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Lloyd Cole - Standards Download

Lloyd Cole - Standards
Sprache: Multi Music Musik CD Album Single Sampler Maxi
Eintragsdatum: 22.06.2013
Hoster: cloudzer.net, rapidgator.net, share-online.biz, turbobit.net, uploaded.net

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01. California Earthquakes 3:49
02. Women's Studies 4:12
03. Period Piece 3:27
04. Myrtle and Rose 5:19
05. No Truck 2:52
06. Blue Like Mars 4:19
07. Opposites Day 4:16
08. Silver Lake 2:42
09. It's Late 3:12
10. Kids Today 2:56
11. Diminished Ex 4:18

Artist: Lloyd Cole
Album: Standards
Bitrate: 244kbps avg
Quality: EAC Secure Mode / LAME 3.98.4 / -V0 / 44.100Khz
Label: Tapete Records
Genre: Rock
Size: 76.45 megs
PlayTime: 0h 41min 22sec total
Rip Date: 2013-06-22
Store Date: 2013-06-21

Track List:
--------
01. California Earthquakes 3:49
02. Women's Studies 4:12
03. Period Piece 3:27
04. Myrtle and Rose 5:19
05. No Truck 2:52
06. Blue Like Mars 4:19
07. Opposites Day 4:16
08. Silver Lake 2:42
09. It's Late 3:12
10. Kids Today 2:56
11. Diminished Ex 4:18

Release Notes:
--------
Dark arts aside, a rebirth is in essence unexpected. Just ask Lloyd Cole, who
back in September of last year had not an inkling of the burst of songwriting
creativity that was to be unleashed upon him. Asked by Salon.com to review the
new Bob Dylan album Tempest, Cole was prepared to pen a respectful apology after
an afternoon of mild disappointment. But that isn’t what happened.

“It’s not the best record he’s ever made, but it has an inspirational vibrancy
that is astonishing for someone at that age. 72! I took it as a kick up the
backside. I’d been languishing. Some years I wouldn’t even write a song. But
when I heard that record, I thought, Damn! I’ve got all these notebooks full of
ideas. What would happen if I just worked on them bloody hard and made a
record?”

The answer is his new album Standards, arguably the best thing he has made since
his groundbreaking debut with the band the Commotions, 1984’s Rattlesnakes. For
the last 10 years Lloyd has pursued a quieter path not least on his last album
2010’s folk-country-styled Broken Record. Where that fine album presents the
acoustic, wooden Lloyd, his new album Standards is gleamingly, brazenly
electric.

Never more than on Standards, electric Lloyd has always tapped into New York
rock’s electricity grid, from Dylan ‘65 through Television ’77 to Lou Reed’s
high-tension ‘80s classics The Blue Mask and New York. Playing drums on the
last-named, Fred Maher is reunited for Standards with bassist Matthew Sweet to
form the rhythm section that kept time on Lloyd’s debut solo album 1990’s ‘Lloyd
Cole’ and its follow up ‘91’s ‘Don’t Get Weird On Me Babe’. With Joan (As
Police Woman) Wasser on piano/backing vocals, and Lloyd not only singing but
playing synths amidst some of the crispest, stormiest, most stinging electric
guitar, it’s a tight ship with a tight sound which tautens and relaxes according
to the temper of the song. Augmenting the basic band are Mark Schwaber, Matt
Cullen and Lloyd’s son Will on guitars, Commotions keyboardist Blair Cowan,
percussionist Michael Wyzik and backing vocalist and Negative Dave Derby.

“I wanted to make an album with a small fixed palette of sounds, like a Van
Gogh, like Highway 61, I like a record to have a sound. The format is
supposedly dead, but I still want to make albums. Not bunches of songs - albums.
With the technology available today you can have any sound you want and you can
easily get sidetracked. For the last 10 years I’ve been primarily an acoustic
musician but on this album there’s only one acoustic guitar. This is an album
for electric guitars, bass and drums, with some piano and a synthesizer. Not
monochrome, then, but not ever-changing either: it has a sound.”

“When I was conceiving these songs from the ideas in my notebooks, I realised
that at least half of them were rock’n’roll, something I thought belonged to my
past. But I believe you should allow the songs to be boss, and the songs were
saying, You need to make a rock record — or at least a pop record with a
rock’n’roll band.

But what of the songs? Standards starts with the album’s only cover, ‘California
Earthquake’ which Lloyd first heard as sung by Mama Cass and had thought was
written by fellow Mama And The Papa John Phillips until being informed by a fan
that it was a 1971 obscurity from the pen of John Hartford, the folkie who most
famously wrote the Glen Campbell hit ‘Gentle On My Mind’. Correlating the
earthquake that did indeed shake California in 1971 with forebodings of
emotional or even psychological rupture, it sets the tone for Standards.

“I’m a worst case scenario person, it seems. I’ve been writing these wretched
songs for the longest time, maybe supposing they would immunise the author from
the scenarios they relate, like a St Christopher medal. If I sing about it,
then I can’t let it happen, can I?”

Of course, Lloyd would never be so simplistic as to write a song that offered
nothing more than a projection of his worst fears.

“I like to leave my songs open so people find their own ways to understand
them.”

Yet Lloyd’s long-standing techniques divide opinion. Though he dropped out of
college to pursue his musical career, there is hardly a better-read, well-versed
connoisseur of music, books and movies.

“I’m torn between the campus library and The New York Dolls. My old friend
Robert Quine maintained the word ‘moronic’ as a term of approval, and on my
first record I narrated a song about someone who was too well-read, too
analytical to feel things authentically. So I’m aware of the logical conundrum
of my chosen career.”

“It all started with Gershwin and Louis Armstrong, but then Dylan, Leonard
Cohen, Ray Davies, Paul Simon, Bowie and Prince made it clear that you can
achieve a lot within the popular arts by blurring the line between high and low
culture. I find that exciting in the same way that The Godfather is exciting —
a fantastic work of art for everybody, not just for people who visit museums.
I’m trying to make music that everyone can appreciate.”

The most cursory listen to Standards unearths lyrical nods to Blondie, Iggy
Pop, Billie Jo Spears, Nick Cave, the Stones and, of course, Dylan, as well as
musical quotes from Television and U2.

“It’s a tic, sometimes I don’t notice I’m doing it. I think of what T.S. Eliot
and Picasso said about genius stealing. If you have your own voice, it will put
its imprint on what you take and make it your own.

“I remain attracted to cultural references: they can put so much into a song in
just a few words.”

Yet the inspirational well-springs of a Lloyd Cole song are far from what is
revealed on the surface, ‘Women’s Studies’, for example.

“I recall watching Jools Holland interviewing Miles Davis on The Tube TV show.
Miles was in amazing form but he didn’t want to talk about music but about his
paintings, all of which seemed to be of his wife, from behind. So I took the
phrase ‘Women’s Studies’, maybe inspired my Miles, and I just had fun with it...
and along the way I was able to mine some authentic memories of when I was young
and occasionally debauched.”

“I used to think there was a big difference between a poet and a songwriter, but
I don’t anymore. It’s really the same thing. If Byron was alive today, he’d be
a songwriter.”

Like Byron an English Midlander with a Scottish connection, Lloyd, like many
Scots songwriters, has always looked West across the Atlantic for inspiration
rather than South to England.

“I certainly feel my work has more in common with American folk music than
‘Jerusalem’, that’s for sure. So much of the art, music and literature I loved
came from New York, Los Angeles and Chicago. The first time the Commotions
toured the US, I went with two suitcases, one of them empty, and it came back
full of books and records.

“Singing these songs makes me feel like the guy I was in my late twenties. Only
when I look in the mirror or run upstairs do I realise my actual age. My basic
aesthetic hasn’t changed that much, just developed as you’d hope it would
growing older.”

Now that he’s made Standards, what next?

“I feel encouraged. I feel I could continue making records as long as I want
to.”

Lloyd Cole has released 12 studio albums including three with The Commotions and
one with The Negatives and has just released an ambient collaboration with
Krautrock titan Hans Joachim Roedelius entitled Selected Studies Vol. 1.

Standards will be released in June 2013.

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Typ: Album
Genre: Rock
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