Post by torethatbridgeout on Dec 4, 2003 1:10:53 GMT -5
Ripped off the AMR board, news of a new British Invasion, that is, Paul's all over the new Uncut magazine (Jan. issue I think ... nothing on the magazine's site as of tonight Dec. 4):
CFMT and
DMS, and how! In full gushing-PW-is-God over the top manner (see
extracts below), not only Album of the Month, but a monster maximum 5
stars for each! That's a huge deal, should get some major attention,
give him some UK sales, and who knows, possibly even a couple of UK
dates (we can but hope)! A short Q&A interview is with the review.
CFMT also made it to no 9 on the Uncut albums of the year (Warren
Zevon is no 1), and 'Crackle and Drag' (original take) is on the 'best
of 2003' cover CD.
'It has to be said that even the best of Westerberg's post
Replacements records - 1999's SG and last years patchily entertaining
'S/M'double set- have seemed somewhat faltering, uncertain, a little
bewildered, as if Westerberg wasnt sure what it was he used to do so
brilliantly. There can be no such hesitation about this brace of of
exhilarating new albums, however.'
'CFMT exists in a climate of regeneration, something good on the wind.
Ostensibly the soundtrack to a new DVD filmed during the promotional
tour for 'S/M', its an album of rebirth, renewal - although it doesnt
make a fuss about what it is. Westerberg typically just wanting to
get on with things now he's fully back and in the mood'
'CFMT is hardly timid - in fact its the musical quivalent of a head
butt. By comparison however DMS is so wild and stripped down it makes
the White Stripes sound like Yes....The whole thing sounds like it was
recorded in a shed in Memphis in about 1959.'
Closing paragraph - (on DMS)
'Its bruising bareknuckle stuff, uncompromising:a six string symphony
of fuzz distortion, feedback howl and the kind of guitar riffs that
make you think of rowdiness in the streets, barging crowds in
hollering mood. It's the equivalent of a barroom brawl, a midnight
ruck, chains flying, things being smashed, Robert De Niro Lashing out
with a pool cue, impressively raucous to the point of sounding,
frankly, like a f*cking riot. And it ends with a woozy version of
Anthony Newley's 'What Kind Of Fool Am I?' that somehow reminds me of
De Niro as Jake La Motta at the end of Raging Bull, beaten but
unbowed. It seems an appropriate image for someone whose back in the
ring, a champion again'
CFMT and
DMS, and how! In full gushing-PW-is-God over the top manner (see
extracts below), not only Album of the Month, but a monster maximum 5
stars for each! That's a huge deal, should get some major attention,
give him some UK sales, and who knows, possibly even a couple of UK
dates (we can but hope)! A short Q&A interview is with the review.
CFMT also made it to no 9 on the Uncut albums of the year (Warren
Zevon is no 1), and 'Crackle and Drag' (original take) is on the 'best
of 2003' cover CD.
'It has to be said that even the best of Westerberg's post
Replacements records - 1999's SG and last years patchily entertaining
'S/M'double set- have seemed somewhat faltering, uncertain, a little
bewildered, as if Westerberg wasnt sure what it was he used to do so
brilliantly. There can be no such hesitation about this brace of of
exhilarating new albums, however.'
'CFMT exists in a climate of regeneration, something good on the wind.
Ostensibly the soundtrack to a new DVD filmed during the promotional
tour for 'S/M', its an album of rebirth, renewal - although it doesnt
make a fuss about what it is. Westerberg typically just wanting to
get on with things now he's fully back and in the mood'
'CFMT is hardly timid - in fact its the musical quivalent of a head
butt. By comparison however DMS is so wild and stripped down it makes
the White Stripes sound like Yes....The whole thing sounds like it was
recorded in a shed in Memphis in about 1959.'
Closing paragraph - (on DMS)
'Its bruising bareknuckle stuff, uncompromising:a six string symphony
of fuzz distortion, feedback howl and the kind of guitar riffs that
make you think of rowdiness in the streets, barging crowds in
hollering mood. It's the equivalent of a barroom brawl, a midnight
ruck, chains flying, things being smashed, Robert De Niro Lashing out
with a pool cue, impressively raucous to the point of sounding,
frankly, like a f*cking riot. And it ends with a woozy version of
Anthony Newley's 'What Kind Of Fool Am I?' that somehow reminds me of
De Niro as Jake La Motta at the end of Raging Bull, beaten but
unbowed. It seems an appropriate image for someone whose back in the
ring, a champion again'
