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This was the first album from the band Scissor Sisters and was released in 2004. I had downloaded it when it was first released, and when I was in my local Poundland recently, I saw the album, and also the band's second album so I decided to buy them for nostalgia's sake...
It is very hard to pigeonhole the band's sound. They fuse together glam rock, disco and pop into something irresistible (to me anyways) and there is just something fun about their sound.
1. Laura 3:36
For a long time, I couldn't understand why in a song called Laura, the lyrics seem to be about someone called Simone. I have now realised that I was just hearing the lyrics wrongly. This is a poppy, fast paced track and while there is a slight change towards the end of the track where it morphs into something angrier, on the whole this is a happy song and a great start to the album.
2. Take Your Mama 4:31
This is a glam rock inspired track and is a somewhat cheeky track about the difficulties about coming out if you have conservative parents. This could easily be an Elton John track. While this is an okay track, there are better on the album.
3. Comfortably Numb 4:25
This is a cover version of the Pink Floyd song. In my opinion, cover versions can be tricky but somehow the Scissor Sisters make this track their own. I do prefer this to the original version, although I do also like Pink Floyd. This is the track that some people judge the band on, and while it does somewhat sum up the band, there is more to Scissor Sisters than Comfortably Numb. This track has a disco vibe, with Bee Gee-esque vocals.
4. Mary 4:43
This is a slow, piano heavy ballad. It really slows down the pace after the previous high energy tracks. This song was written by Jake about his love for his friend Mary. While doing my research on this album I discovered that the Mary in the song died in 2006, which makes this song even more poignant. This track shows that the band are more than just a gimmick - that they can handle the emotional ballads as well.
5. Lovers in the Backseat 3:15
This is one of the more forgettable tracks for me. It has a very 80's sound, but without the catchiness of 80's synth heavy tracks. Slightly disappointing compared to the rest of the album.
6. Tits on the Radio 3:16
This is my favourite song on the album (and my favourite Scissor Sisters song). The bouncy melody, somewhat random lyrics and Ana's delivery means this track is definitely worth a listen. I once saw this track used as the backing track in s striptease scene on Shameless and the song was a perfect choice. I'm not ever planning a striptease (people would pay me to keep my clothes on) but if I did, I would choose this track.
7. Filthy/Gorgeous 3:46
I may be alone in my thought, but I don't like this song. I can't put my finger on why I don't like it though. The intro sounds like something off a TV programme, and while there are lots of synthesisers in the background of this track, and it's more on the disco scale, it's one I normally skip.
8. Music Is the Victim 2:57
This is a real glam rock 70's vibe track with drums and cool guitar solos. It's definitely a highlight on the album and shows that the band don't always take themselves seriously.
9. Better Luck 3:08
This is a very disco inspired track. It's an okay track, but compared to the previous track, it seems very weak.
10. It Can't Come Quickly Enough 4:42
This is a fast paced dance track with a bridge that you can't help but sing along with. There seems to be a real 80's vibe with this song, and it seems to have a very Pet Shop Boy vibe about it.
11. Return to Oz 4:34
This track starts slowly, with an acoustic guitar accompaniment. It is slower than most of the rest of the album, with a soulful melody which only gives the lyrics more meaning. This song deals with the issue of drug abuse in the gay community. A very moving and melancholic track and this is one of my favourites on the album.
12. A Message From Ms Matronic 0:31
This is where the album gets very strange (not that it was ever 'normal'), with Ms Matronic introducing the bonus tracks, with what sounds like people on a rollercoaster screaming. Best not to listen to this one too loudly!
13. The Skins 2:53
This track reminds me a lot of early Roxette tracks. It is a very disco inspired, soft rock track, with Jake singing slightly lower down the vocal scale than some earlier tracks.
14. Get It Get It 3:47
This is a very funky, electronic track, and slightly reminiscent of the Pet Shop Boys. While an okay track, it doesn't really stand out amongst the other tracks on the album.
While the band say that they are not a 'gay band' I do understand why their music has been labeled as camp. According to Babydaddy from the band , their purpose was "to create a perfect pop rock album that would pick you up at the beginning, take you on a journey in the middle, and set you right back down again in the same place at the end." I do feel that this album achieved what they set out to do.
This album was the best selling album in the UK in 2004, was included in the book '1001 albums you must hear before you die' and Attitude magazine in 2005 named it the best gay album of all time. I do feel that this album is definitely worth a listen at least once, as there is a wide variety of styles on this album, and while the band occasionally have become caricatures of themselves on later releases, this shows that they are unique, and can produce amazing music when they put their minds to it. It is available through Amazon for £2.85 including P + P, so it's not a huge amount of money, or as I mentioned above, I found this in my local Poundland recently, so this and Ta-Dah only cost me £2 for the two albums.
The Scissor Sisters released their self-titled debut album in 2004, back when I was still at uni. I have to be honest and admit that at first I found them really annoying. It wasn't until the release of their single Filthy/Gorgeous that I actually began to quite like them. Clearly I wasn't alone when I started to become a fan, as the album was the bestselling record in the UK in 2004.
The album is full of incredibly catchy pop songs sung in a high-pitched falsetto by singer Jake Shears (which is why I initially found them annoying). Laura and Take Your Mama are particular highlights. The album is inspired by Elton John, cabaret and burlesque and is a real theatrical mish-mash. There's also the inspired cover of Pink Floyd's Comfortably Numb, which shouldn't work but does.
Single Filthy/Gorgeous has more of a disco feel and fun vocals. Ballad Mary is sweet and heartfelt but lacks oomph when compared to the rest of the album. Lovers in the Backseat, Music is the Victim and Tits on the Radio ("You can't see tits on the radio...") are more catchy electropop songs. Better Luck is more upbeat and It Can't Come Quickly Enough has a melancholy vibe.
One of my favourite tracks on the album is the closing track (except for the bonus tracks) Return to Oz. Inspired (presumably) by the movie of the same name, it conjures up a sense of ageing and loss of innocence ("There's a wind-up man walking round and round, what once was the Emerald City's now a crystal town). When I researched my review, I discovered that this song was actually about friends who died from drug abuse, but it works in a wider context too.
The 'Untitled Track' towards the end is basically singer Ana Matronic introducing the two bonus tracks, indicating that when you hear 'this sound' (a scream!) you can start the album again or carry on and listen to the bonus songs. It seems to be a parody of those cleaning CDs you can get and it's rather fun! Of the two songs, the Bee Gees soundalike The Skins is better, but Get It Get It is a fun disco effort.
2. TakeYour Mama
3. Comfortably Numb
5. Lovers in the Backseat
6. Tits on the Radio
8. Music is the Victim
9. Better Luck
10. It Can't Come Quickly Enough
11. Return to Oz
12. [Untitled Track]
13. The Skins
14. Get It Get It
Overall, this is a really fun record and definitely worthy of five stars. It's different, fun and catchy. Highly recommended.
I have to admit I must say that in all my years I differ slightly to alot of my friends. They are all big fans of certain pop groups whereas I buy albums and songs based on whether I like the actual song regardless of who actually sings it. The Scissor Sisters shot to fame a few years back now and are an American band with five bizarre members. This album by the same name as the band is their debut album. Although they do have their critics I think the vast majority do enjoy their music and I really loved this album and almost every track on it was interesting and had me dancing and singing along.
I always liked the 80's and the disco music of that era and I found this sort of pop music similar in many ways and very upbeat throughout. These songs have been played at parties for a while and will remain to be so as they are very catchy and you can dance to them.
Here are just a few of my favourite tracks on this album listed below:
'Take Your Mama' is a fun party tune that is lively and has a great guitar moments scattered into it.
'Lovers in the Backseat' again is another very catchy and lively song and reminded me a bit of a number of 80's tracks.
Music Is The Victim has words within the framework of the song that I'm sure will be sung at many karaoke sessions up and down the country for years to come. It is an inspired piece of music and the melody is memborable.
These are just a sample, but for me the whole album is fantastic and I love catchy songs that you can tap your feet to as you listen. If you've never tried Scissor Sisters I would highly recommend getting this album for under £5 now as you will hopefully love it as so many others do including myself. The band look strange and are slight off beat when you watch their videos or when they perform live but they have come up with a great debut album here in my opinion.
Scissor sisters (CD) - Scissor sisters: - Music Genre-Disco/Pop/ Dance pop/club/ Glam rock/ Hint of techno. Audio CD released in 2007. The Scissor Sisters is a Grammy Award-nominated American band that was formed in 2001 and is still producing new and exciting songs. The Band is made up four people and they are,
The members of the band:
Jake Shears (born Jason Sellards) - vocals
Babydaddy (born Scott Hoffman) - bass guitar, keyboards, vocals, guitar
Ana Matronic (born Ana Lynch) - vocals, 'Mistress of Ceremonies'
Del Marquis (born Derek Gruen) - guitar, bass guitar
For some of their newer songs you could visit scissor sisters at their MySpace address and listen to them for free before purchasing their albums.
Songs include: - 1)Laura 2) Take your mama 3) comfortably numb 4) Mary 5) Lovers in the backseat 6) Tits on the radio 7) Filthy gorgeous 8) Music is the victim 9)Better luck next time 10) Cant come quickly enough 11) Return to Oz 13) The skins.
I find their songs thoroughly upbeat, just really easy to dance to. Their songs are quite high pitched and it's the sort of sound that you really wish you could master; it's a bit like the Bee Gees only more modern. Unfortunately this means that alot of men find their songs a bit intimadating (sort of a threat to their manhood if they give them a listen). But i have found that after playing the songs for a while these sceptical macho types have been singing along and even become big fans, so don't let stereotypes I.e. only girls and gays give the Scissor Sisters a listen corrode your enjoyment because that just isn't true! The lyrics are really catchy and the beat is easy to dance to - some bits really provoke the robot haha - This album offers hours of plesent listening and personally i found that it was nice just to discover little lyrics which build up meaning to you- hope you enjoy a much as i did- happy listening!
The Scissor Sisters - Scissor Sisters
The Scissor Sisters are an American band that kind of defy categorisation in a genre, though I would say that they are Camp Indie Club.
This, their debut album got to number one in both UK and Ireland, but in their native America only made 102 in the album charts. Not sure that mainstream America knows how to handle them!
The band line up on this album is as follows:
* Jake Shears - vocals
* Babydaddy - bass guitar, keyboards, vocals, guitar
* Ana Matronic - vocals
* Del Marquis - guitar, bass guitar
* Paddy Boom - drums, electronic drums, percussion
I believe that theyhave a slightly different line up now.
Now I normally review each track and 'score it' but this time I am not, the reason being that the tracks are quite busy, all of them (apart from 13) and when I started to review each one, after the second track I realised that my review would stretch to over 2,000 words, so I backed off, though I did find this hard, lol.
The songs on this album are definitely tongue in cheek and fun, as said, I am not going to review every track, but will discuss the 'highlights. Though I have to say, to me there are no 'awful' tracks on this album, some are weaker than others but all are okay at least.
Track 1, Laura is absolutely infectious, full of circus type keyboard/organ and the lead singers voice is terribly camp and sultry all at the same time. The bass line is very 'hooky' and the drums are just right. I love the phasing between the vocals which is a mix of fairground and synthesised blues. The saxophone towards the end is worthy of mention too, lots of growling and playing around. Brilliant song.
Track 2, Take Your Mama, is a blast, the vocals are really quite interesting, going from 'shrill' to raunchy, and the guitar is reminiscent of Mid West rock/blues. This is a great song for jukebox, driving or just having fun. This song actually makes me want to stand up and dance with a hairbrush....don't worry I have not given in to that temptation yet, lol.
Track 5, Lovers in the Backseat could easily be Bowie or Ferry it has that lounge lizard, camp sophistication about it. A real throwback to the glam roots that have developed this group, great stuff.
Track 7, Filthy Gorgeous. This song is fantastic, period. The lyrics, the vocals, the beat all make this an absolute gay club classic, not that it will ever be confined to that listening arena. Many a woman has been seen to be singing this, drunkenly on a Friday night. It has a sense of the Rocky Horror Show about it. I really, really love this played really, really loud in the car on the motorway.....yep, might challenge your thinking about my musical tastes, which are varied to say the least.
2. Take Your Mama
3. Comfortably Numb
5. Lovers in the Backseat
6. Tits on the Radio
8. Music Is the Victim
9. Better Luck
10. It Can't Come Quickly Enough
11. Return to Oz
12. Get It Get It
Bonus Tracks - UK
13. A Message from Ms. Matronic
14. The Skins
15. Get It Get It
This album was a breath of fresh air in my opinion. It shook up some of the establishment, not least as it marked a return of performance based glam videos that accompanied the songs. It is full of energy of that there is little doubt. It is pretentious in the extreme, but it is meant to be. If you like brash lyrics, busy music, camp, kitsch, energy based fun, go get this album.
This is the first album from Scissor Sisters and it was released in 2004. The Scissor Sisters began in 2001 when Shears and Babydaddy met Ana Matronic and then they met Del Marquis and began playing gigs as a foursome and Paddy Boom joined the band as a drummer after the group placed an ad for a drummer.
* Jake Shears (born Jason Sellards) - vocals
* Babydaddy (born Scott Hoffman) - bass guitar, keyboards, vocals, guitar
* Ana Matronic (born Ana Lynch) - vocals, 'Mistress of Ceremonies'
* Del Marquis (born Derek Gruen) - guitar, bass guitar
* Paddy Boom (born Patrick Seacor) - drums, electronic drums, percussion
The bands name Scissor Sisters comes from a sexual position between two women but I won't bore you with details about what the position is as you can find out for yourself if you so wish. Anyway here is my review of their debut album.
A great start to the album, this disco funk track moves along with a superb melody. the biting keyboard melody is joined by some waawah guitars and the pounding drums. Jake Shears takes on the lead vocals for the track and does a fine job.
2.) Take your mama
This is a great funky camp track which opens with a slow shuffling guitar and then develops with Jake's voice and then the drum backing comes in. This is a very good feel good track which struts with confidence throught the whole of the track.
3.) Comfortably Numb
This is a cover of Pink Floyd's classic. Unfortunately this cover is not up to much and when I heard it I felt like I really hated the Scissor Sisters. A disco version of the great track doesnt work well in this instance. This was a huge underground track even before they were known.
This is a wonderful ballad about a best friend who is going through some tough times after breaking up with their partner. This is the band at ther best and is a heartfelt and beautifully done track that shows what they can really do.
5.) Lovers in the backseat
This tracks opening has a soul feel akin to Curtis Mayfield. It has a very interesting opening with guitar and piano and then the song develops with the drum beat and Jake's vocals. What follows is a funky fusion of Prince and Elton John with a bit of Eddie Vedder for good measure. A very interesting track indeed.
6.) Tits on the radio
A very interesting track title and the track opens with a funky bassline and the vocals of Ana Matronic. One of the best uses of the bass guitar on the album and this has a great feel to it. A very catchy track which works suprisingly well.
A very camp disco track with a very good bassline and some nice backing sounds joined by the beat of the drum. This is one of the biggest club tracks of the last few years and when i first heard it I didnt like it but i grew on me and I was soon dancing to it in the club.
8.) Music is the victim
This has the rockiest moment on the album and it makes for a very interesting track. the rock funk fusion works really well and the song flows through with a great feel. One of the best of their lesser known tracks.
9.) Better Luck
This is another funky track but I feel it loses out on the lack of spark, it's a good pop song but there's nothing to make it stand out like the other tracks on the album although it has some good moments musically.
10.) It can't come quickly enough
This is another great ballad which has that uptempo ballad fusion that Darren Hayes is so well known for. This works really well and is one of the most appealing tracks on their debut album and will have a great appeal.
11.) Return to Oz
This is a nice gentle track which has an old feel to it like it was done in the seventies. This track has more than a passing ode to Elton John but also has a Simon and Garfunkel feel to it. This track works really really well. The tracks climax comes with a David Gilmour influenced solo.
UK Bonus Tracks
Ana Matronic introduces the two bonus tracks on the album with a strange scream indicating the bonus tracks.
This has a disco feel akin to filthy/gorgeous, this is the better of the bonus tracks and the funky bassline along with the guitar is what makes this track. Not the best but not bad.
Get it get it
This has an electronic feel and works well, the beat and the electronic sounds make a nice combination. But it goes the way of the first bonus track of not having that spark to seperate it from a good track to being a great track.
Whilst there are some great tracks on this album there are too many tracks that don't cut it. Therefore the album isnt as consistent as one hoped. They have undoubted talent but they need to prove it more, when they have retired from music you are likely to find an outstanding album of some of their greatest songs but unless they correct the flaws in some of their songs they won't produce an album that rivals the likes of Thriller for overall critical value.
Imagine, if you will, a man who gets on stage and climbs into a bin-bag, before ripping it open and emerging from the debris covered in red paint, before proclaiming himself to be an abortion. Ugh, right? In what possible country could such a man front a band that sells over 2 million copies of their first album? Then think of this; a straight woman who performs a drag act where she pretends to be a man pretending to be a woman? Strange! Who would make her into a gay icon? What if these two people joined together to form a band of four guys and one girl where all but one of the band-members lusted after men? Surely there would be no country who could be awesome enough to see through all of this and listen to the music before passing a judgement on the band themselves? America certainly wasn't ready for it; after performing on Saturday Night Live the band attracted record numbers of complaints because they were gay people on TV. Oof! You can almost feel the repression. So if America wasn't the country who could take these camp troubadours and give them a place in the national consciousness, which country could?
Britain could! Of all the new bands who have come along in the past few years, none have been quite so loved in these Isles as The Scissor Sisters, a high-camp act with flamboyance and flair flailing from their fingertips. They make dance-pop, disco and electro music which retains a strong dancehall vibe that enables it to be a hit on both sides of the BBC radio networks. Radio 2 broke the band, but Radio 1 also play their music. Heck, you can hear them on Doctor Who, for Whedon's sake! (albeit on the completely sucky season finale, but still). They're mainstream like a mother; but still controversial and not without their edge. Well, until the slightly poor second album came out. But here, on their first album, the Scissor Sisters have compiled a collection of 13 of the most addictive disco music tracks heard since the heyday of the Bee Gees and Elton John. Already you should be able to tell if you love or hate this record.
Pink Floyd fans have a further reason to start spitting with disgust and running off in the opposite direction with a paper bag over their head whilst shouting "NOOOOO", in that the Sisters have covered prog classic "Comfortably Numb", redefining it as a club-land anthem with masses of blippy noises and laser shuffles spinning across the sky with brush drum and a whole heavy bassline. Into this mix come the voices of Jake Shears and Ana Matronic, the two singers of the band, who happen to sing the entire song in falsetto. Again, you've probably made up your mind on this ditty already, but it's actually... good. Likewise the incredibly gay disco of "Filthy/Gorgeous", which has already established itself as an iconic song in the gay music scene alongside stuff by the B52's and Dee-Lite (I do my homework, I do!) works brilliantly as an upbeat dance number which will get your mum dancing like a freakish nymph. "You're filthy.... And I'm gorgeous!" screams Shears, celebrating in the sheer camp mentalism of it all. And nowhere do things get more gay than in "Tits on the Radio", a butch lesbian of a song, with naughty lyrics, squelching guitar and maracas. Ana sings this song, her only solo attempt on the record, which is again a triumph against the odds. You'd think this should be unplayable rubbish, but it's done in such good humour that it's hard not to get swept along with the music.
Amongst all the heavy electric guitar and fantastical keyboard stuff, there are considered basslines at play, which drive the songs forward. "Music Is the Victim", which is shiny-full of bass grumblings and guitar-riffs that CSS would pay good money for, is a helter-skelter race of music, with Shears on quick-witted form "I left my man in Houston, Texas/Just before he finished breakfast" he snaps, before rushing on to the chorus. Both bonus tracks, "The Skins" and "Get It Get It" crackle with electric energy, synergising the finale into a mesmeric dancefloor. The latter has a whiplash of a stuttered electric violin which plays over, very quickly, generating pace while Shears laments the end of an evening out, celebrating the last dance before the DJ packs up for the night. On the other hand, "The Skins" goes for some experimental techno sounds, with a neon guitar taking centre stage amid wipeout and static. The falsetto is back, and the whole package is effortlessly carried off, radiating class. Meanwhile, "Better Luck" bounces forwards with all the impatience of a Geordie in a pigeon shop. "Better Luck/next time/maybe we could have a go/with another kind of love - one that carries on" the band all sing together, creating possibly one of the first electro singalongs. It's one of my favourites on the album, with it's camp airs and graces, and the way in which it builds up each verse to carry a punch.
Not everything is so good. "Mary" and (this is possibly blasphemy, but I'll say it anyway) "Take Your Mama", two of the singles released, are dull and samey. "Mary" is the first ballad on the album, and although there is a dramatic tension involved, and Shears finally shows that he can sing 'formally' when required to, the entire song is boring at best, with no interest generated at all. A much better ballad is "It Can't Come Quickly Enough", which truly could have been created by Pink Floyd. There is an echo that hollows out the staggering guitar, with wishwash and chugging noises moving along in the background. "We knew all the answers and we shouted them like anthems" cries Shears, before launching into a fantastically poised chorus. "Return To Oz", a poignant song about the effect crystal meth has had on the gay scene, also carries itself off with dignity. Although sounding similar to Mary, this song has a resonance which puts it a fair few notches above it's bland predecessor. "Take Your Mama" - now, here's something. I think most people have heard of this song, but if you haven't, here goes; it's a barnyard romance story told with a set of acoustic guitars and some tickled ivories. There is fun to be had, but the theatrics of the song leave me cold, as does the chorus, which feels forced and irritating. The perky vocals of Shears do nothing for me here, and the earthy tones of the music don't fit in with the mood of the rest of the album. If this had been released by, say, one of the Wainwright family, I could perhaps have liked it, but here it doesn't work for me.
There is plenty to enjoy here, as I'm sure you be now will have guessed. "Lovers in the Backseat" is a tongue in cheek song which sounds like it should only ever be played round the back-alley of a porno theatre. Shears sings with a low tone, and holds his notes for much longer than is necessary. Whilst not a brilliant track, it's still not something that immediately makes you reach for the skip button. The highlight of the album - which is why I've left it til' last - is the opening track, "Laura". Starting out with some piano and a fuzzy organ, the song opens out into the audio equivalent of a circus, showcasing so many unique turns it's hard to list them all. Shears puts every ounce of his Happy-Elton-John voice into it, the lyrics are high on razzle-dazzle, and the ominous way the piano ramps up whenever the chorus begins is something I find I keep coming back to.
The whole album is like that, actually. Whenever I go too long without listening to it, life gets a bit duller. You can forget how good it is until something reminds you, and it suddenly becomes one of the most fun albums you have again. Although the second album slowed down a lot, the Scissor Sisters are still the first stop you should make when you want to listen to some electro music - forget the Klaxons, CSS, all those 'credible bands' (NME sucks by the way, I knew that even before Morrissey made it public knowledge). If you want to be entertained for an hour, this is the record you should put on. End of story.
The Scissor Sisters are an American five member band and this was their big break through album on both sides of the Atlantic.
There style is very much based around funky pop sounds that are great to dance to and they have a very camp style about them which is emphasised by their live appearances and videos, in fact they are a great live act with a strong stage prescence and they put on a great show.
There were a number of hit records released off this abum and the opening two tracks on the album were amongst this number. Lura has a plodding almost pracing beat as an opening and the high pitched voice of the lead singer Jake Shears has a really good range to it, in many of the songs he is accompanied by the equally flamboyant Ana Matronic while the songs are mostly recorded by bass player BabyDaddy.
From Laura the album moves on to Take Your Mama which is a great dance anthem song and very powerful. The other main hit off the album was Mary which is track four.
If I have any criticism of this album it is that some of the other tracks are not that strong, in particular Music is the Victoim is quite forgettable and the final track Return to Oz is a little weak however I really like Filthy / Georgous and Better Luck is a fun track as well.
The Scissor Sisters have come out of no where, and have 'cut' their way into my musical life. This album really has to be heard to be believed, because to quote Avid Merrion "I dont know what they are!"
The vocals, the lyrics, the music; all are completely unique. Iv never head a bloke, aside from Justin Timberlake and his namesake Justin Hawkins of Darkness fame, that can hit those notes, but this man does so much better. Its like all the Bee Gees in one man.
This album has everything, Funk, Rock, Electric rock, jazz and soul. Now i know alot of albums have a bit of variety, but how many of them can combine all of these elements into each song?!?! Each song is like a musical feast.
1. Laura 10/10
This song is awesome. In just the opening bars, it somes up the sound that this band is all about. Piano, drums, and sythensizers! Very funky and very cool. Lyrics are top notch too
2. Take your mama 10/10
A song about taking your mother out and getting her a bit drunk on cheap champagne. The guitar is great, and reminds me of that 'hey hey hey, whats going on?' song (the original, not the schoold disco-esque mix you may be familiar with..however any clues as to who sang that song would be appriecated :D)
3. Comfortably Numb 9/10
This may be the one you are all familiar with, and is certainly the one that introduced me to the band. An original take on the Pink Floyd classic, and certainly does it justice, and gives it a whole new lease of life. Infact, it takes the original, and transplants it with a new dance/rock persona. This song is certainly growing on me, and perhaps i would have given it 10/10 but its not as good in comparison to the first two songs.
4. Mary 7.5/10
Not one of my favourites, but i know it is popular with many others. Its just a little dull for my taste, and it kinda stops the album on its awesome roll. Nevertheless, its still a well above average song. Its a slower song, as if the band had 'come down'.
5. Lovers in the Backseat 8/10
You cant help but wonder where this song is going when it kicks in, but as soon as it does, you know. For some reason, it reminds me of the Pet Shop boys. And once I realised that, I realised there is alot of PS like sounds in the album. But where the Pet Shop boys were camp trying to be serious, the Scissor Sisters are trying to be seriously camp.
6. Tits on the Radio 7/10
This is where the album starts to fade off. Its a decent song, and possibly a grower on me, but has little wow factors. Not like the others.
7. Filthy/Gorgeous 8/10
Back in business with this song. Electric beat, with many different synth effects. The bass line is awesome, and the guitar only adds. Shame it sounds too much like Bee Gees 'You should be dancing'
8. Music is the Victim 9/10
Very Funky bass line! Kicks in with some awesome piano, and all of a sudden, you have to slap yourself because you would swear it was Elton John. Elton John from the 70s, not the one we all know (and love?) from today. However, you know its not an Elton John song, because there is no way he could have wrote something this good!
9. Better luck 8/10
An ok song, but doesnt really kick in much, and gets a bit tiresome. Middle Eight is a nice break though. Perhaps we can have better luck with the next one
10. It cant come quickly enough 6.5/10
This song really throws you back. I know Ive hinted of 80s influence throughout, but this song you would think was straight out of the decade. Not one of my favourites. The album at this point seems to have hit a dead end
11. Return to Oz 8/10
We get to the last song, named after a film. What more can i say? Well i can say that this song certainly has potential, and i am hedging my bets with the 8/10 verdict. It could be higher. Its a very simple song, but unlike the rest, the lyrics and singing is definately where the song gets its magic. It has such an eerie yet beautiful feel to it, much like the film.
And thats all folks....or is it?
The album also features two bonus tracks. I personally dont see the point in bonus tracks, unless they have some novelty eg. they are a cover. Otherwise, where is the bonus? They are just another song. I will not review them, because I beleive people if they want to know about them, should buy the album to find out. They are both worth it though :D
I admit this album will not be everybody's cup of tea, probably those people who are very closed minded about music and sit and listen to Westlife and all the other manufactured drivel. Seriously, i cannot stress enough how much people need to be more open minded, because they are missing out on some gems.
Anyway, overall i give this album 9/10. It would be 10/10 but its let down by a few tracks. Nevertheless, i believe that it is definately an album to consider, because I know from experience, there is alot worse out there!
Is it just me, or does anyone else feel suicidal when confronted with this wailing nonsense?
I know this isn't strictly an album review, I tried to listen to it, I really did but I found myself getting so irritated by these anally retentive idiots that I had to leave the room.
For anyone to think that they could cover Pink Floyd's classic song "Comfortably Numb" is one thing, fot these guys to attempt it in they're saturday night fever (ish) style makes a once proud and defining song sound like Cruella DeVille pushing the 101 dalmations through a mincer.
To really spend much more time on this subject would be wasting too much time on these worthless excuses for musicians so I will close with my final point that it makes me sick that talentless retards like this can be signed by music companies when there are talented musicians playing pub circuits out there who will never be signed due to not being in the right place at the right time!
I have absolutely no idea why I like the Scissor Sisters. I just do. There?s no rational explanation for my feeling this way, it just happened. Generally, it?s not often I find myself in agreement with the music press. Generally in the last few years, I?ve found disliking bands that music magazines have heaped praise upon. I?ve never been entirely sure whether it?s me that?s out of touch, or them. I have frequently, if sporadically, enjoyed the Scissor Sisters, though. The singles I?d heard seemed like a lot of fun, with a kind of retro feel and some quirky lyrics that make listening a real pleasure, although not quite making a purchase essential. That was until one day in HMV, where I was almost assaulted by the sound from the shop?s speakers. ?What?s this playing?, I asked one of the staff. ?It?s the Scissor Sisters, I think?, she replied, before going off to check and coming back to confirm that her first guess was the right one. The album turned out to be on their 2 for £20 offer, and as I already had one from that offer in my hand, I figured it couldn?t hurt to take a chance. I was soon to discover that others wouldn?t share my unrestrained joy at the album. On hearing it playing on my stereo, my flatmate asked ?Is that DANCE music you?re listening to up there?? a question covered in equal parts distaste and disbelief. Reassuring him that it wasn?t dance music but was instead the Scissor Sisters didn?t help restore his good faith in me. ?Oh?, he said, ?I can?t stand them. They ruined ?Comfortably Numb?. Not being a Pink Floyd fan, I hadn?t noticed. The album opens with ?Laura?, a quirky little tune led by a fairly bass end and down tempo piano beat but with all kinds of instrumental sounds popping up all over the place. It?s
got some pretty interesting lyrical work as well, including the most interesting pronunciation of the words ?come on? (that?s what the lyric sheet says he?s singing, anyway) you?re ever likely to hear. The vocal work makes it sound a little like Elton John way back in the 1970?s, and it?s essentially a pop song with a twist. Well, several twists, really. Not one to dance to, but definitely a toe tapper. The acoustic guitar introduction to ?Take Your Mama? gives you no idea what?s about to happen. Once the piano and the vocals come in, this has Elton John?s style all over it. There are parts where it could almost be a slightly slowed down version of ?Crocodile Rock? or ?Philadelphia Freedom?, as it?s got the same bluesy/rock and roll piano work, and the vocals sound very similar. One that?s tough not to dance or sing along to, particularly in the chorus. The early bars of ?Comfortably Numb? always manage to remind me of Survivor?s ?Eye of the Tiger?, with the driving guitar leading it along, until the vocals come in. It?s clear that this is a prog-rock tune by the hugely entertaining synthesiser generated sounds. It?s quite different to the original, being faster paced (it?s around 90 seconds shorter than the Pink Floyd version) and with the vocals at a higher pitch and more to the front of the mix. Whether you feel the cover is a sacrilege or not, I?ve long felt this was one of the weaker tracks on the album. There?s a slow piano intro to ?Mary?, which sounds a little like an old Elton John ballad again, particularly once the vocals have joined in. It?s a quite low key track, slower in tempo than what has gone before and less reliant on the synthesiser to augment the piano. It?s essentially a pop ballad; one that you can see would cause a flood of lighters at the festivals they?ve been playing this
year. ?Lovers in the Backseat? picks up the pace again, and it?s definitely worth listening to the lyrics on this one as well. The synthesiser is back in action again, and it feels like it?s another prog-rock track, although it?s maybe a little light for that ? maybe prog-pop-rock would be a slightly more applicable term? The vocals are a little deeper than on most of the tracks so far, and he sounds a lot less like Elton John as a result, which makes for a nice change of pace. Any song that contains the lyrics ?there ain?t no tits on the radio? suggests that whoever wrote it has never heard of Chris Evans. Whether the Scissor Sisters have or not, ?Tits on the Radio? is an almost disco sounding tune, with a funky bass beat that?s perhaps just a little too slow to be a 70?s disco number. Notable for being the only song where Ana Matronic takes lead vocals and some of the most risqué lyrics on the album, it?s let down by the falsetto on the chorus, which is a little distracting. I keep thinking of the theme of ?The South Bank Show? whenever ?Filthy/Gorgeous? kicks in, but it?s soon apparent that there?s another disco tinged number in the offing. It?s more up tempo than the previous track and so a little truer to its disco roots and has the kind of beat that gets your feet moving, although the falsetto vocals sound a little less out of place this time around, being the main vocal rather than the backing. Not quite up to the Bee Gees standards, but still pretty good. The interesting lyrics continue with ?Music is the Victim?, but the music takes a huge twist away from the disco tinged numbers. There?s a hint of the old style Elton John, with a boogie-woogie twist in the piano, and an almost classic rock and roll guitar solo. Anyone who?s enjoyed Elton?s rockier numbers from the old days, part
icularly of the ?Crocodile Rock? era is likely to love this one. As do I. It was the country style guitar solo of ?Better Luck Next Time? that caught my attention that day in HMV, but you?d never guess this was the same song as it starts off. It?s almost a fairly tame pop number, with a little nod towards the disco side of things that gives no hint that they?ll be a country twang to the guitar solo. It?s a strange combination, but it?s a great track and even I?m nearly dancing around the room with a hairbrush to this one. There?s no logical reason why this song should work as well as it does, but the Scissor Sisters abandoned logic in favour of toe tapping tunes a long while ago, and this is proof that they did the right thing. There?s not too many down tempo tracks on this album, and ?It Can?t Come Quickly Enough? is proof of the reason why. Despite being hugely innovative at nearly everything else, the Scissor Sisters don?t slow things down terribly well. There?s a heavy, almost dance style drum beat over everything that gets in the way, and the track does virtually nothing but drag on without major changes. Despite covering ?Comfortably Numb?, it is on ?Return to Oz? where the Scissor Sisters sound closest to Pink Floyd. It?s a fairly simple song, evoking ?Lucy in the Sky with Diamonds? at points, but it has the basis of a prog-rock ballad, with some spaced out lyrics and guitar and piano intermingling to good effect. After a brief ?Message from Ms Matronic?, which serves more as encouragement not to play the record too loudly, it?s on to the UK bonus tracks. It is the first of these, ?The Skins?, which had my flatmate thinking I was listening to dance music first time around. Its dance with a pop edge, but all the hallmark
s of 80?s and 90?s dance music are here, with a funky bass beat and an artificial sounding drum beat leading the music. ?Get It Get It? carries on in much the same decade, although there?s more use of the synthesiser, and there are hints of electro-pop and a couple of points that make me think I?m listening to Human League or New Order. That?s as much down to the vocals as the music, and it?s an interesting development considering the similarities to Elton John?s vocals style that the album is liberally scattered with. What sets the Scissor Sisters apart from a lot of the other bands around is that they haven?t stuck to a tried and tested formula. Although there is a fairly retro sound running through a lot of their work, they embrace all styles of music, so that you never know what to expect next. And this isn?t just true between songs, but can also be true within a song. Add to this their natural flamboyance and a clear sense of fun, and this makes the Scissor Sisters very interesting listening indeed. It is my hope that this style is the Scissor Sisters? own and not something that?s been put upon them by the record company. If the latter is true, then future releases will see them wanting to try their own thing, which may work less well. However, I suspect that this is purely all their won work, and they?re merely allowing their natural tendency to have fun, combined with their wide range of musical influences, to have free rein. This should mean that they?ll be more like this to follow, which would be a joy for everyone. What they?re doing here may not be mainstream, and it may not be cool. But the Scissor Sisters don?t seem to care. They have no fear of being seen as uncool or of being out of touch. It appears that the only thing they are scared of is to not have a lot of fun with their music.
84;here?s certainly no fear of that. If you?re willing to take a chance and like good music, this is the album for you. If you like enjoying yourself to a CD and can enjoy a wide range of different sounds, this is or you. If you?re tired of listening to the same old rubbish that keeps appearing on radio stations and music TV, this is the one for you. Heck, if you have an ear to listen, this is for you! £8.99 from Amazon or £9.99 from play.com to include the two bonus tracks (it?s £8.99 from various places without them, but if you can get them for the same money ? do it!) gets 50 minutes of pure aural pleasure. Buy it. Now. You won?t regret it.
Disc #1 Tracklisting
2 Take Your Mama
3 Comfortably Numb
5 Lovers In The Backseat
6 Tits On The Radio
8 Music Is The Victim
9 Better Luck Next Time
10 It Can't Come Quickly Enough
11 Return To Oz
12 A Message From Ms Matronic
13 The Skins