Dont Calm Down - Nemetz & Bechtloff - Out Of Eden (CD, Album) download full album zip cd mp3 vinyl flac
Cryptic, but great. The rest took a lot of getting used to, but one can get into it with repeated listening. Shame on me for not even considering checking out Peter's early albums as early as two years ago. This is a great album! The songs are so tight, so melodic, and so friggin' well-written. The radio standard is "Solsbury Hill," and it's, of course, good-- a pretty tune which really benefits from the electric guitars which join in at the end out of nowhere.
The only weak link, I agree with Ben, is "Waiting For The Big One"-- not a terrible tune, but lodged in with all of these perfectly well-crafted stylistic excursions, a seven-minute-long freeform lounge-jazzy tune doesn't seem to fit in.
It's still a wonderful album and a perfect start to a great solo career, and I'd give it a nine. One comment about a statement made above. I've read all these reviews and comments and, as usual, am very impressed with the kindness, insights, and sophistication of everyone here, including George, o' course. Even when people are disagreeing strongly about specific tracks, they share a serious appreciation for Gabriel's work and its importance. So I think I'm just going to offer a few commonly-heard or printed ideas on what some of the songs are about, having followed Gabriel since the early Genesis days and especially since he left the band.
The second part would be "Solsbury Hill," which offered references to leaving Genesis that seemed fairly clear "I walked right out of the machinery A great album. I can't even pick out a particular favorite. Can't say I understand what any of the songs are about, either, though. I still don't quite understand why virtually everybody adores this album. Sure, it's interesting to hear Peter doing something different, but does different necessarily mean good?
I mean, how many classics are really on here, huh? And maybe 'Excuse Me', since it's funny. But the rest? Do you all really like these rock songs? I mean, come on - "Don't get me wrong, I'll be strong? Geoerge - I think you totally missed the boat on your however brief characterization of "Excuse Me" on P.
Gabriel's 1st solo effort. I love this album beyond all belief, and it's a terrible pity that a it's out of print on CD if it was ever released in that format and b that it isn't, from a critical standpoint, all that wonderful. He's lost it a little here. I still like it quite a bit, but there are too many songs among the lines of "Animal Magic" and "Perspective" that flat out stink.
How they got on the "Revisited" compilation is beyond me. And I'm still not made up about "D. Bad producer, bad producer, leave the vocals up front, enunciate please. I can only think they were going for a garage sound. But why, oh why, did they put the muffler over Peter's mike? I love 'Flotsam and Jetsam' and Robert Fripp is here adding Frippertronics, he was spearheading a project that spanned three albums that this is apart of.
Next to the first album this was not as much of a surprise and in someways I see this as a continuation of his fantasy characters he created for Genesis. It is better in many ways because it is a experiment and not a paced album as the first was. But as you put it, if electronics don't do it for you this is the best you get with Peter.
The general consensus is that this one is Pete's weakest. The big surprise is that, with Mr. Fripp producing, one would expect something bizarre and avant garde, but most of the tracks have the least complex production of any PG album -- some would say underproduced.
But a lot of the songs themselves are great -- "D. Y" and "On the Air" are classic singles. The Frippiest track by far is "Exposure," which Robert also recorded as the title track of one of his own albums. The only thing which somewhat mars this album is the presence of too many nondescript songs, something which Gabe managed to avoid on pretty much every album of his musical career following Genesis' Trespass. I'm mostly speaking of "Flotsam and Jetsam," "Exposure" and "Indigo.
As for the stylistically-controversial "Animal Magic" and "Perspective," they're stupid, brainless poppers, granted, but if you take the "stupid pop-funk" element from those songs and magnified it about 10, times, you'd get "Sledgehammer" and "Big Time. Dont Calm Down - Nemetz & Bechtloff - Out Of Eden (CD I guess that objectively, it's the weakest of the early solo Gabriel albums, but that doesn't mean it's not worth buying, if you can even find the flappin' thing.
But at the time it was widely thought to be at least in part Gabriel's salute to punk and new wave bands that were eschewing the major labels and going "D. The phrase quickly became part of the lexicon of the day. As for the stripped-down sound on the second album as a whole, that came as no surprise to anyone who'd heard Gabriel and Fripp enthusing over bands like Talking Heads. An unheralded masterpiece of complex, engrossing tunes that brilliantly meld art-rock and electronica.
Only "Exposure" is somewhat regrettable. This is one of the greatest albums of all time, and both I and my father will tell you so. Dont Calm Down - Nemetz & Bechtloff - Out Of Eden (CD it today, folks. And dig that cover! I always thought they were saying "She's And the song is amazing as well, a fun mishmush of Brit-sounding vocals, Disney-ish whistling, and spacey sound effects.
Which brings me to my next statement On my reviews, I gave it a seven - which, in retrospect, is way too low. I still refuse to look at "Not One Of Us" as anything but his most annoying song ever, and I think that "I Don't Remember," as cool as it is, is a tad obvious. However, I love "And Through The Wire," a great pop song, "Games Without Frontiers," a pop classic, and that little instrumental track near the end, with the name I can't remember. And those are just the filler tracks!
The centerpieces are the dark epics "Family Snapshot," "No Self Control," and, to a slightly lesser extent, "Intruder. I should have given this album a nine, a mistake which I hope I am remedying right now. Here is one of those albums that sneaked into history, It really is a turning point for the fact that it carried the seeds of innovation.
I found this on an ftp site and decided to give it a shot. This album rules! Now, I normally don't appreciate music that is this electronicized if that's a wordbut I absolutely cannot deny the greatness of this album. A total classic. Security comes close, but this is almost a total triumph. Sometimes, one song can draw into totally into an artist's work.
And that got me converted! No one, and I mean no one, sounded like this in I finally got around to getting this album on CD You can hear the current Genesis lineup's influence on "Games Without Frontiers" which could have been on Duke.
Yes, Peter did forbid Jerry Moratta and Phil Collins to use symbols, but the songs go more for atmosphere than melody, and they all work perfectly on "Family Snapshot". Peter was starting to get his second wind By the way, George, I don't think the idea is that the whole story is being told by a kid. Rather, it seems clear that at the moment of firing the gun, the killer, with the release of his misplaced aggression " I've been here before That's not to put Gabriel down -- his songs at this Dont Calm Down - Nemetz & Bechtloff - Out Of Eden (CD were very much starting to become concerned with some classic psychiatric models.
In fact, no such shocks were administered, though the students doing the shocking weren't told that till afterward. This holds a special place in my heart, as it was the first CD I ever bought. I'm sure I already had it Dont Calm Down - Nemetz & Bechtloff - Out Of Eden (CD vinyl.
As a big Genesis fan since '74, I had followed PG's career closely, and for a brief period of a couple of years, Gabriel's split was a windfall - twice as many great albums, with Hackett hanging with Genesis for a while.
But I digress. This is a classic, one of the most innovative albums in "modern" rock music. On first listen, the effect was unsettling, but this album quickly got under my skin. And to top it off, I first saw Gabriel live in 81 or 82, right after the release of Securityso many of these songs were still being played live at that time. I agree with you on most points here, but I really just don't get that "masterpiece" vibe from this particular album--or at least, not as much as I did from Scratch or the majority of Car.
For one thing, this newly synthesized sound, while certainly revolutionary, causes Gabriel's prebiously affable music to sound considerably colder than the man's earlier work unlike, say, Gabriel 's "Here Comes the Flood", which exudes a winning, attractive warmth and emotional depth.
Here, great depth resides in the lyrics, but not the music. Then again, this new techno dabbling does result in the remarkable "Intruder", the engrossing "Games Without Frontiers", and the even more astonishing "Biko", a stirring recording that has yet to be topped by anything in Gabriel's canon As for the other tracks, I don't really like "No Self Control" or "Not One of Us" the former more so than the latternor throwaways like "Start" or "Lead a Normal Life" seriously, filler like this should not be on a 5-star record.
These are all certainly quite redemptive for the clutch of low points on this album Enough to warrant a high 8 from me, anyway. So Melt is great, but not as great as people say it is I'd go with the first one from a sheer enjoyment standpoint, or the second from a critical standpoint.
But yeah, it's worth buying. As long as one avoids the unfortunate spinoff Security. This is a wonderful album, though I don't see it as Pete's best. The songs are extremely mature, Album), both lyrically and musically, even if he does use drum machines. The psychological impact of those last two drum beats closing the album is immense. I also really like 'Family Snapshot', especially the beginning.
The presence of emotion and creativity pushes this song over the top for me. Those are the two big songs on the album for me. It seems that Gabriel has mastered the pop song on this album, though, he was able to add a certain level of creativity and "weirdness" to his songs that raise it above "regular pop". I also love the fact that every song isn't a love song.
I mean, that is what a lot of pop songs are, and then here comes Peter Gabriel writing 'Intruder' and 'And Through the Wire'. I have the same complaints as you and pretty much everybody so I won't mention them. As for a grade, a high 13 or a low 14 sounds accurate. I can't rate it a regular 14 though, because I see Us as a 14 and this is not as good as Us. It is his best album to date I haven't heard Scratch yet, so don't quote me on this, but I doubt that the level of maturity on Scratch can top this.
Still, this is a wonderful album and if it weren't for The Talking Heads' Remain In Lightthis would be the best album of Peter Gabriel is a different enough Album) to deserve a different kind of review. Good album. One of Pete's best which is not a reference to Pete Best, everybody's least favourite ex-Beatlesit sucessfully creates a dark, nightmarish mood on almost every song, and uses some of the most creative instrumentation of any album.
And, interestingly enoguh, there are pop songs! I like the horns on that one. Thank god you like this album George, this is a turning point album for what some people term New Wave and I call Electronica. The low end on this album is just unbelievable. Security demands to be on the best sound system you can get a hold of, I try out all my speakers with this album.
The build on 'Rhythm Of The Heat' is sensual and shattering. I like 'Kiss Of Life' at the end, especially since it gets a little slow on side two. A great study of cultural rhythms and sound. Retrieved 6 October Hung Medien. Retrieved December 12, Retrieved March 22, Retrieved February 4, Retrieved March 26, Retrieved August 2, Retrieved December 11, Retrieved January 24, Retrieved December 16, Official Charts Company.
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