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Idioma disponible: inglés
The band that was hoping for a fresh start on Mercury Records in the interview herein has been dropped instead. They promise an eventual U.S. release for their new opus, but I wouldn't bet the ranch house. The Boos' U.K. success has oddly never translated here, and it seems as if, like Columbia before them, Mercury gave up before they even started. Bastids. Too bad, too, for what might become the first import-only Boos record is one hell of a return from the OK but somewhat confusing C'mon Kids. The once-again self-produced Kingsize manages to perpetuate its predecessor's predilection for peculiar surprise, but reinserts the crucial missing piece, the very strength of the band throughout its history: basic songwriting. C'mon Kids was wonderfully schizophrenic, and it had its moments like the Cheap Trick-ish title track. But MARTIN CARR is really best when absorbed with the sort of starry-eyed melodies that seem just crafted for SICE to croon, in his leisurely, crying voice that enchanted on so many of the band's finest outings, from "The Finest Kiss" all the way to "Reaching Out From Here." Carr and his three mates aren't trying so hard here, either. They let each song breathe, like on Giant Steps, instead of mildly suffocating the animal with their own eagerness. It starts right from the onset, with the band's two best songs in four years. Punctuated by a thick background forest of four violins, two violas, two cellos, and four brass players, the stomping "Blue Room at Archway" soars celestial-bound on a hook so clean, and a vocal so effortless, it screams the "pop" they're so roundly loved for but have been neglecting. The 12 strings 'n' horns folks stay on for "The Old Newsstand at Hamilton Square," their dulcet and jazzy tones slotting perfectly with the band's supple, firm playing on another hands down winner. (They're a knockout on "JIMMY WEBB is God" too.) Ahh, reverie. And so it goes from there. It's as if Carr was a hot-streak gold miner who emptied out his strike, briefly tapped out, and then suddenly-presto!-hit on a vein as bountiful as his previous (Boo) run. Some of the golden nuggets hit stride running, such as the whimsical but lovely "High as Monkeys" and "Comb Your Hair"; others, such as the flute and keyboards soaked "Monuments For a Dead City," take their damn sweet time fermenting. Singing along with the chorus of "Adieu Clo Clo" is likewise compulsory. No Boos LP is 100% perfect: "Free Huey" is about as awful a choice for a single (why!!!???) as can be conceived. Boo! indeed. Not because it's a spastic, hard-dance tune, but because it's a well-below average one that underachieves like, say, "Ride the Tiger." Massive Attack is not nervous. That and a few of the more slow, psychedelic numbers in the middle can be a little numbing. Other than that, the Boos are still too fresh-faced on the outside, and too full of complexity and depth in the inside, not to reclaim their spot as one of the great bands going. Welcome back, boys, glad your march towards oblivion back home was such a short one, because your prospects here suddenly seem so dim. Spend the bucks, buy the import!
© Jack Rabid /TiVo
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Alison Dods, Violin - Andy Wilkinson, Engineer - Bruce White, Viola - Catherine Browning, Violin - David Liddell, Trombone - Ellen Foggin, French Horn - Everton Nelson, Violin - Ian Caple, Mixing Engineer - Jonathon Morcombe, French Horn - Martin Carr, Composer - Martin Carr, Lyricist - Paul Read, 2nd Engineer - Ryan Smith, Bass - Sophie Sirota, Viola - The Boo Radleys, Performer - The Boo Radleys, Producer - Tim Myall, Violin - Toby Coles, Trumpet
(P) 1998 Creation Records Limited
Andrea Morris, Violin - Andy Wilkinson, Engineer - Catherine Browning, Violin - Chris Worsey, Acoustic Cello - David Liddell, Trombone - Ellen Foggin, French Horn - Everton Nelson, Violin - Ian Burdge, Acoustic Cello - Ian Caple, Mixing Engineer - Martin Carr, Composer - Martin Carr, Lyricist - Matthew Gunner, French Horn - Paul Read, 2nd Engineer - Rebecca Ware, Viola - Richard Harris, Trombone - The Boo Radleys, Performer - The Boo Radleys, Producer - Tim Myall, Violin - Toby Coles, Trumpet - Vince Green, Viola
(P) 1998 Creation Records Limited
Andy Wilkinson, Engineer - Dave Buchanan, Mixing Engineer - Martin Carr, Composer - Martin Carr, Lyricist - Nick Addison, Mixing Engineer - Paul Read, 2nd Engineer - The Boo Radleys, Performer - The Boo Radleys, Producer
(P) 1998 Sony Music Entertainment UK Limited
Andy Wilkinson, Engineer - Martin Carr, Composer - Martin Carr, Lyricist - Richard Woodcraft, 2nd Engineer - Savvas Iossifidis, 2nd Engineer - The Boo Radleys, Performer - The Boo Radleys, Producer - Yannis Apostolidis, Flute
(P) 1998 Creation Records Limited
Andy Wilkinson, Engineer - Ian Caple, Mixing Engineer - Martin Carr, Composer - Martin Carr, Lyricist - Neil Halliday, Scratches - Paul Read, 2nd Engineer - Terry Edwards, Trumpet - The Boo Radleys, Performer - The Boo Radleys, Producer
(P) 1998 Creation Records Limited
Al Clay, Mixing Engineer - Andy Wilkinson, Mastering Engineer - Graham Dominy, Mixing Engineer - Martin Carr, Composer - Martin Carr, Lyricist - The Boo Radleys, Performer - The Boo Radleys, Producer - Tim Young, Mastering Engineer
(P) 1998 Creation Records Limited
Andrea Morris, Violin - Andy Wilkinson, Engineer - Catherine Browning, Violin - Chris Worsey, Acoustic Cello - Everton Nelson, Violin - Ian Burdge, Acoustic Cello - Martin Carr, Composer - Martin Carr, Lyricist - Rebecca Ware, Viola - Richard Woodcraft, 2nd Engineer - Savvas Iossifidis, 2nd Engineer - The Boo Radleys, Performer - The Boo Radleys, Producer - Vince Green, Viola
(P) 1998 Creation Records Limited
Alison Dods, Violin - Andy Wilkinson, Engineer - Catherine Browning, Violin - Chris Worsey, Acoustic Cello - Dave Buchanan, Mixing Engineer - Everton Nelson, Violin - Ian Burdge, Acoustic Cello - Martin Carr, Composer - Martin Carr, Lyricist - Nick Addison, Mixing Engineer - Paul Read, 2nd Engineer - Rebecca Ware, Viola - The Boo Radleys, Performer - The Boo Radleys, Producer - Tim Myall, Violin - Vince Green, Viola
(P) 1998 Creation Records Limited
Andy Wilkinson, Engineer - Ian Caple, Mixing Engineer - Martin Carr, Composer - Martin Carr, Lyricist - Paul Read, 2nd Engineer - The Boo Radleys, Performer - The Boo Radleys, Producer
(P) 1998 Creation Records Limited
Alison Dods, Violin - Andy Wilkinson, Engineer - Catherine Browning, Violin - Chris Worsey, Acoustic Cello - David Liddell, Trombone - Ellen Foggin, French Horn - Everton Nelson, Violin - Ian Burdge, Acoustic Cello - Ian Caple, Mixing Engineer - Martin Carr, Composer - Martin Carr, Lyricist - Matthew Gunner, French Horn - Paul Read, 2nd Engineer - Rebecca Ware, Viola - Richard Harris, Trombone - The Boo Radleys, Performer - The Boo Radleys, Producer - Tim Myall, Violin - Toby Coles, Trumpet - Vince Green, Viola
(P) 1998 Creation Records Limited
Andrea Morris, Violin - Andy Wilkinson, Engineer - Bruce White, Viola - Catherine Browning, Violin - Chris Worsey, Acoustic Cello - Everton Nelson, Violin - Ian Burdge, Acoustic Cello - Ian Caple, Mixing Engineer - Martin Carr, Composer - Martin Carr, Lyricist - Paul Read, 2nd Engineer - Ryan Smith, Bass - Sophie Sirota, Viola - The Boo Radleys, Performer - The Boo Radleys, Producer - Tim Myall, Violin
(P) 1998 Creation Records Limited
Andy Wilkinson, Engineer - Martin Carr, Composer - Martin Carr, Lyricist - Richard Woodcraft, 2nd Engineer - Savvas Iossifidis, 2nd Engineer - The Boo Radleys, Performer - The Boo Radleys, Producer
(P) 1998 Creation Records Limited
Andrea Morris, Violin - Andy Wilkinson, Engineer - Bruce White, Viola - Catherine Browning, Violin - Chris Worsey, Acoustic Cello - David Liddell, Trombone - Ellen Foggin, French Horn - Everton Nelson, Violin - Ian Burdge, Acoustic Cello - Ian Caple, Mixing Engineer - Jonathon Morcombe, French Horn - Martin Carr, Composer - Martin Carr, Lyricist - Paul Read, 2nd Engineer - Ryan Smith, Bass - Sophie Sirota, Viola - The Boo Radleys, Performer - The Boo Radleys, Producer - Tim Myall, Violin - Toby Coles, Trumpet
(P) 1998 Creation Records Limited
Andy Wilkinson, Engineer - Ian Caple, Mixing Engineer - Martin Carr, Composer - Martin Carr, Lyricist - Paul Read, 2nd Engineer - The Boo Radleys, Performer - The Boo Radleys, Producer
(P) 1998 Creation Records Limited
Presentación del Álbum
The band that was hoping for a fresh start on Mercury Records in the interview herein has been dropped instead. They promise an eventual U.S. release for their new opus, but I wouldn't bet the ranch house. The Boos' U.K. success has oddly never translated here, and it seems as if, like Columbia before them, Mercury gave up before they even started. Bastids. Too bad, too, for what might become the first import-only Boos record is one hell of a return from the OK but somewhat confusing C'mon Kids. The once-again self-produced Kingsize manages to perpetuate its predecessor's predilection for peculiar surprise, but reinserts the crucial missing piece, the very strength of the band throughout its history: basic songwriting. C'mon Kids was wonderfully schizophrenic, and it had its moments like the Cheap Trick-ish title track. But MARTIN CARR is really best when absorbed with the sort of starry-eyed melodies that seem just crafted for SICE to croon, in his leisurely, crying voice that enchanted on so many of the band's finest outings, from "The Finest Kiss" all the way to "Reaching Out From Here." Carr and his three mates aren't trying so hard here, either. They let each song breathe, like on Giant Steps, instead of mildly suffocating the animal with their own eagerness. It starts right from the onset, with the band's two best songs in four years. Punctuated by a thick background forest of four violins, two violas, two cellos, and four brass players, the stomping "Blue Room at Archway" soars celestial-bound on a hook so clean, and a vocal so effortless, it screams the "pop" they're so roundly loved for but have been neglecting. The 12 strings 'n' horns folks stay on for "The Old Newsstand at Hamilton Square," their dulcet and jazzy tones slotting perfectly with the band's supple, firm playing on another hands down winner. (They're a knockout on "JIMMY WEBB is God" too.) Ahh, reverie. And so it goes from there. It's as if Carr was a hot-streak gold miner who emptied out his strike, briefly tapped out, and then suddenly-presto!-hit on a vein as bountiful as his previous (Boo) run. Some of the golden nuggets hit stride running, such as the whimsical but lovely "High as Monkeys" and "Comb Your Hair"; others, such as the flute and keyboards soaked "Monuments For a Dead City," take their damn sweet time fermenting. Singing along with the chorus of "Adieu Clo Clo" is likewise compulsory. No Boos LP is 100% perfect: "Free Huey" is about as awful a choice for a single (why!!!???) as can be conceived. Boo! indeed. Not because it's a spastic, hard-dance tune, but because it's a well-below average one that underachieves like, say, "Ride the Tiger." Massive Attack is not nervous. That and a few of the more slow, psychedelic numbers in the middle can be a little numbing. Other than that, the Boos are still too fresh-faced on the outside, and too full of complexity and depth in the inside, not to reclaim their spot as one of the great bands going. Welcome back, boys, glad your march towards oblivion back home was such a short one, because your prospects here suddenly seem so dim. Spend the bucks, buy the import!
© Jack Rabid /TiVo
Acerca del álbum
- 1 disco(s) - 14 pista(s)
- Duración total: 01:02:18
- Artistas principales: The Boo Radleys
- Compositor: Martin Carr
- Sello: Creation Records
- Género Pop/Rock
(P) 1998 Creation Records
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