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Prefab Sprout - Let's Change The World With Music

  • User: qwert_zuiopü

  • qwert_zuiopü

    Ort: Freiburg
    Postings: 13,083
    Dabei seit: 12.07.2001

  • 24.07.2009 | 11:29:31
    NEW ALBUM - 'Let's Change The World With Music' - Due 07/09/09

    Cover + Tracklist

    Let’s Change The World With Music’ was written and produced by Paddy McAloon at Andromeda Heights and mixed in Scotland by Calum Malcolm. The record kicks off with the hip-hop influenced hook-laden piano led ‘Let There Be Music’, which sets the tone for the rest of the record.

    Paddy began work on ‘Let’s Change The World With Music’ in 1992, as the follow-up to ‘Jordan: The Comeback’. 17 years later, Paddy returns to these songs, some of his personal favourite compositions.

    The 11 tracks are rejoiceful and uplifting, striking an endearingly familiar chord, all the while sounding fresh and timeless. Highlights are aplenty and include the celestial ‘Ride’, the jazzy sway of ‘I Love Music’ and the melancholic ‘Sweet Gospel Music’.


    In terms of what it sounds like, I'd say it falls pretty neatly between 'Jordan' and 'Andromeda', which of course makes sense as these are the original recordings Paddy made (alone) of these songs, dating back to 1992: they have not been re-recorded, but have been "baked in the oven", as Paddy put it, by Calum Malcolm. It sounds finished, though. Definitely a proper, coherent and thematically unified album.

    The sound is pretty synthetic (not a lot of 'natural' band sounds, so probably closer to 'Andromeda' than 'Jordan') but the songs by and large are wonderful.

    Quelle: Link

  • User: Fincher

  • Fincher
    North Rhine-Westphalian Scum

    Postings: 10,957
    Dabei seit: 28.03.2001

  • 24.07.2009 | 12:13:57
    "Synthetic Sound und close to Andromeda" lassen meine Erwartungen leider bereits schrumpfen.

  • User: haru_specks

  • haru_specks
    shine on

    Dabei seit: 30.05.2001

  • 24.08.2009 | 09:41:45
    nach erster enttäuschung von wegen abgelehnte demo von 92, die mittels pro tool eingespielt wurde, ist die alte liebe wieder frisch. traummelodien, süßeste texte... von der einstellung sweetest soul-music.

  • User: qwert_zuiopü

  • qwert_zuiopü

    Ort: Freiburg
    Postings: 13,083
    Dabei seit: 12.07.2001

  • 05.09.2009 | 12:00:12
    hier in deutschland ist sie ja schon gestern rausgekommen, musste aber erstmal 3 plattenläden abklappern bis ich sie endlich gefunden habe. erst einmal ganz gehört, aber der erste eindruck ist durchweg positiv.

  • User: haru_specks

  • haru_specks
    shine on

    Dabei seit: 30.05.2001

  • 22.09.2009 | 09:23:32
    danke an kristina fürs zusenden. "nachpromo" zu "let's change the world with music": paddy mcaloon himself...

    YAWNING CAVES OF BLUE

    I would like to say a few words about ‘Let’s Change The World With Music’, but first I need to tell you about the Yawning Caves of Blue. Bear with me…
    When I was a young man, I was fascinated by the story of the Beach Boys’ lost album ‘Smile’. The very idea of an entire album of music, written by Brian Wilson at the peak of his powers, during the ‘Good Vibrations’ era, remaining locked away in a studio vault, was both baffling and tantalising. Today ‘Smile’ is a keystone of rock mythology, and the circumstances of its recording and abandonment (and recent revival) are well documented. But in the 1970’s the story still shimmered like a Grail legend.
    In 1976 I came across an old article written by Tom Nolan, of ‘Rolling Stone’ magazine, about the ‘Smile’ era and this lovely, but apparently discarded, music.
    Nolan devoted a lot of space to ear witness accounts of Wilson’s experiments with sound. In trying to convey the effect this music had on those lucky enough to have heard it, some of his descriptions were almost poetic. One phrase in particular exercised a strange hold over my imagination and song writing aspirations. When Nolan wrote about the music containing
    “glitter and sunshine, yet there were profound shades of blue
    like yawning caves or climbing through thick ivy”
    I felt as if I could see those “yawning caves”, and almost hear that music, and - somewhat optimistically – I imagined that if I tried hard enough I might even, at some distant date, manage to suggest such depths of feeling in my own songs.
    Perhaps I should say at this point that I had no intention of trying to write ‘like’ Brian Wilson – I wouldn’t have known where to start – and, I think, knew even then that if you copy someone else’s style, at best you’ll only end up with pastiche. Besides, I was only reading about this music, and trying to imagine its power. But I liked Tom Nolan’s words, and quickly compressed the feeling I’d got while reading them into a very simple phrase. And over the next thirty years there were countless times I’d sit down to write a song and think of those “yawning caves of blue”, in the same way as you might look up at a favourite photo or picture on the wall above your desk before starting work.
    There was much in Nolan’s article that fired my imagination. He quoted Brian Wilson as saying that he was now making ‘spiritual music’. I understood this to mean that Wilson was trying to tune into something other than himself, and to articulate it through music. Clearly, he wasn’t using the word ‘spiritual’ in some narrow bible-thumping religious sense. I think he wanted to celebrate being part of a bigger picture; he was talking about transcendence.
    It was a hip friend of mine, Tony Taylor, who first informed that some of this unreleased music was actually sitting in the racks of a Newcastle record shop. (Over the years the Beach Boys would occasionally drip feed their fans extracts from the ‘Smile’ project). So I took ‘Surf’s Up’ home and listened to the title track, and within a few minutes I understood why this story wouldn’t go away, and why Tom Nolan might write about those yawning caves.
    Along with vivid descriptions of this lost music, Tom Nolan also alluded to various factors that may have played their part in the non-appearance of ‘Smile’, but I didn’t pay too much attention to those parts of the story. All that stuff about dissatisfaction with the lyrics, and the risky business of abandoning a tried and trusted formulae; all the political stuff about a record company’s anxiety at the inordinate amount of time (and money) being spent in studios, plus the songwriter’s alleged eccentricity – none of these extra-musical details made much impression on me back then.
    Nor did I spend too much time (if any) wondering if Brian Wilson was dismayed at what had happened to his music. I assumed he had his reasons for not finishing it. But if I were coming across this story now, I would wonder: was he crushed to have worked so hard on a record only for it to miss its moment? Did he really have doubts about his own work, or was he just bewildered that other people didn’t see things his way? And did it ever occur to him that while he was talking about making ‘spiritual music’, others might hear those words as a synonym for box-office poison, and wish he’d get back to writing songs about surf boards, hot rods, cars and girls?
    Why didn’t I think about any of this stuff? Well, I was nineteen, and – I blush to tell you – heroically devoted to the notion of music as something ‘ideal’, something hovering way above the dull grey world of day to day responsibilities. I pictured Brian working on those yawning caves of blue, and thought that he had deserved a lot of leeway. To be perfectly frank with you, I was absolutely determined to have a job just like his.
    Being nineteen is wonderful, but it has its blind spots. And reading a cautionary tale through a pair of rose-tinted spectacles is one of them. I wasn’t to know if your last album wasn’t a smash hit, or if it was too long, some sceptics might not be so easily charmed by your next ‘masterpiece’, your eccentricities, or your spiritual / musical aspirations.
    So while I was a student of the ‘Smile’ myth, I wasn’t a very good one. In fact I was a lousy interpreter of its implications. Which is a shame, because a more accurate interpretation might have helped me to understand what happened to the music I hoped, and intended, to record with Prefab Sprout over the summer of ’93, an album entitled ‘Let’s Change The World With Music’.

    I began work in autumn 1992 on what was to have been the follow up to ‘Jordan: the Comeback’.
    I put everything I had into the songs, some of which employ – funnily enough – overtly spiritual metaphors: music as a consoling force, an inspiration, even – perhaps – music as the voice of the sublime. Occasionally I leaned on the kind of language and imagery you might find in gospel music. I was trying to capture some of the stuff that makes soul, or gospel music, soulful. You can appreciate what I was up to, can’t you? You wouldn’t have been so literal minded as to be alienated by that kind of language, would you? You would have seen what I was up to. That’s right. I was talking about transcendence. I was looking for transcendence. Transcendence through music. Yep. That’s what I was up to seventeen years ago.
    And, seventeen years later, these are still some of my personal favourites among the many songs I’ve written. (No ‘Good Vibrations’, unfortunately, but we live in hope).
    Now it goes without saying that I would like to have recorded ‘Let’s Change The World With Music’ with Marty, Wendy, Neil and Thomas; I believe they wanted to, but we missed our moment so it wasn’t to be. Why? I have no idea. Beats me. Anyway, one day in May ’93 we made a poor move. But hey, water under the bridge. I blinked and went back to the drawing board. Back then, all that really mattered to me were those yawning caves of blue.
    I hope you won’t mind if I skip the track-by-track lowdown on ‘Let’s Change The World With Music’. After all this time I’m still way too close to see straight, and it feels more seemly to talk about someone else’s music. So I’d like to offer you my final thoughts on the subject of ‘Smile’, and, come to think of it, so called ‘lost albums’.
    It has taken me far too long to realize that the ‘Smile’ myth is only partly to do with music, however highly we regard Brian Wilson’s songs. Clearly, it’s also about the dull grey stuff that musicians are often slow to address, yet ignore at their peril. It certainly highlights the difficulties lyricists face in a very literal minded world. And it may even have something to say about ego; about blithely, and unrealistically, assuming that everyone sees things the way you do. But ultimately, it is probably just a story about entropy; the natural tendency for all things – however lovely – to eventually fly apart.

  • User: haru_specks

  • haru_specks
    shine on

    Dabei seit: 30.05.2001

  • 22.09.2009 | 09:24:28
    ach so: hier könnt ich auf meine knie sinken, so schön ist das...

  • User: mekon

  • mekon

    Dabei seit: 03.04.2001

  • 22.09.2009 | 09:44:42
    "the natural tendency for all things – however lovely – to eventually fly apart"

    Da hat er ganz recht, da ändern auch polierte alte Demos nichts dran. Danke , und alles Gute !

  • User: Jupiter 8

  • Jupiter 8

    Postings: 20
    Dabei seit: 21.09.2009

  • 22.09.2009 | 14:02:26
    cheesy...

  • User: Fincher

  • Fincher
    North Rhine-Westphalian Scum

    Postings: 10,957
    Dabei seit: 28.03.2001

  • 24.09.2009 | 09:45:30
    Was für eine Scheißplatte!
    Die Produktion klingt dann tatsächlich wie aus dem Frühe Neunziger-Kaugummiautomat, die Texte sind oftmals peinlich und die Songs können auch nix. Unter diesen Umständen lass' es lieber bleiben, Paddy.

  • User: peterbourbon

  • peterbourbon

    Postings: 477
    Dabei seit: 26.08.2003

  • 25.09.2009 | 00:43:51
    Tolles Album, berührt mich schon sehr & über Retro-Diskurs mache ich mir schon lange keine Gedanken mehr.

  • User: killerblick

  • killerblick

    Postings: 3,733
    Dabei seit: 13.03.2004

  • 26.09.2009 | 22:13:26
    wer dieses album ernsthaft scheiße findet, quält auch kleine kätzchen.


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