Primal Scream

Massive Attack - Teardrop
EAC+LOG+CUE | FLAC: 143 MB | Full Artwork | 5% Recovery Info
Label/Cat#: Virgin # 7243 8 94981 2 7 | Country/Year: Europe 1998
Genre: Electronic | Style: Downtempo, Dub, Trip Hop

Massive Attack had wanted to work with Cocteau Twins' vocalist Elizabeth Fraser since the early '90s, and, after years of wrong-time, wrong-place scenarios, they finally had their chance on 1998's Mezzanine. Although Fraser co-wrote three of the album's 11 tracks and had a far more interesting impact on "Group Four," it was the sweetness of "Teardrop" that allowed the song the most commercial success. The single, released in May 1998, gave Massive Attack their first-ever Top Ten hit in the U.K. and gave Cocteau Twins' fans a chance to nearly clearly hear Frazer's lyrics…

Volume two of Hip-O's Mötley Crüe retrospective, Music to Crash Your Car To, is decidedly less impressive than its predecessor. That's not to say that the poster, essay-augmented booklet, demos, alternate mixes, unreleased track, and comic book aren't reasons enough for the average fan to run to the store…

It has the same name as the Crüe’s 1998 compilation, along with 13 of the same tracks, but the 2009 Greatest Hits is a different beast than its predecessor, weighing in at 19 tracks instead of 17 and sequenced chronologically instead of the year-skipping hodgepodge of 1998. These are all improvements, as are the swapping of a 1997 version of “Shout at the Devil” for the original and the addition of the 1983 song “Too Young to Fall in Love,” all helping to make this edition of the Crüe’s much-recycled Greatest Hits their best comp yet.

The cliché about singer/songwriters is that they sing confessionals direct from their heart, but John Lennon exploded the myth behind that cliché, as well as many others, on his first official solo record, John Lennon/Plastic Ono Band. Inspired by his primal scream therapy with Dr. Arthur Janov, Lennon created a harrowing set of unflinchingly personal songs, laying out all of his fears and angers for everyone to hear. It was a revolutionary record – never before had a record been so explicitly introspective, and very few records made absolutely no concession to the audience's expectations, daring the listeners to meet all the artist's demands…