from Urban Bohemia Live at the Wonder is the first one that's really taken, and listening to it, it doesn't take long to figure out why. This performance not only epitomizes the languid and stylish vibe the band puts out on its albums, but it shows that Thirteen Tales from Urban Bohemia was more than just a bit of studio magic. © Gregory Heaney /TiVo
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Rock - Verschenen op 13 juli 2009 | Capitol Records

The Dandy Warhols opened their 2003 album, Welcome to the Monkey House, with a brief, snide dig at record industry greed and illogic that ran, in part: "When Michael Jackson dies, we're covering 'Blackbird.'" The line was obviously intended as a flip reference to Jacko's control of the Beatles' publishing rights -- of course, "Blackbird" is a rather fitting song to record as a eulogy, though it's doubtful that the Dandys considered that at the time. But fate had some amusingly ironic, if insignificant, tricks in store when, six years later, Jackson's unexpected death occurred mere weeks before the release of an alternate version of that same album -- a version whose initial release had been prevented by the Dandys' own industry woes, and which featured all of the same songs except for the sadly newly relevant titular ditty. The story is that the bandmembers took the tracks (which they had co-produced with Duran Duran's Nick Rhodes) to be mixed in New York by Russell Elavedo (D'Angelo, Common, the Roots), but the results were rejected by Capitol Records and shelved in favor of a new version mixed (apparently without the band's involvement) by British pop engineer Peter Wheatley (Sugababes, Girls Aloud, Sophie Ellis-Bextor), which was released to mild but vaguely disappointing success and ended up as their second to last album for the label. The differences between the two versions, as fans heard once the Elavedo mix (dubbed The Dandy Warhols Are Sound) was self-released by the band in 2009, are roughly what one would expect after comparing the two engineers' prior clientele rosters. Not that these mixes make the Dandys sound like a grittily organic hip-hop/soul outfit on the one hand, or a glistening chart-pop act on the other -- this is essentially a rock & roll album either way -- but Sound is notably more stripped-down and spacious, with fewer of the synthesizers and electronic underpinnings that gave several Monkey House tracks their noted (and arguably prescient) new wave/synth pop vibe. This helps to bring the songs closer to the rootsier, dirtier, and somewhat dubby approach of their previous albums, although it's hardly comparable to the gloriously noisy dronefests of their first two -- even if shifting "(You Come In) Burned" up, to open the album with a slow-building epic, is a nice nod to Dandys tradition. But yes, in a word, Elavedo's version is less poppy, even if in some ways it actually feels cleaner and more direct, since fewer layers of sound allow the songs to stand more fully on their own merits. (This is particularly true of easily overlooked numbers like "Heavenly" and "Rock Bottom," though it's not always necessarily to their benefit.) The big pop numbers -- which are now mostly slotted in a clump at the beginning of the record -- lose almost none of their tight, hooky appeal. Listening to both mixes side by side, song for song, the differences are readily evident and fairly striking -- though there are no substantive changes to the actual songs themselves. Oddly, though, listening to either version in full makes it much harder to notice any prominent differences, perhaps because of how well the tracks are incorporated into each version's distinctive sound-world. Ultimately, the differences between the two are not all that great. Sound may have a slight edge over the originally released version of this material, if only because it's truer to the band's initial intentions, and Dandy diehards will certainly find it worth checking out, but more casual fans who already own Monkey House can probably skip it unless they're looking for an intriguing lesson in the nuances of mixing. (The "new song," "Pete Int'l Spaceport," is merely four minutes of ambient effects washes, and should hardly be considered a selling point.) © K. Ross Hoffman /TiVo
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Alternative en Indie - Verschenen op 14 november 2018 | Dine Alone Music Inc.

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Pop - Verschenen op 1 januari 2013 | Capitol Records (CAP)

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Elektronische muziek of Musique Concrète - Verschenen op 20 oktober 2020 | The Dandy Warhols

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Alternative en Indie - Verschenen op 18 december 2012 | naïve

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Rock - Verschenen op 1 januari 2005 | Capitol Records

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Pop/Rock - Verschenen op 7 mei 2012 | naïve