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	<title>Comments on: They Grew On Me</title>
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	<description>Looking For Quacks In The Pavement</description>
	<lastBuildDate>Wed, 23 May 2012 04:46:51 +0000</lastBuildDate>
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		<title>By: Wonderduck</title>
		<link>http://greyduck.net/journal/2096/comment-page-1#comment-8905</link>
		<dc:creator>Wonderduck</dc:creator>
		<pubDate>Fri, 15 Jan 2010 07:13:52 +0000</pubDate>
		<guid isPermaLink="false">http://greyduck.net/?p=2096#comment-8905</guid>
		<description>I&#039;ve got two:

Bryan Ferry&#039;s &lt;i&gt;Taxi&lt;/i&gt;  (1993) is an album full of covers.  While he&#039;s always done cover songs (his take on &lt;b&gt;Sympathy for the Devil&lt;/b&gt; is better than the original as far as I&#039;m concerned), at first listen the tracks on &lt;i&gt;Taxi&lt;/i&gt; don&#039;t seem to fit him.  To be more specific, he forces his style upon the originals.  While the lyrics to &lt;b&gt;I Put A Spell On You&lt;/b&gt; by Screamin&#039; Jay Hawkins could easily have been written by Ferry, the rest of the songs all tend to blend together.  &lt;b&gt;Will You Love Me Tomorrow&lt;/b&gt; may as well be &lt;b&gt;Girl of my Best Friend&lt;/b&gt; or the title song.  It takes some delicate listening to hear the depth behind his interpretations, though his version of &lt;b&gt;Amazing Grace&lt;/b&gt; just blows.

The other one, &lt;i&gt;Beauty Stab&lt;/i&gt; by ABC (1983) was quite possibly the most hotly anticipated followup album by any of the New Wave groups.  1982&#039;s &lt;i&gt;Lexicon of Love&lt;/i&gt; turned out such hits as &lt;b&gt;Poison Arrow&lt;/b&gt;, &lt;b&gt;Tears Are Not Enough&lt;/b&gt; and, of course, &lt;b&gt;The Look of Love&lt;/b&gt;.  &lt;i&gt;Beauty Stab&lt;/i&gt;, however, sounded nothing like &lt;i&gt;Lexicon&lt;/i&gt;, moving away from the synths and New Romantic style.  Instead, it was a guitar-bass-drum based album, with very minimal synth use.  Only &lt;b&gt;That Was Then But This Is Now&lt;/b&gt; and &lt;b&gt;SOS&lt;/b&gt; charted in the UK, and only briefly.  The album was completely ignored in the US.  But now, I think it&#039;s their best album, musically.  Martin Fry&#039;s vocals, always the band&#039;s strongest point, really shine while seeming out of place with the rock guitar, but pulling it all together.  I seem to remember hating the album when I first heard it, but having it improve as I aged.  It feels much more mature than the more popular, &quot;goofy&quot; albums (like &lt;i&gt;How To Be a... Zillionaire!&lt;/i&gt;, &lt;i&gt;Lexicon&lt;/i&gt; and even &lt;i&gt;Alphabet City&lt;/i&gt;, which gave us &lt;b&gt;When Smokey Sings&lt;/b&gt;) that they&#039;re remembered for.</description>
		<content:encoded><![CDATA[<p>I&#8217;ve got two:</p>
<p>Bryan Ferry&#8217;s <i>Taxi</i>  (1993) is an album full of covers.  While he&#8217;s always done cover songs (his take on <b>Sympathy for the Devil</b> is better than the original as far as I&#8217;m concerned), at first listen the tracks on <i>Taxi</i> don&#8217;t seem to fit him.  To be more specific, he forces his style upon the originals.  While the lyrics to <b>I Put A Spell On You</b> by Screamin&#8217; Jay Hawkins could easily have been written by Ferry, the rest of the songs all tend to blend together.  <b>Will You Love Me Tomorrow</b> may as well be <b>Girl of my Best Friend</b> or the title song.  It takes some delicate listening to hear the depth behind his interpretations, though his version of <b>Amazing Grace</b> just blows.</p>
<p>The other one, <i>Beauty Stab</i> by ABC (1983) was quite possibly the most hotly anticipated followup album by any of the New Wave groups.  1982&#8242;s <i>Lexicon of Love</i> turned out such hits as <b>Poison Arrow</b>, <b>Tears Are Not Enough</b> and, of course, <b>The Look of Love</b>.  <i>Beauty Stab</i>, however, sounded nothing like <i>Lexicon</i>, moving away from the synths and New Romantic style.  Instead, it was a guitar-bass-drum based album, with very minimal synth use.  Only <b>That Was Then But This Is Now</b> and <b>SOS</b> charted in the UK, and only briefly.  The album was completely ignored in the US.  But now, I think it&#8217;s their best album, musically.  Martin Fry&#8217;s vocals, always the band&#8217;s strongest point, really shine while seeming out of place with the rock guitar, but pulling it all together.  I seem to remember hating the album when I first heard it, but having it improve as I aged.  It feels much more mature than the more popular, &#8220;goofy&#8221; albums (like <i>How To Be a&#8230; Zillionaire!</i>, <i>Lexicon</i> and even <i>Alphabet City</i>, which gave us <b>When Smokey Sings</b>) that they&#8217;re remembered for.</p>
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