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Hello. I spent nearly 10 years selling on that other site (you can check my feedback there; It's under the same ID as this one; over 3200 positives, 99.8% positive). But I thought I'd give this new site a try.
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Like all of my cds, this is an Original CD, with original inserts (NO CDRs or bootlegs).....
Here's some info or review ......Barry Adamson's work as a bassist for Magazine and Nick Cave's Bad Seeds gave little indication of the complex, cinematic works he has composed as a solo artist. After leaving the Bad Seeds in 1987, Adamson decided to follow the path of film composers like John Barry, Ennio Morricone, and Bernard Herrmann, whose work had intrigued him since childhood. His first full-length album, 1989's Moss Side Story (he had released one previous EP in 1988), was a tour de force, blending post-punk, industrial, spy guitar, and various classic movie composer quotes into a seamless 54-minute soundtrack to an ominous film noir that didn't exist. This recording led to Adamson's work on soundtracks for actual films in the early '90s, including Delusion, Gas Food Lodging, and Shuttle Cock. Adamson also continued to compose quasi-cinematic recordings for imaginary films like 1996's Oedipus Schmoedipus, although none have matched the sustained excitement of Moss Side Story. As Above, So Below followed in 1998 and a best-of compilation titled The Murky World of Barry Adamson appeared a year after that. Adamson returned in 2002 with The King of Nothing Hill, his first collection of new material in four years. Stranger on the Sofa followed in 2006, Adamson's first for his Central Control International imprint. Barry Adamson is playing quite the "jazz devil" on As Above, So Below. The album sees the dark noir guru taking a detour from the more experimental electronica of Oedipus Schmoedipus into a cool, brutal concept album of aggressive, ominous rock-jazz. It seems that a great deal of Nick Cave's cinematic themes have rubbed off on Adamson from his days as a Bad Seed. Where Cave deals mostly with vampiric goth ballads, Adamson creates his art under a moody, effective jazz noir cloud. Many of the songs shuffle about with a determined sense of cool, as Adamson utilizes deep crooning vocals; he often sounds remarkably like a more sane Nick Cave, especially on "Come Hell or High Water." Perhaps Adamson's work on David Lynch's Lost Highway soundtrack inspired the tales of dead detectives and shady women detailed on As Above, So Below. One can easily imagine these songs coming from a younger, rocking, and more sinister Angelo Badalamenti, a frequent Lynch collaborator. The album's high points include "Can't Get Loose," "Still I Rise," and "The Monkey Speaks His Mind." "Can't Get Loose" sees Adamson cooly cooing over keyboards reminiscent of New Order, with a fun, suave xylophone sound and a sample of "Can't Get Used to Losing You" by legendary songwriters Doc Pomus and Mort Shuman. The song operates under a pleasant, humorous atmosphere, while still displaying ample doses of Adamson's warped, dark vibes. "Still I Rise" is monumentally cool. Adamson sounds quite angry and defensive, sing-screaming "still I rise" repeatedly, alternating that mantra with verses of autobiographical, stream-of-consciousness lyrics. The final cry is as punishing and entertaining as it is crass. Barry Adamson has yet to release an album that isn't entirely compelling. As Above, So Below is a strong, winning mix of style, emotion, and rock-jazz noir power. It's a bold, satisfying vision from an artist who shows no fear in expressing the seedier sides of life. ......
Track listing
1. Can't Get Loose
2. What It Means
3. Deja Voodoo
4. Come Hell Or High Water
5. Jazz Devil
6. Still I Rise
7. Girl
8. Monkey Speaks His Mind, The
9. Goddess Of Love
10. Jesus Wept
Details
Distributor: Caroline Distribution
Recording type: Studio
Recording mode: Stereo
SPAR Code: n/a
Album notes
Personnel includes: Barry Adamson (vocals).
USED, but in great condition. NO scratches and NO signs of abuse or misuse.
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