Galore

This album gathers up a dozen of some of his earliest hits, all cut for Duke Reid at Treasure Isle studio between 1969 and 1970. Included is one of his chartbusters, a version of the Paragons' "Wear You to the Ball." Paragon vocalist John Holt was responsible for bringing the DJ to Treasure Isle, and U-Roy repaid the singer by versioning a clutch of classic Paragons' songs, five of which appear here. …

It's ironic that the Cure, a band whose albums have always seemed like definitive artistic statements, were at their best as a singles band. On the group's singles, Robert Smith's ideas reached their full potential, since they captured not only the group's off-kilter pop sense, but also the haunting melancholy and wacky humor that interlaced Smith's songs. Galore rounds up the singles from the second part of the Cure's career, beginning with "Why Can't I Be You?" from 1987's Kiss Me, Kiss Me, Kiss Me and ending with "Gone!" from 1996's Wild Mood Swings. Between those two are 15 more songs, nearly every one of which is a gem. The Cure were never a repetitive singles band, and there's a dizzying array of styles here, from infectious jangle pop ("Friday I'm in Love," "Mint Car") and monolithic, chilly goth rock ("Fascination Street," "Pictures of You," "Just Like Heaven")…

Human Feel - Galore (2007) {Skirl 006}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 313 Mb | MP3 @320 -> 139 Mb
Full Artwork @ 300 dpi (jpg) -> 29 Mb | 5% repair rar
© 2007 Skirl Records | Skirl 006
Jazz / Creative Jazz / Third Stream

After about a decade-long hiatus, Human Feel are back with a vengeance and arguably their best album yet. Members Chris Speed, Andrew d'Angelo, Kurt Rosenwinkel, and Jim Black have not remained idle during that time and the experience they have garnered undoubtedly helped improve this communal project. They perform rhythmically and melodically varied material penned by each of the musicians as well as a piece by guitarist Hilmar Jensson, whose aesthetic fits the band like a glove. At first, what grabs the attention as well as provides the adrenaline rush are their sonic assaults. Saxophones roar and squeal over angular guitar riffs and thrashing drums.

One of John Barry's best efforts, with a particularly striking title song belted out by Shirley Bassey between blasting brass fills, Goldfinger was also the first James Bond soundtrack to hit the number one spot on the U.S. charts (ironically, displacing another United Artists soundtrack, A Hard Day's Night), even as Bassey's performance hit number eight as a single. While Barry effectively expanded his collection of Bond themes with Thunderball (underwater themes) and You Only Live Twice (space themes), Goldfinger was a prime opportunity to lock in some of the action themes that would recur over the next 35 years. Of particular note is the track compiling Barry's cues for the robbery of Fort Knox ("Dawn Raid on Fort Knox"), which provides a slow build so wonderfully agonizing that the remainder of the album, including "The Arrival of the Bomb and Count Down," with its pounding drums and roaring brass, actually serves as stress relief. In February of 2003, Goldfinger was issued in a remastered edition that featured not only significantly improved sound but also added an extra nine minutes of music, contained in four sections of the soundtrack that originally appeared only on the British LP edition.