Peter Gabriel / Elbow - Mirrorball/Mercy Street (File, MP3) download full album zip cd mp3 vinyl flac
Over the last few weeks I've been listening more frequently in anticipation of seeing the New Blood tour this summer. During that time, I've gained a greater appreciation for the album, which does indeed show some creative glimmers but is still a deeply flawed piece of work.
A pivotal track for me was Paul Simon's "Boy in the Bubble. Now, after MP3) listens, I must admit that the completely new approach to that song does shed light into a few new MP3). The lyrics open up a bit, the sense of wonder which is a core theme gets to breathe. The original is better, but this is an interesting alternate take. In the end, this is the pattern of the entire album. Of course, there are high and low moments.
Both the arrangement and Gabriel's performance are more intricate and spooky. Though just as slow and dark as the rest of the album, there is more color to this track. A sense of danger and menace finally emerge, and we're reminded, if only briefly, of the deep talent of the man.
On the other hand, "Power of the Heart" is so inane that it would make Shania Twain's ugly junior high school sister blush to perform it. My eyes nearly popped out of my head to learn Lou Reed had penned that drek.
Gabriel's arrangement is just as lackluster as the lyrics. Similarly, Gabriel adds nothing to Bon Iver's already downer "Flume. Elbow's "Mirrorball" boasts interesting lyrics and one of the better uses of the orchestra on the album. Occasionally, it feels like the orchestra is going to really pick up steam, but sadly the pace always dies back down all too quickly. So many times, I yearned for a bit more of PG's signature angst and pathos.
We get a few teases but never a true "Rhythm of the Heat" scream. Too often we're instead lulled into sleep. This album was teetering toward toward 1 star at one point for me, but it's actually sniffing at 3 now. Still, there's virtually nothing prog about this album so it remains at two stars. Especially given how much great material you can get from Gabriel, this is simply un- necessary, unless like me, you own everything the man puts out.
Not as foolish as the contents of the album, though. Peter decided to impose a restriction on himself - no guitars of any kind, and no drums - and while this could have led to interesting synth layerings intertwined with orchestral elements, Peter uses orchestration almost the entire time with a very small amount of piano here and there.
So that makes this into an orchestral covers album, which doesn't really seem all that impressive when I remember the pleasant-but-mediocre Justin Hayward solo album, Classic Bluefrom 20 years earlier.
Of course, there is a significant difference between this album and that one; Peter deconstructs a lot of the material into sombre, dirge-like interpretations of the originals, with the melodies stripped down so far they start to lose their melodic core. The worst offender, and the one that I unfortunately heard first, is the closing "Street Spirit" originally from Radioheadwhere Peter almost enters William Shatner territory. There are, I admit, some tracks where I find myself enjoying things a bit.
The opening ""Heroes"," where Peter starts on the, "I, I wish you could swim The cover of Talking Heads' "Listening Wind" nails the atmosphere of the original dead on despite having obviously a totally different arrangement, and On the other hand, the rest of the album ranges from fairly unremarkable to really tacky the bombastic parts of "My Body is a Cage" by Arcade Fire, though the softer parts are kinda nice, or all of "Apres moi" by Regina Spektor.
On the whole, pretty much the only consistent positive is that, even when he's doing an ill- conceived project, Peter's voice is still as addictive as ever, and a large part of me feels happy to have one more medium in which to hear him. But even his voice can't save this: this may have been a project Peter totally believed in and poured his heart into, but when I hear this, I think of David St.
Hubbins and his desire to record a few of his acoustic songs with the London Symphony Orchestra. After 40 years, Peter finally made a mediocre album. Seriously, I'm a fan of Peter Gabriel, but do not throw money. The CD starts with a tremendous great version of "Heroes", but from there do not listen with the lights off because you run the serious risk of sleep.
The orchestra sounds without soul, the arrangements are bland and linear, the sel I Peter Gabriel / Elbow - Mirrorball/Mercy Street (File with previous reviews that the first hearing of this album can be quite difficult, as it gives a first impression that all the items pass a somewhat monotonous rhythms away from the sound that Mr. Gabriel has accustomed us. Since I had the great fortune to enjoy New Blood Tour, my positio I must say i really love this album.
I didn't think much of it when it came out, but as i listen to it more and more, i get a sense of what Peter wants to give us. Anyway, this did not take anything from the experience. The encores were unspectacular just like the week before. All in all it was a flawless concert with almost perfect sound and fascinating visuals in front of 14, people. Gabriel seemed to feel better at home on stage, particularly this stage, than in the Radio France studios.
His calmness may have also come from the three other shows he played in Paris and Berlin. He did not tire to introduce some of the musicians by name, also mentioning the sound crew and the road crew. Arranger John Metcalfe, who conducted In Your Eyes, was also called back from and seemed very pleased with the well-deserved applause.
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We actually had some sunshine which helped with the cutaways, and Guy Garvey was MP3) absolute delight. With Guy Garvey's poetic pen producing swooning lines like "We kissed like we invented it", John Metcalfe's surging strings are the equal, giving Mirrorball the big-screen sheen it truly deserves. It's one of my favourite arrangements and has references to Stravinsky's 'Rites of Spring'.
Often orchestral arrangements of rock songs are used to 'sweeten'. I think these arrangements have a real integrity to them. They are not a decorated background for a rock band, but use all the colours of the orchestra to provide the heart, passion, intensity and groove.
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