God Bless the Go-Go's received a score of 68 out of 100 from Metacritic based on generally favorable reviews from critics.[1] Allmusic wrote, "Every bit as Go-Go's, that is, as their non-hits and less remarkable material. While the Go-Go's sound is intact, there is not a "We Got the Beat" or a "Head Over Heels" to be found. It is feasible that in this age of pop rebirth, the Go-Go's decided it was now or never."[2] Rolling Stone wrote "The album doesn't attempt to update the band's sound with hip-hop moves or electronic frippery, for which God should bless 'em, indeed. The girls' hold on the current pop world remains so strong that Green Day's Billie Joe Armstrong co-writes a song ("Unforgiven") in impeccable Go-Go's drag."[3]
God Bless Tiny Tim is the first album by Tiny Tim.[1] Released in 1968 on the Reprise label, it included "Tiptoe Through The Tulips" (the song which made him famous), a version of "I Got You Babe", and a collection of obscure songs. Many of the songs have humorous lyrics, are sung for humorous effect, or have an unexpected hook. It is widely praised, but was not released on CD until the late 1990s, and then only in Japan. It later was re-released on CD in 2013 with a number of bonus tracks that include alternate and instrumental versions of the album's songs as well as non-album singles.
Gong 2000 Album
The album was produced by Richard Perry, who had produced Captain Beefheart's first album Safe as Milk and later produced albums by Barbra Streisand, Harry Nilsson, Rod Stewart, Carly Simon and Ringo Starr. The arrangements are by Artie Butler.
For some of the album, Tim sings in his unusual falsetto style. However, on a number of songs ("Stay Down Here Where You Belong", "The Coming Home Party" and others) he sings in a rich baritone, demonstrating his voice's range. In "On the Old Front Porch", "Daddy, Daddy, What Is Heaven Like?" and on "I Got You Babe", he sings both baritone and falsetto, alternating between the two. A joke in "I Got You Babe" is revealed in the last words where both baritone and falsetto voices unexpectedly sing at once, revealing the apparently agile duet is actually himself singing double-tracked.
For the aficionado, the line-up that night was Daevid Allen (guitar, vocals), Gilli Smyth (vocals, space whisper), Steve Hillage (guitar), Didier Malherbe (flute, soprano sax, duduk), Theo Travis (tenor sax), Tim Blake (synthesiser, vocals), Miquette Giraudy (synthesiser), Mike Howlett (bass), Chris Taylor (drums), and together they concentrated on the classic albums 'Camembert Electrique', 'Flying Teapot', 'Angel's Egg' and 'You' with just one song from 'Zero To Infinity' and nothing else. 18 tracks, classics all, with the band combining and creating something incredible special in the way that only Gong can. We get plenty of glissando, Gilli provides her poetry, and this is far more of an event or happening than just a gig. By concentrating on the second album and then the three which form the 'Radio Gnome Invisible' trilogy the band were giving the fans exactly what they wanted, even though the most recent of the albums was already more than 30 years old (and now nearly 50), yet it is striking at just how relevant and exciting they are even today.Gong were a very special band indeed (yes, I know they are still in existence as Daevid Allen wanted them to continue after his death), and although there have been multiple line-ups over the years, for me it is when Daevid, Gilli and Steve were all playing together that this band became something very special indeed and this live recording captures all that and so much more. If you consider yourself a proghead but have never seriously investigated Gong, then this is the place to start. social review comments Review PermalinkPosted Sunday, September 11, 2022 Review this album Report (Review #2819572)
The first track starts us off strong! with a rather colorful fanfare, with seemingly crazy lyrics that are quite surprising.For me, it is a superb title of psychedelic poetry, of successful experimentation and that made with a sense of the melodyFlying Teapot is a pleasant cosmic journey that seems to be less interesting nevertheless. The piece ends however on a maze of hallucinated piano which is not without reminding some previous works of the group.The 3rd track "seems" more conventional, it is not. Suggestive voices repeating crazy, a small incursion of a few seconds in the music hall, and we come back to a rather jerky piece that would not have been out of place on a Syd Barrett album.Zero The Hero And The Witch's Spell", is maybe the most Canterbury track of all, but not by much because the cosmic journey of the Teapot continues towards distant and agitated galaxies...The flying teapot closes on the last track which is not the most surprising, we end with a more academic touch, and a little more "calm".I give a 4/5 to this excellent album of jazz and space rock, I think it will become one of my bedside CDs.I praise its universe, its sweet madness, the universe he built in only 35 minutes and which still seems to me very solid 49 years later. I don't give it a higher rating because the album has some weak moments (especially the last track), but overall it's still excellent and tasty to listen to for Canterbury/space rock fans.By the way, the cover of the album was again a criterion of selection for me as often in this kind of music. This one is quite atypical.**A special mention for DAVID AELLEN, behind the majority of the songs as author or co-writer and who undeniably brings a poetic and melodic touch to this acid opus. social review comments Review PermalinkPosted Thursday, June 2, 2022 Review this album Report (Review #2757999)
Daevid Allen and Co. (and what an impressive company he has on 'Flying Teapot' - Didier Malherbe, Steve Hillage, Gilli Smyth, Tim Blake, and Francis Moze, among others) go all in on this epic but marvelously silly album that combines the love for psychedelia with the progressive leanings of these very gifted musicians, ultimately giving birth to one of the gems of the Canterbury Scene. The album is centered around the two longer pieces, both of which gradually develop until the reaching of the much-desired climax; simply, space rock classics! Opening track 'Radio Gnome Invisible' is certainly a goofier, borderline comical piece that sets the tone for the whole album (and dare I say, for the whole Radio Gnome Invisible trilogy) - far away from being too serious, always very trippy, but making no excuses when it comes to composing undeniably good musical landscapes, the 'principal rules' of Gong. Then comes the 12-minute 'Flying Teapot', the first real great composition by the band, an incredibly sophisticated psych-prog explosion.Side two contains the catchy 'The Pot Head Pixies' and the idyllic 'The Octave Doctors and the Crystal Machine', both full of layers of synths and trippy sounds, maybe a bit corny, but ultimately enjoyable in the context of the record. The 10-minute long 'Zero the Hero and the Witch's Spell' is the other big highlight, much in the spirit of 'Flying Teapot', it is a song that gradually builds up until the band start their unapologetically satiating cosmic explorations. Finally, there is 'Witch's Song / I Am Your Pussy', one of the weirdest songs I have ever heard, this is all I am going to say.All in all, 'Flying Teapot' is a too excellent example of the silly cosmic rock side of prog; Of course, it should not be neglected because of this, as one would hear some of the most intricate and coherent music that has been composed during the early 70s, topped by the unmistakable atmosphere of the Radio Gnome Invisible trilogy. social review comments Review PermalinkPosted Sunday, February 13, 2022 Review this album Report (Review #2692425)
This is basically a classic Gong lineup, with not only Daevid ALLEN and Gilli SMYTH, but also Didier MALHERBE--sharing reeds responsibilities with now-Prog-household name, Theo TRAVIS who also plays keys, etc.--and Mike HOWLETT. They are joined then by drummer Chris Taylor, who really naturally fits the bill for a Gong drummer: jazzy, groovy, etc.I did go on to describe every single song on here, to some extent before. Let's see what I can do in a lightning round:"Foolfare" opens very nicely into "Magdalene", perhaps a highlight (there was really only one), which then goes into "The Invisible Temple", a classic space rock song. Don't remember what else to say (I don't have the time). "Zeroid" I would say is an oldhead's (sorry?) take on futurist something something. I dunno. I said it better before, I'm sure. "Wise Man in Your Heart" was kinda boring; kind of a smooth jazz thing, I think. "The Mad Monk" was almost good. "Yoni On Mars" I don't remember.I'll break it up here, as "Damaged Man" was, if anything, the sure highlight: an eerie track that unfolds into this very complex avant-jazz space thing. I probably said it better before. Who cares? "Bodilingus" was some hippy-dippy bullsh*t about getting in touch with your body(?). If I had more psychedelic experiences, maybe I can get with it (I'm skeptical). "Tali's Song" was also boring. Nothing to say about it. And lastly "Infinitea" (love the name) is just a very straight-ahead space rock jam.That's it. Nothing of note in terms of "new". I dunno. This is what you get lol.True Rate: 2.5/5.0 social review comments Review PermalinkPosted Thursday, December 16, 2021 Review this album Report (Review #2652765)
Well performed British Fusion. They did, I think, generally help really drive the genre forward (Since when/who? NUCLEUS?!--I would see them as a continuation of Ian CARR's powerful legacy). Of course, this music is highlighted by the aforementioned percussion. Pierre is an excellent drummer, his brother Benoit and Stefan Traub share the responsibility of the necessarily-Gong vibes as well as synthesizer, and lastly we have the great bass-playing of Hansford Rowe. Not familiar with the latter, but he's a tethering force on "Leave It Open" and, as mentioned on the mic, he was the songwriter for "Soli".At worst, we get some, to me, stale and boring tracks, like with "Deep End". I think where the band is weakest is in their synthesizer choices. A tad cheesy at times, perhaps. The guitaring is good, for sure, but unlike earlier iterations of the band, there aren't too many memorable riffs or whatnot (the closer, "Xtasea", is the exception). Is what it is. And maybe with that, it should be said, it's not as great as I was anticipating (or how I made it maybe seem above). social review comments Review PermalinkPosted Monday, December 6, 2021 Review this album Report (Review #2650094) 2ff7e9595c
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