DoobieBro · 26-Мар-19 00:25(5 лет 11 месяцев назад, ред. 03-Апр-19 18:35)
Prefab Sprout / I Trawl the Megahertz Жанр: Avant-Pop, Post-Rock, Electronic Носитель: CD Страна-производитель диска (релиза): E.U. (Germany) Год издания: 2019 Издатель (лейбл): Sony Music Entertainment Номер по каталогу: 88985411062 Страна исполнителя (группы): UK Аудиокодек: FLAC (*.flac) Тип рипа: tracks+.cue Битрейт аудио: lossless Продолжительность: 00:53:41 Источник: собственный рип Наличие сканов в содержимом раздачи: да
Треклист
01. I Trawl the Megahertz 22:06
02. Esprit de Corps 04:52
03. Fall from Grace 03:39
04. We Were Poor. . . 04:50
05. Orchid 7 04:20
06. I’m 49 03:49
07. Sleeping Rough 03:35
08. Ineffable 02:43
09. . . . but We Were Happy 03:48 All songs written by Paddy McAloon
Лог создания рипа
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Содержание индексной карты (.CUE)
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One of the most acclaimed British pop bands of the ’80s and ’90s, Prefab Sprout was the creative vehicle of vocalist, songwriter, and multi-instrumentalist Paddy McAloon, who has been regularly hailed as one of the greatest songwriters of his era. McAloon has often been compared favorably to Elvis Costello, Paul McCartney, and even Cole Porter, not just because of his lyrical and instrumental gifts but for the ambitious creative vision of his catalog. A notorious perfectionist who is also known for his shyness and his struggles with health problems, McAloon has created a relatively small body of work (ten albums in three decades), but Prefab Sprout’s music is beloved in the U.K., and they have a smaller but passionately loyal audience in the United States. Moving from the smart, beautifully crafted pop of 1984’s Swoon and 1985’s Steve McQueen (titled Two Wheels Good in the U.S.), Prefab Sprout would explore the influences of American music on 1988’s From Langley Park to Memphis, embrace the sound and style of stage musicals on 1990’s Jordan: The Comeback, use the Old West as a metaphor on the 2001 concept album The Gunman and Other Stories, and celebrated the power and energy of music on 2009’s Let’s Change the World with Music and 2013’s Crimson/Red. Prefab Sprout were formed in Newcastle, England, in 1977 by Paddy McAloon, who sings and plays guitar and piano, and his bass-playing younger brother, Martin. In the group’s early days, McAloon spun several fanciful tales about the origin of their odd name (one favorite was that the young McAloon had misheard the line “hotter than a pepper sprout” in Nancy Sinatra & Lee Hazlewood's “Jackson”), but the truth is that an adolescent McAloon had devised the meaningless name in homage to the long-winded and equally silly band names of his late-’60s/early-’70s youth. With an early fan, Wendy Smith, drafted into the lineup to sing helium-register backing vocals, the trio released its first single, “Lions in My Own Garden (Exit Someone),” on its own Candle label in July 1982. Written for a girlfriend who had left Newcastle to study in Limoges, France (check the acronym of the title), the song was exceedingly clever, but obviously heartfelt. The single’s warm reception, including many plays on John Peel’s radio show, led to the Sprout’s signing to CBS subsidiary Kitchenware Records, which reissued the single in April 1983. Another single, “The Devil Has All the Best Tunes,” followed later that year. Prefab Sprout’s first album, Swoon, was released in March 1984. Shortly after Swoon’s release, drummer Neil Conti joined the group, and Thomas Dolby was tapped to produce the second Prefab Sprout album, 1985’s Steve McQueen (retitled Two Wheels Good in the U.S. due to litigation from the late actor’s estate). Dolby smoothed out the kinks a bit, and his keyboards helped enrich the album’s sound. Prefab Sprout returned to the studio without Dolby in the summer of 1985 and quickly recorded an album’s worth of material that was initially meant to be released in a limited edition as a tour souvenir. However, several months after Steve McQueen was released, its song “When Love Breaks Down” (which had been released as a single four different times in the U.K. without chart success) finally became a hit, and CBS feared a new album would hurt its predecessor’s sales, so the project was shelved. The “proper” follow-up to Steve McQueen was 1988’s From Langley Park to Memphis. It became their biggest hit, thanks to the massive U.K. chart success of “The King of Rock and Roll” (about a one-hit wonder stuck performing his silly novelty song on the nostalgia circuit; ironically, it was Prefab Sprout’s sole U.K. Top Ten hit and remains their best-known song) and the U.S. college radio success of the genial Bruce Springsteen parody “Cars and Girls.” Following that chart action, CBS dusted off the shelved acoustic project from 1985 and released it (in the U.K. only) under the title Protest Songs in June 1989. Issued in 1990, Jordan: The Comeback, which McAloon describes as a concept album about Jesse James and Elvis Presley, was released to enormous critical acclaim in late 1990, but unfortunately, its ornate, lush production and suite-like structure doomed it to commercial failure in the U.S., though it was another big hit in the U.K. A fine but unimaginative best-of, A Life of Surprises, met similar respective fates in the summer of 1992. Many thought Prefab Sprout disbanded at that point, and indeed, Conti did leave the band at some point in the ’90s. However, McAloon had written (and in some cases, recorded) several albums’ worth of material during the first half of the decade, abandoning them all before finally releasing the crystalline Andromeda Heights in 1997. The album wasn’t even released in the U.S., but it was another deserved U.K. hit. An album of subtle beauty, Andromeda Heights showed how far McAloon had come as a songwriter and singer since Swoon. A much-improved two-disc anthology, The 38 Carat Collection, was released by CBS in 1999 as the group was leaving the label. (Unexpectedly, the group’s U.S. label, Epic, belatedly reissued this set as The Collection in early 2001.) Wendy Smith left the group during this period, after the birth of her first child. Prefab Sprout, by this point consisting solely of the McAloon brothers, signed to EMI in late 2000 and delivered their Western-themed concept album, The Gunman and Other Stories, in early 2001. Unfortunately, the album’s release was delayed several months when Paddy McAloon was diagnosed with a medical disorder rendering him partially blind. As McAloon was homebound due to his health problems between 1999 and 2002, he wrote an album of music inspired by true life stories he recorded from radio broadcasts. Combining the radio recordings with orchestral arrangements of McAloon’s melodies, the mostly instrumental I Trawl the Megahertz became his first solo album when it was released in 2003. After a six-year layoff, McAloon returned to recording as Prefab Sprout and released the self-produced, performed, and recorded Let’s Change the World with Music in 2009. This set’s songs and concept date to 1992 and were originally to be recorded as the follow-up album to Jordan: The Comeback; for various reasons, those sessions never happened. It was initially issued by Ministry of Sound and later in the year licensed by Sony/BMG in the U.K. In 2010, the independent Tompkins Square imprint issued the album in the United States. Both the album Crimson/Red and its lead single, “The Best Jewel Thief in the World,” were issued by the Icebreaker label in 2013. In March 2017, a video posted on the Internet featured a homemade solo acoustic clip of McAloon performing an original song, “America,” a protest against U.S. immigration policies under Donald Trump. In 2019, Sony reissued McAloon’s I Trawl the Megahertz under the Prefab Sprout banner. (Stewart Mason, AllMusic)
Об альбоме (сборнике)
I Trawl the Megahertz, Paddy McAloon’s first solo album, is as likely to perplex and infuriate as it is likely to stun and spellbind. Grand, heavily orchestrated, predominantly instrumental, and not the type of thing you put on prior to going out or when you’re in the mood for cleaning the house, the record is incredibly powerful—almost too powerful—even when held up against everything from Prefab Sprout’s past. The most significant song is the opener; 22 minutes in length, it’s nearly elegiac in it its mournful tones played out by a swaying string arrangement and a weeping trumpet. Throughout its duration, Yvonne Connors speaks matter-of-factly—yet dramatically enough to be poignant—as she rifles through fragments of her memory, the most disarming of which reads like this: “I said, ‘Your daddy loves you very much; he just doesn’t want to live with us anymore.’” Of the eight remaining songs, McAloon’s voice is present on just one, which doesn’t come along until near the end. This song, the particularly autumnal “Sleeping Rough,” is almost as emblematic of the album as the opener, expressing a somewhat sorrowful but content coming to grips with the passage of time (“I’ll grow a long and silver beard and let it reach my knees”). The album was conceived during and in the wake of McAloon’s bout with an illness that temporarily took away his eyesight, but it’s plain to hear that his vision remains. (Andy Kellman, AllMusic) Deterioration inspires all of Prefab Sprout’s major works. The English pop group’s breakthrough single, the shimmery 1984 ballad “When Love Breaks Down,” was about weakening ties and how “absence makes the heart lose weight.” A few years later, with “The King of Rock and Roll,” they paired whimsical fanfare from super-producer Thomas Dolby with the withering reflections of a one-hit wonder coming to terms with his obsolescence. It remains their biggest hit in their native United Kingdom. As the band rose to minor fame throughout the ’80s, frontman Paddy McAloon receded from the spotlight. He was always ambivalent about his public image, and now his health was starting to fail him as well. In interviews, he’s spoken about struggles with Meniere’s disease, tinnitus, shingles, eczema, and temporary blindness stemming from retina detachment—an affliction most commonly associated with boxers, or anybody who’s been regularly, repeatedly punched in the face. The surgery was successful, but it forced McAloon, then in his forties, to find new ways to do his job. In recovery, he was unable to sit upright or lean forward, and so he spent much of his time supine. Unable to read or look at screens, he turned to audiobooks and radio broadcasts for inspiration. Disjointed sentences stuck in his head—“I’m 49 and divorced,” “Your daddy loves you very much; he just doesn’t want to live with us anymore”—and they started forming a loose narrative. Soon, he began hearing a sad, gorgeous melody accompanying it: flugelhorns, clarinets, cellos. When he was fully recovered, he brought the idea to life as a 22-minute spoken word and orchestral piece called “I Trawl the Megahertz” narrated by an American stockbroker named Yvonne Connors. The way Paddy McAloon operates as an artist belies logic. Following the chronology of his career and separating the facts from mythology quickly becomes impossible. Entire albums get scrapped; old songs find their way onto new projects; stories seem too good to be true. If he had never released I Trawl the Megahertz, it might have been one of these legends: a work unlike anything else in his catalog that denies all of his strengths yet feels almost autobiographical. Newly remastered and reissued as a Prefab Sprout album—it was previously released as a McAloon solo LP in 2003 and largely ignored by both critics and the public—it now stands as one of the peaks of his strange, brilliant career. The album consists of two movements: the title track and an eight-part, mostly instrumental accompaniment that depicts a businessman escaping to the forest. It features McAloon’s voice in just one track, and his words are important. “I am lost,” he sings softly, longing to abandon the obligations associated with his career (which McAloon soon did) and grow a long, silver beard (which he also did). From a songwriter who always aspired to be a craftsman more than a heart-on-his-sleeve confessionalist, the words sound newly vulnerable. But as personal as it may seem, the decision to release Megahertz as a solo project was less artistic than commercial, as McAloon worried how fans might respond to this sweeping collection of long-form compositions. Megahertz doesn’t just stand apart in McAloon’s discography; it has few pop music analogs. Instead, it feels more of a piece with the dreamy, ambitious films from the era like Punch-Drunk Love and Eternal Sunshine of the Spotless Mind. As with those works, the music finds power in merging the ordinary—medical procedures, traffic, bureaucracy—with the extraordinary. Its opening words forecast a hazy origin story, followed by poetic reflections on love, trauma, and aging. “In a chamber of my heart sits an accountant,” Connors narrates, over what sounds like the closing score to some kind of cosmic Western. “He is frowning and waving red paper at me.” As the orchestra swells, the narrative loops back and disintegrates. At one point, Connors intones, “Forgive me, I am sleepwalking,” and the music seems to dream along with her. McAloon says he chose Connors to recite his words because he wanted to make an album from which he could escape, led by a voice wholly distinct from his own. He recorded Connors’ vocals in a hotel room in London to get a feel for the material. When they attempted to replicate it in a studio, the magic had vanished. In the end, they returned to that initial tape, editing out the air conditioner buzz between words and making McAloon’s most labor-intensive project—string arrangements, horn charts, recurring motifs—also a kind of happy accident. An album that aims to reflect the fragmented, mysterious way we process memory, Megahertz also forecasts how McAloon would evade nostalgia and evolve in the 21st century. Since its initial release, he’s only put out two albums—one, a previously shelved collection about the healing power of music, and another, a contractually obligated set of more traditional Sprout songs. His health problems have all but assured that he’ll never perform live again, and his public appearances have been rare. Along the way, Megahertz has lost none of its mystical power. At one point, McAloon reminds us of the real world that lies beyond our fantasies and pop songs. “Trains are late, doctors are breaking bad news,” Connors sighs. “But I am living in a lullaby.” I Trawl the Megahertz is its own kind of dream, where time slows down and the world ahead seems magnificent and new. (Sam Sodomsky, Pitchfork, 23 March 2019)
Состав
Yvonne Connors: voice (the title composition) Paddy McAloon: voice (“Sleeping Rough”) David McGuinness: strings arrangements The Robert McFall Orchestra: strings, including Greg Lawson: violin Robert McFall: violin Brian Schiele: viola Robert Irvine: cello Rick Standley: double bass Gerard Presencer: flugelhorn, trumpet Julian Argüelles: clarinets, tenor sax Johann Sebastian Barcode: keyboards and programming Corky Anderson: percussion Produced by Paddy McAloon and Calum Malcolm
Recorded, mixed, and remastered by Calum Malcolm
