Congratulations!

[Valid RSS] This is a valid RSS feed.

Recommendations

This feed is valid, but interoperability with the widest range of feed readers could be improved by implementing the following recommendations.

Source: http://www.aeschtunes.com/rss.xml

  1. <?xml version="1.0" encoding="UTF-8"?><rss version="2.0"
  2. xmlns:content="http://purl.org/rss/1.0/modules/content/"
  3. xmlns:wfw="http://wellformedweb.org/CommentAPI/"
  4. xmlns:dc="http://purl.org/dc/elements/1.1/"
  5. xmlns:atom="http://www.w3.org/2005/Atom"
  6. xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
  7. xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
  8. xmlns:georss="http://www.georss.org/georss" xmlns:geo="http://www.w3.org/2003/01/geo/wgs84_pos#" xmlns:media="http://search.yahoo.com/mrss/"
  9. >
  10.  
  11. <channel>
  12. <title>AeschTunes</title>
  13. <atom:link href="https://aeschtunes.com/feed/" rel="self" type="application/rss+xml" />
  14. <link>https://aeschtunes.com</link>
  15. <description>Music review site and memorial site for the AeschTunes internet radio station</description>
  16. <lastBuildDate>Sun, 05 May 2024 17:09:55 +0000</lastBuildDate>
  17. <language>en</language>
  18. <sy:updatePeriod>
  19. hourly </sy:updatePeriod>
  20. <sy:updateFrequency>
  21. 1 </sy:updateFrequency>
  22. <generator>http://wordpress.com/</generator>
  23.  
  24. <image>
  25. <url>https://aeschtunes.files.wordpress.com/2023/06/cropped-icon.jpg?w=32</url>
  26. <title>AeschTunes</title>
  27. <link>https://aeschtunes.com</link>
  28. <width>32</width>
  29. <height>32</height>
  30. </image>
  31. <cloud domain='aeschtunes.com' port='80' path='/?rsscloud=notify' registerProcedure='' protocol='http-post' />
  32. <atom:link rel="search" type="application/opensearchdescription+xml" href="https://aeschtunes.com/osd.xml" title="AeschTunes" />
  33. <atom:link rel='hub' href='https://aeschtunes.com/?pushpress=hub'/>
  34. <item>
  35. <title>Song of the Moment: Ricky Martin &#8211; &#8220;Livin&#8217; La Vida Loca&#8221;</title>
  36. <link>https://aeschtunes.com/2024/05/08/song-of-the-moment-ricky-martin-livin-la-vida-loca/</link>
  37. <comments>https://aeschtunes.com/2024/05/08/song-of-the-moment-ricky-martin-livin-la-vida-loca/#respond</comments>
  39. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  40. <pubDate>Wed, 08 May 2024 17:00:00 +0000</pubDate>
  41. <category><![CDATA[music]]></category>
  42. <category><![CDATA[1990s]]></category>
  43. <category><![CDATA[1990s music]]></category>
  44. <category><![CDATA[90s]]></category>
  45. <category><![CDATA[90s music]]></category>
  46. <category><![CDATA[Livin' La Vida Loca]]></category>
  47. <category><![CDATA[pop music]]></category>
  48. <category><![CDATA[Ricky Martin]]></category>
  49. <guid isPermaLink="false">http://aeschtunes.com/?p=19285</guid>
  50.  
  51. <description><![CDATA[Prior to Ricky Martin’s performance of “La Copa De La Vida” at the 1999 Grammy Awards, I had only heard of him in passing through references to Menudo. When I saw his performance on the Grammys, though, I was blown away by what I saw and heard. About a month after that performance, I began&#8230; <a href="https://aeschtunes.com/2024/05/08/song-of-the-moment-ricky-martin-livin-la-vida-loca/" class="more-link">Continue reading <span class="screen-reader-text">Song of the Moment: Ricky Martin &#8211; &#8220;Livin&#8217; La Vida&#160;Loca&#8221;</span></a>]]></description>
  52. <content:encoded><![CDATA[<p>Prior to Ricky Martin’s performance of “La Copa De La Vida” at the 1999 Grammy Awards, I had only heard of him in passing through references to Menudo. When I saw his performance on the Grammys, though, I was blown away by what I saw and heard. About a month after that performance, I began hearing the song “Livin’ La Vida Loca” on the radio and realized that this was the same guy I saw perform at the Grammys. I was hooked on this track rather quickly, and it became one of my favorite songs in the spring of 1999. I thought it was catchy, and it was something I didn’t tire of, even though the song was getting a lot of airplay on the radio and on MTV.</p>
  53. <p>I wasn’t terribly surprised when “Livin’ La Vida Loca” hit number one on the Billboard Hot 100 on May 8, 1999. Not only was it catchy and an earworm, there was something about the track that helped it to stand out amongst the other material being promoted to pop radio at the time. While “Livin’ La Vida Loca” fit in among the teen pop material that was successful at the time, it still brought something to the table that the teen pop material didn’t have.</p>
  54. <p>Having said that, I admit that this song hasn’t necessarily aged as well as it could have. I don’t want to say that “Livin’ La Vida Loca” necessarily sounds dated, but what made it stand out at the time it was popular doesn’t necessarily fit in with the pop music that’s being released 25 years later. While you may not necessarily be able to tell that it was a late 1990’s track if you weren’t alive at the time, you can still tell that it’s not something modern.</p>
  55. <p>I still enjoy “Livin’ La Vida Loca” and get a smile on my face when I hear it, but I admit that this is probably more due to nostalgia than anything else. Outside of this track, the only song Ricky released after this is “Nobody Wants to Be Lonely,” his duet with Christina Aguilera. Outside of that, though, nothing else in Ricky’s catalogue has grabbed me like “Livin’ La Vida Loca” did back in the day.</p>
  56. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/CN5hQOI__10?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  57. ]]></content:encoded>
  59. <wfw:commentRss>https://aeschtunes.com/2024/05/08/song-of-the-moment-ricky-martin-livin-la-vida-loca/feed/</wfw:commentRss>
  60. <slash:comments>0</slash:comments>
  64. <media:content url="https://2.gravatar.com/avatar/5a84dfe221b8672f8dc259f40520aaf14aa548d3c4bd2e2d3da87b45eeaa781a?s=96&#38;d=identicon&#38;r=G" medium="image">
  65. <media:title type="html">aeschtunes</media:title>
  66. </media:content>
  67. </item>
  68. <item>
  69. <title>DVD Review: Depeche Mode &#8211; &#8220;One Night in Paris &#8211; The Exciter Tour 2001&#8221;</title>
  70. <link>https://aeschtunes.com/2024/05/07/dvd-review-depeche-mode-one-night-in-paris-the-exciter-tour-2001/</link>
  71. <comments>https://aeschtunes.com/2024/05/07/dvd-review-depeche-mode-one-night-in-paris-the-exciter-tour-2001/#respond</comments>
  73. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  74. <pubDate>Tue, 07 May 2024 17:00:00 +0000</pubDate>
  75. <category><![CDATA[music]]></category>
  76. <category><![CDATA[review]]></category>
  77. <category><![CDATA[Depeche Mode]]></category>
  78. <category><![CDATA[electronic music]]></category>
  79. <category><![CDATA[music review]]></category>
  80. <category><![CDATA[One Night in Paris]]></category>
  81. <category><![CDATA[synthpop]]></category>
  82. <guid isPermaLink="false">http://aeschtunes.com/?p=19330</guid>
  83.  
  84. <description><![CDATA[Depeche Mode&#8217;s One Night in Paris – The Exciter Tour 2001 is a two-disc DVD set. The first disc is a concert from the &#8220;Exciter&#8221; tour recorded on October 10, 2001, in Paris. The second disc includes various bonus features. The menu on the first disc gives the viewer two options: “Play Concert” and “Track&#8230; <a href="https://aeschtunes.com/2024/05/07/dvd-review-depeche-mode-one-night-in-paris-the-exciter-tour-2001/" class="more-link">Continue reading <span class="screen-reader-text">DVD Review: Depeche Mode &#8211; &#8220;One Night in Paris &#8211; The Exciter Tour&#160;2001&#8221;</span></a>]]></description>
  85. <content:encoded><![CDATA[<p><img data-attachment-id="19329" data-permalink="https://aeschtunes.com/depeche-mode-one-night-in-paris/" data-orig-file="https://aeschtunes.files.wordpress.com/2024/02/depeche-mode-one-night-in-paris.jpg" data-orig-size="211,300" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Depeche Mode One Night In Paris" data-image-description="" data-image-caption="" data-medium-file="https://aeschtunes.files.wordpress.com/2024/02/depeche-mode-one-night-in-paris.jpg?w=211" data-large-file="https://aeschtunes.files.wordpress.com/2024/02/depeche-mode-one-night-in-paris.jpg?w=211" class="size-full wp-image-19329 aligncenter" src="https://aeschtunes.files.wordpress.com/2024/02/depeche-mode-one-night-in-paris.jpg?w=825" alt="Depeche Mode One Night In Paris"   srcset="https://aeschtunes.files.wordpress.com/2024/02/depeche-mode-one-night-in-paris.jpg 211w, https://aeschtunes.files.wordpress.com/2024/02/depeche-mode-one-night-in-paris.jpg?w=106&amp;h=150 106w" sizes="(max-width: 211px) 100vw, 211px" /></p>
  86. <p>Depeche Mode&#8217;s <em>One Night in Paris – The Exciter Tour 2001</em> is a two-disc DVD set. The first disc is a concert from the &#8220;Exciter&#8221; tour recorded on October 10, 2001, in Paris. The second disc includes various bonus features.</p>
  87. <p>The menu on the first disc gives the viewer two options: “Play Concert” and “Track Selection.” The “Play Concert” option shows the entirety of the concert, while “Track Selection” allows the viewer to choose which performances of the concert that they want to watch. The menu on the second disc allows you to select which of the bonus features you want to watch.</p>
  88. <p>The navigation interface for both discs includes the crudely-drawn images from the background projection for &#8220;Black Celebration.&#8221; While I understand this was done as a tie-in to the concert film, I just don&#8217;t think the interface looks very impressive. To be honest, I would have expected an interface like this on a DVD released two or three years prior to this one. While simplicity can be nice, I think this interface looks a little &#8220;too simplistic.&#8221; The menus also play the guitar intro from &#8220;Dream On&#8221; in the background.</p>
  89. <p>The set list for the show is: &#8220;Dream On [Guitar Intro],&#8221; &#8220;The Dead of Night,&#8221; &#8220;The Sweetest Condition,&#8221; &#8220;Halo,&#8221; &#8220;Walking in My Shoes,&#8221; &#8220;Dream On,&#8221; &#8220;When the Body Speaks,&#8221; &#8220;Waiting for the Night,&#8221; &#8220;It Doesn&#8217;t Matter Two,&#8221; &#8220;Breathe,&#8221; &#8220;Freelove,&#8221; &#8220;Enjoy the Silence,&#8221; &#8220;I Feel You,&#8221; &#8220;In Your Room,&#8221; &#8220;It&#8217;s No Good,&#8221; &#8220;Personal Jesus,&#8221; &#8220;Home,&#8221; &#8220;Condemnation,&#8221; &#8220;Black Celebration,&#8221; and &#8220;Never Let Me Down Again.&#8221; Overall, I thought that this was a decent set list, although I wish the slower songs were spread out more. As it is here, you have six uptempo and midtempo tracks, then five slow songs, and then primarily focusing on uptempo and midtempo songs to finish out the concert. Having the five slower songs back-to-back kind of slows down the momentum of the performance. However, I give them credit for bringing “It Doesn’t Matter Two” into the playlist, since this isn’t a track that they play live in concert very much. Also, it was interesting to get two songs back-to-back where Martin Gore has the lead vocals rather than Dave Gahan.</p>
  90. <p>I thought that both Dave and Martin’s voices were in fine form during this performance. I also thought the two backup singers that were part of the tour also sounded good in the portions where you can clearly hear them.</p>
  91. <p>The performance of “Walking in My Shoes” gave the track a different and harder arrangement. I like this change in the arrangement, and I appreciate when artists shake up the sound of some of their songs during their concerts. This is especially true when you’re talking about songs that the band or artist has been performing live for years. I also liked the change in the arrangement for “Condemnation” as well. I think this more stripped back feel works quite well for the track.</p>
  92. <p>I really liked the performance of “Halo.” Dave and Martin sound really good singing together, and the use of the projection adds a nice visual layer to things.</p>
  93. <p>The performance of “In Your Room” sounds great, but I do question the use of fish as a background projection during it. What do fish have to do with the lyrics and theme of “In Your Room”?</p>
  94. <p>The cinematography of the concert film is decent, although the lighting during the performance is on the darker side. The main exception to this is the performance of “Never Let Me Down Again,” which uses a lot of yellow lighting and makes it the brightest-looking performance during the whole concert. But the lighting is more of an issue with the lighting choices than it is the ability of the cinematographers to capture the look of the performances. However, I should mention here that the performances of “I Feel You” and “Personal Jesus” include flashing lights, for readers who may have sensitivities to strobing and flashing lights. The introduction to the performance of “Black Celebration” also has a lot of quick cuts in it, which almost gives it the appearance of strobing. Personally, I found these quick cuts to be quite distracting.</p>
  95. <p>Unlike many of today&#8217;s concert films, which try not to have shots of the audience, and mix the audio so you can barely hear the crowd, this film shows that there is an audience watching the performance, and you are able to hear the audience members when Dave asks them to sing parts of the songs. My only complaint about the audience shots is that you don&#8217;t really get to see the reactions of audience members. The audience shots are primarily group shots, either from the front or from behind. However, I have to give director Anton Corbijn credit for using a variety of angles to show the performance on stage, and for not trying to focus solely on lead singer Dave Gahan the whole time.</p>
  96. <p>While <em>One Night in Paris – The Exciter Tour 2001</em> may not perfectly capture the live setting, it does a much better job at it than many concert films that I’ve watched that have been released over the past decade or so.</p>
  97. <p>Disc Two of the set contains several bonus features. First is &#8220;The Preparing,&#8221; which runs for about eight minutes in length. It contains interviews with some of the personnel working on the tour, and they talk about the tour, as well as about themselves and their backgrounds in the industry.</p>
  98. <p>&#8220;The Photographing&#8221; is a little over 51 minutes in length, and it contains photos taken by Anton Corbijn, with accompanying audio commentary done by Anton. Each picture is up for two minutes, regardless of whether or not Anton has very much to say about the photographs. While you can use the arrow keys to navigate through the pictures, I wish the gallery had been edited in a way where it would play better as one fluid piece, thus not requiring the use of the arrow keys. While I understand artistically why the photo gallery was done this way (so it wouldn&#8217;t appear that Anton is showing preference for one photograph over another), it is very tedious for the viewer.</p>
  99. <p>&#8220;The Waiting&#8221; is a little over seven minutes in length.  It’s a documentary of fans waiting outside the Paris venue, who talk about the band and their fandom. The subjects who are interviewed talk in English, French, and even one in German.</p>
  100. <p>&#8220;The Talking&#8221; runs for a little over 10 minutes in length, and it contains interviews with the members of Depeche Mode. A &#8220;title card&#8221; with the question appears on the screen, then the band members&#8217; answers are intercut. I tend to not like this style of interview very well, because I find this format to be rather jarring. I prefer having an interviewer being part of the process, so you can hear the question being asked, because that feels more natural.</p>
  101. <p>&#8220;The Screening&#8221; takes you to a menu, where you can either choose to play all of the background projections used in the concert as one piece, or to choose which of the five projections you want to watch. The five projections are for “Waiting for the Night,” “It Doesn’t Matter Two,” “In Your Room,” “It’s No Good,” and “Black Celebration.” The screenings have their appropriate accompanying audio playing as you watch them. If you choose to watch all the projections in one piece, it runs for about 23 minutes in length.</p>
  102. <p>The &#8220;Sister of Night&#8221; bonus track is a concert performance of the song that is not included in the concert on the first disc. The performance has Martin Gore on lead vocals instead of Dave Gahan. It’s interesting to note that the background projection for “Sister of Night” looks very similar, if not exactly the same, as the one used for &#8220;It Doesn&#8217;t Matter Two.” In some respects, it’s a little disappointing that this was cut from the concert film, but looking at the tracklist for this concert, “Sister Of Night” would have been part of the section of the concert where I complained about already having five slower songs back-to-back. Including this would have added to slowing down of the concert’s momentum.</p>
  103. <p>&#8220;The Choosing&#8221; allows the viewer to choose between three different camera angles for the performance of &#8220;Never Let Me Down Again.&#8221; Honestly, I wasn’t that impressed with this feature and it’s not something I’m ever going to use when I’m watching this release.</p>
  104. <p>&#8220;The Subtitling&#8221; is a menu that allows you to choose the language of your subtitles if you wish to have them. The languages included in this feature are German, French, English, Italian, Spanish, and Japanese.</p>
  105. <p>Disc Two also has a hidden feature, which can be found somewhere in &#8220;The Screening&#8221; menu. This hidden feature includes footage of Martin and Peter Gordeno (Depeche Mode’s touring keyboardist) rehearsing the song &#8220;Surrender&#8221; while Martin puts on his makeup in the dressing room.</p>
  106. <p>Even with the minor issues I have with this release, I still believe that <em>One Night in Paris – The Exciter Tour 2001</em> is a decent concert film. However, this DVD will primarily only appeal to die-hard Depeche Mode fans and collectors.</p>
  107. <p><em>(reviewed by Lesley Aeschliman in September 2012, re-worked by Lesley Aeschliman on May 7, 2024)</em></p>
  108. ]]></content:encoded>
  110. <wfw:commentRss>https://aeschtunes.com/2024/05/07/dvd-review-depeche-mode-one-night-in-paris-the-exciter-tour-2001/feed/</wfw:commentRss>
  111. <slash:comments>0</slash:comments>
  115. <media:content url="https://2.gravatar.com/avatar/5a84dfe221b8672f8dc259f40520aaf14aa548d3c4bd2e2d3da87b45eeaa781a?s=96&#38;d=identicon&#38;r=G" medium="image">
  116. <media:title type="html">aeschtunes</media:title>
  117. </media:content>
  118.  
  119. <media:content url="https://aeschtunes.files.wordpress.com/2024/02/depeche-mode-one-night-in-paris.jpg" medium="image">
  120. <media:title type="html">Depeche Mode One Night In Paris</media:title>
  121. </media:content>
  122. </item>
  123. <item>
  124. <title>Compilation Album Review: NOW 12&#8243; 80s: 1982 Part Two</title>
  125. <link>https://aeschtunes.com/2024/05/06/compilation-album-review-now-12-80s-1982-part-two/</link>
  126. <comments>https://aeschtunes.com/2024/05/06/compilation-album-review-now-12-80s-1982-part-two/#respond</comments>
  128. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  129. <pubDate>Mon, 06 May 2024 17:00:00 +0000</pubDate>
  130. <category><![CDATA[music]]></category>
  131. <category><![CDATA[review]]></category>
  132. <category><![CDATA[1980s]]></category>
  133. <category><![CDATA[1980s music]]></category>
  134. <category><![CDATA[80s]]></category>
  135. <category><![CDATA[80s music]]></category>
  136. <category><![CDATA[music review]]></category>
  137. <category><![CDATA[NOW 12" 80s]]></category>
  138. <guid isPermaLink="false">http://aeschtunes.com/?p=20021</guid>
  139.  
  140. <description><![CDATA[NOW 12” 80s: 1982 Part Two is a four-disc compilation set released by Sony/EMI in the United Kingdom, and it’s the second compilation released in this series that covers 1982. When it comes to the musical styles represented on NOW 12” 80s: 1982 Part Two, new wave is the most prominent. There’s also some dance&#8230; <a href="https://aeschtunes.com/2024/05/06/compilation-album-review-now-12-80s-1982-part-two/" class="more-link">Continue reading <span class="screen-reader-text">Compilation Album Review: NOW 12&#8243; 80s: 1982 Part&#160;Two</span></a>]]></description>
  141. <content:encoded><![CDATA[<p><img data-attachment-id="20020" data-permalink="https://aeschtunes.com/now-12-inch-80s-1982-part-two/" data-orig-file="https://aeschtunes.files.wordpress.com/2024/05/now-12-inch-80s-1982-part-two.jpg" data-orig-size="700,700" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="NOW 12 Inch 80s 1982 Part Two" data-image-description="" data-image-caption="" data-medium-file="https://aeschtunes.files.wordpress.com/2024/05/now-12-inch-80s-1982-part-two.jpg?w=300" data-large-file="https://aeschtunes.files.wordpress.com/2024/05/now-12-inch-80s-1982-part-two.jpg?w=700" class="size-full wp-image-20020 aligncenter" src="https://aeschtunes.files.wordpress.com/2024/05/now-12-inch-80s-1982-part-two.jpg?w=825" alt="NOW 12 Inch 80s 1982 Part Two"   srcset="https://aeschtunes.files.wordpress.com/2024/05/now-12-inch-80s-1982-part-two.jpg 700w, https://aeschtunes.files.wordpress.com/2024/05/now-12-inch-80s-1982-part-two.jpg?w=150&amp;h=150 150w, https://aeschtunes.files.wordpress.com/2024/05/now-12-inch-80s-1982-part-two.jpg?w=300&amp;h=300 300w" sizes="(max-width: 700px) 100vw, 700px" /></p>
  142. <p><em>NOW 12” 80s: 1982 Part Two</em> is a four-disc compilation set released by Sony/EMI in the United Kingdom, and it’s the second compilation released in this series that covers 1982.</p>
  143. <p>When it comes to the musical styles represented on <em>NOW 12” 80s: 1982 Part Two</em>, new wave is the most prominent. There’s also some dance and pop material represented in this tracklist, but the overall representation focuses on the popular new wave acts from that time.</p>
  144. <p>On the first disc of this set, there were actually no tracks that I didn’t have any familiarity with at all. However, I can say that there are three songs on here that aren’t as familiar to me as the others, so I can focus on those.</p>
  145. <p>The first of these tracks is “Lifeline [12” Version]” by Spandau Ballet, which I was first exposed to through the <em>NOW: Yearbook 1982 Extra</em> compilation. The original track is an upbeat synthpop track that makes you want to move along with it as it plays. The 12” version that’s included on <em>NOW 12” 80s: 1982 Part Two</em> is basically an extended version of the original track that adds nearly two minutes to its runtime. However, “Lifeline” is such a catchy song that you don’t really notice that the track is two minutes longer, and it also doesn’t feel repetitive in this longer length.</p>
  146. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/_CjKTh7tKNg?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  147. <p>Disc One also includes the 12” version of the 1982 remix of Japan’s “European Son.” I first heard the 1982 remix of this track on the <em>NOW: Yearbook 1980-1984 The Final Chapter Extra</em> compilation. Admittedly, I haven’t heard a lot by Japan that’s grabbed me, but the 1982 mix of “European Son” is one of the band’s tracks that sounds more interesting to me. This 12” version basically sounds like an extended version of the track that appeared on <em>NOW: Yearbook 1980-1984 The Final Chapter Extra</em>. It’s not bad for an extended mix, although I think I enjoyed the 12” of Spandau Ballet’s “Lifeline” a little more.</p>
  148. <p>Prior to listening to this compilation, I had heard “Night Train” by Visage on <em>NOW: Yearbook 1982 Extra</em>. I thought the song was quite catchy, and I was happy to see that a dance mix was included on <em>NOW 12” 80s: 1982 Part Two</em>. The dance mix is definitely longer version of the track, and I think there might also be some subtle sonic differences between the two versions. The original was a good dance track in its own right, but I think this remix of “Night Train” makes it an even better dance track for this era.</p>
  149. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/bJYUvHuDYhg?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  150. <p>Disc Two introduced me to an artist I’d never heard of before with the inclusion of “Saddle Up” by David Christie. Musically, this track is kind of interesting, but admittedly, there’s not much to make it stand out from other dance and funk-influenced tracks that came out during this era. David’s voice is OK, but the lyrics of this track aren’t as strong as they could be. And the backup singers really don’t help with their delivery of the lyrics. Unfortunately, I didn’t enjoy this track as much as I would have hoped. However, after hearing “Saddle Up,” I think I can hear why I’d never heard this song before listening to <em>NOW 12” 80s: 1982 Part Two</em>.</p>
  151. <p>I also heard “Music And Lights” by Imagination for the first time on this compilation. I only have very limited knowledge of Imagination through their appearances on other 80’s compilations that I’ve listened to. Musically, this track has quite a funky feel to it, and it sounds like the type of early 80’s funk and dance material that I personally enjoy.  To me, this would feel right at home being sequenced next to something by Earth, Wind and Fire. For me, this is one the best discoveries I made on <em>NOW 12” 80s: 1982 Part Two</em>.</p>
  152. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/j5hxvrKzeKE?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  153. <p>This disc exposed me to the 12” version of “Queen of the Rapping Scene (Nothing Ever Goes the Way You Plan)” by Modern Romance featuring Bev Sage. Admittedly, I’m not familiar with the original track, so I have to review this mix on its own merits. Something that’s distinctive about this one is the accordion that appears alongside the dance beat that this track has. This one sounds quite catchy, and I suspect that this is an extended version of the original track. I could be wrong, but this sounds like the way a single version would sound, except for the length of the track. The female rapper sounds pretty good on this one as well.</p>
  154. <p>The third disc introduced me to “Jump To It,” a song by Aretha Franklin that I’ve never heard before. Musically, this one sees Aretha leaning into the dance sound that was popular in the early 1980’s, and I think her vocal style works well this kind of a feel. As you can hear throughout Aretha’s catalog, she was able to evolve her material and adapt to the times, and this is no exception. While I like the vibe and feel of this one, I think that it would be a little stronger with a radio edit. With this almost seven minute long track, it takes a little while to truly get going into the meat of the track. Cutting down that intro would make this an even stronger track than it is in this longer version.</p>
  155. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/_-DmMLKbT8g?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  156. <p>Disc Three also exposed me to The Mood and their song, “Don’t Stop,” through the inclusion of the 12” mix of the track. “Don’t Stop” has a very strong early 80’s European dance vibe to it, with a hint of new wave thrown in for good measure. Musically, this one is quite catchy, and it makes you want to move along and dance to it. I think that the vocalist has a good voice as well. Since I’m not familiar with the original, I’m assuming that this is an extended version of the track. If it is, then the original is just so catchy that you don’t really notice that this mix is a little over five minutes in length. This 12” mix is the right length, because the track doesn’t wear out its welcome by the time it ends.</p>
  157. <p>This disc also includes the 12” version of Evelyn “Champagne” King’s “Love Come Down.” I enjoy the original version of this track, but I felt that this extended mix ran a little too long and turned into something rather repetitive near the end. The original version is just slightly over three minutes, and I think that instead of creating a six minute long extended mix, this could have been tightened down into a mix that’s closer to four-and-a-half to five minutes in length. This would have done a lot to help keep this track from becoming so repetitive.</p>
  158. <p>On Disc Four, there was only one track included that I had never heard the original version of before: “African And White” by China Crisis. On this compilation, “African And White [Remix / Extended Mix]” is included. One thing I’m not sure about if this simply an extended mix of the original, or if this is an extended version of a remix, since I’ve never heard the original version of this track. I have to say that listening to track, I admire the message they’re trying to impart with the lyrics, it’s overall kind of boring on a musical level. The percussion just doesn’t seem to go much of anywhere until you reach a musical break around halfway through the mix, but then it returns to the percussion that doesn’t seem to go much of anywhere. Perhaps I might appreciation this one more if I heard a shorter version of “African And White.”</p>
  159. <p>This disc also includes “Pinky Blue [Dance Mix]” by Altered Images. My only real exposure to “Pinky Blue” came from hearing the original version on the <em>NOW: Yearbook 1982 Extra</em> compilation album. Unlike a lot of the mixes included on this compilation, which are simply extended versions of the original tracks, this one is a longer version that also has a noticeably different sound to it. It’s an interesting mix of the song that you can’t help but move along with because it’s so catchy.</p>
  160. <p>Here&#8217;s a breakdown of the artists that appear on <em>NOW 12” 80sL 1982 Part Two</em>: Wham!, Duran Duran, Spandau Ballet, Haircut 100, Thompson Twins, A Flock of Seagulls, Soft Cell, Visage. Japan, Talk Talk, Simple Minds, Heaven 17, Madness, Fun Boy Three, UB40, Musical Youth, Junior, Shakatak, Monsoon, Imagination, David Christie, Modern Romance featuring Bev Sage, Haysi Fantayzee, Blondie, Goombay Dance Band, Kool &amp; The Gang, Shalamar, Evelyn “Champagne” King, Aretha Franklin, The Associates, Thomas Dolby, Classix Nouveaux, Blue Zoo, The Mood, Blancmange, Simple Minds, ABC, Culture Club, Bananarama featuring Fun Boy Three, Bow Wow Wow, Altered Images, Hall &amp; Oates, and China Crisis.</p>
  161. <p>There were a lot of decent mixes included on this release, but overall, I think that <em>NOW 12” 80s: 1982 Part One</em> had a stronger selection of mixes on it. While I was familiar with a lot of the songs represented on this compilation, I admit that I’m not as familiar with as much of this material as I was with the songs that appeared on the first part of <em>NOW 12” 80s: 1982</em>. Even though I didn’t think compilation was strong as the other, I still believe that it works as a companion set to help give the listener a better overview of the remixes that were being released in 1982.</p>
  162. <p>If you’re a fan of 80’s music and have an appreciation for extended versions and remixes, then <em>NOW 12” 80s: 1982 Part Two</em> might be worth adding to your music library. If you already own <em>NOW 12” 80s: 1982 Part One</em>, it would also be worth it to pick this compilation up to have what I suspect will be the complete collection of mixes for 1982. At this point, I’d be surprised if 1982 received a third compilation for the <em>NOW 12” 80s</em> series.</p>
  163. <p><em>(reviewed by Lesley Aeschliman on May 6, 2024)</em></p>
  164. ]]></content:encoded>
  166. <wfw:commentRss>https://aeschtunes.com/2024/05/06/compilation-album-review-now-12-80s-1982-part-two/feed/</wfw:commentRss>
  167. <slash:comments>0</slash:comments>
  171. <media:content url="https://2.gravatar.com/avatar/5a84dfe221b8672f8dc259f40520aaf14aa548d3c4bd2e2d3da87b45eeaa781a?s=96&#38;d=identicon&#38;r=G" medium="image">
  172. <media:title type="html">aeschtunes</media:title>
  173. </media:content>
  174.  
  175. <media:content url="https://aeschtunes.files.wordpress.com/2024/05/now-12-inch-80s-1982-part-two.jpg" medium="image">
  176. <media:title type="html">NOW 12 Inch 80s 1982 Part Two</media:title>
  177. </media:content>
  178. </item>
  179. <item>
  180. <title>Compilation Album Review: Now That&#8217;s What I Call Jukebox Classics</title>
  181. <link>https://aeschtunes.com/2024/05/05/compilation-album-review-now-thats-what-i-call-jukebox-classics/</link>
  182. <comments>https://aeschtunes.com/2024/05/05/compilation-album-review-now-thats-what-i-call-jukebox-classics/#respond</comments>
  184. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  185. <pubDate>Sun, 05 May 2024 17:00:00 +0000</pubDate>
  186. <category><![CDATA[music]]></category>
  187. <category><![CDATA[review]]></category>
  188. <category><![CDATA[1950s]]></category>
  189. <category><![CDATA[1950s music]]></category>
  190. <category><![CDATA[1960s]]></category>
  191. <category><![CDATA[1960s music]]></category>
  192. <category><![CDATA[50s]]></category>
  193. <category><![CDATA[50s music]]></category>
  194. <category><![CDATA[60s]]></category>
  195. <category><![CDATA[60s music]]></category>
  196. <category><![CDATA[music review]]></category>
  197. <category><![CDATA[Now That's What I Call Jukebox Classics]]></category>
  198. <guid isPermaLink="false">http://aeschtunes.com/?p=19997</guid>
  199.  
  200. <description><![CDATA[Now That’s What I Call Jukebox Classics is a four-disc set release by Sony/EMI in the United Kingdom and includes music from the 1950’s and 1960’s. Admittedly, a lot of the tracks included in this compilation are songs you would expect to see, but there were still some tracks included here that I wasn’t already&#8230; <a href="https://aeschtunes.com/2024/05/05/compilation-album-review-now-thats-what-i-call-jukebox-classics/" class="more-link">Continue reading <span class="screen-reader-text">Compilation Album Review: Now That&#8217;s What I Call Jukebox&#160;Classics</span></a>]]></description>
  201. <content:encoded><![CDATA[<p><img data-attachment-id="19996" data-permalink="https://aeschtunes.com/now-thats-what-i-call-jukebox-classics/" data-orig-file="https://aeschtunes.files.wordpress.com/2024/04/now-thats-what-i-call-jukebox-classics.jpg" data-orig-size="1000,1000" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Now That&#8217;s What I Call Jukebox Classics" data-image-description="" data-image-caption="" data-medium-file="https://aeschtunes.files.wordpress.com/2024/04/now-thats-what-i-call-jukebox-classics.jpg?w=300" data-large-file="https://aeschtunes.files.wordpress.com/2024/04/now-thats-what-i-call-jukebox-classics.jpg?w=825" class="size-full wp-image-19996 aligncenter" src="https://aeschtunes.files.wordpress.com/2024/04/now-thats-what-i-call-jukebox-classics.jpg?w=825" alt="Now That's What I Call Jukebox Classics"   srcset="https://aeschtunes.files.wordpress.com/2024/04/now-thats-what-i-call-jukebox-classics.jpg 1000w, https://aeschtunes.files.wordpress.com/2024/04/now-thats-what-i-call-jukebox-classics.jpg?w=150&amp;h=150 150w, https://aeschtunes.files.wordpress.com/2024/04/now-thats-what-i-call-jukebox-classics.jpg?w=300&amp;h=300 300w, https://aeschtunes.files.wordpress.com/2024/04/now-thats-what-i-call-jukebox-classics.jpg?w=768&amp;h=768 768w" sizes="(max-width: 1000px) 100vw, 1000px" /></p>
  202. <p><em>Now That’s What I Call Jukebox Classics</em> is a four-disc set release by Sony/EMI in the United Kingdom and includes music from the 1950’s and 1960’s. Admittedly, a lot of the tracks included in this compilation are songs you would expect to see, but there were still some tracks included here that I wasn’t already familiar with.</p>
  203. <p>The biggest surprise for me on Disc One, as well as for the entire set, was the inclusion of Marty Wilde’s version of the song, “A Teenager in Love.” For those who don’t know, Marty Wilde is the father of singer Kim Wilde, and he had a successful career in the United Kingdom during the 1950’s and 1960’s. However, I had no idea before listening to this compilation that he had recorded a version of “A Teenager in Love,” and I’m much more familiar with the version by Dion and the Belmonts. While this may not be the version I’m used to, I think that Marty did a great job with this one. This is only the second track I’ve heard by Marty Wilde, but I’ve enjoyed both of them.</p>
  204. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/UHrlqQb_VO0?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  205. <p>Disc One also includes “Heartbeat” by Buddy Holly, a song by him that I’m not that familiar with. We’ve owned a greatest hits release by Buddy Holly for years now, but this particular song wasn’t included on it. After hearing “Heartbeat,” I thought it was an enjoyable song, but it doesn’t sound quite as memorable to me as the material by Buddy Holly that I’m more familiar with. Even so, hearing this song still makes me wonder how Buddy Holly’s music and his career might have progressed if he hadn’t died in the plane crash in 1959.</p>
  206. <p>When I listened to the second disc, I discovered “Can’t Get Used to Losing You” by Andy Williams and realized that I was actually familiar with an 80’s cover of the song by The English Beat. I enjoy the English Beat rendition, and I was pleased to be able to hear the original version of the song. Andy’s original version is quite good, and I think that The English Beat maintained the intent and vibe of the original with their cover.</p>
  207. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/yzuZ0JWA6n4?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  208. <p>Disc Two also introduced me to “Halfway To Paradise” by Bill Fury. Bill has a decent enough voice, but I felt that there really wasn’t much here to help this song stand out from similar songs that were coming out during this era. Also, it doesn’t help that the backup singers are a bit on the lackluster side. From what I see, it appears that this song was much bigger hit in the United Kingdom than it was in the United States, which would explain why I’d never heard this before. To be honest, I think I can hear why this song by Bill Fury wasn’t a big success in the U.S. during that era.</p>
  209. <p>I also heard “It’s Only Make Believe” by Conway Twitty for the first time on the second disc of <em>Now That’s What I Call Jukebox Classics</em>. From what I see, it appears that this was a number one song on the Billboard Hot 100, which makes it quite surprising that I’ve never knowingly heard this song before. After listening to this song, I thought it was OK, but it’s not going to be a track from the 1950’s that I would be in a rush to listen to again.</p>
  210. <p>Disc Three introduced me to “Dancin’ Party” by Chubby Checker. I’ve had a good track record of enjoying Chubby Checker’s material before listening to this compilation, and it turns out that this song didn’t disappoint. Some might argue that there’s a “sameness” to the sound of Chubby Checker’s material, but I like this sound. It’s fun, upbeat, and makes you want to dance. When I think about the kinds of songs from the 1950’s and early 1960’s that I personally enjoy, this is representative of the sound that appeals to me most.</p>
  211. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/lrKyPSgee_0?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  212. <p>This disc also introduced me to “Singing The Blues” by Tommy Steele &amp; The Steelmen. From what I’m seeing, it appears that this was a number one hit in the United Kingdom, but didn’t hit the chart at all in the United States, and this likely explains why I’d never heard of this artist or of this song before now. After listening to this song, I thought that Tommy has a decent voice, although there are times where it almost sounds like he’s trying to kind of sound like Buddy Holly. Musically, this one has a pop song with strong hints of country to it, to the point where the song can’t quite seem to decide if it’s a pop song or a country song. This could help explain why “Singing The Blues” didn’t really perform in the United States, because it really wouldn’t have entirely fit in with either the pop music or the country music that was being released in the U.S. during that era.</p>
  213. <p>The fourth disc of <em>Now That’s What I Call Jukebox Classics</em> introduced me to Eddie Cochran’s “Three Steps to Heaven.” Prior to listening to this compilation, the only song I knew by Eddie Cochran was “Summertime Blues.” I don’t know if “Summertime Blues” set up some unrealistic expectations for me, but I found that I didn’t enjoy “Three Steps to Heaven” as much as I had hoped. It’s not a bad song at all, but to be honest, I probably would have enjoyed this one more if I wasn’t already so familiar with “Summertime Blues” and like that one as much as I do.</p>
  214. <p>Disc Four also introduced me to “Move It” by Cliff Richard &amp; The Shadows. Admittedly, I’m more familiar with Cliff’s solo material than I am by this early material in his career, but I have to say that if I didn’t know this was Cliff Richard singing here, I never would guess that it was him. Vocally, he sounds so different here when you compare this with his solo material. Even so, this song isn’t bad at all, and in fact, I find it to be quite catchy and enjoyable.</p>
  215. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/0vQ2jMlTAYo?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  216. <p>Another discovery for me was “The Night Has a Thousand Eyes” by Bobby Vee. While I’d heard a couple of other songs by Bobby Vee, I’d never heard this one before. I have to say that after I listened to this track, I found that I enjoyed it quite a bit. Bobby has a great voice, the song is quite catchy musically, and this also has the type of sound that I have a fondness for in 1950’s and 1960’s pop music.</p>
  217. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/31ULfrwLwiY?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  218. <p>Here&#8217;s a breakdown of the artists that appear on <em>Now That&#8217;s What I Call Jukebox Classics</em>: Bill Haley &amp; His Comets, Carl Perkins, Elvis Presley, Eddie Cochran, Jerry Lee Lewis, Little Richard, Chuck Berry, Chubby Checker, The Crystals, Little Eva, Dion, Fats Domino, The Ad Libs, Frankie Lymon &amp; The Teenagers, Marty Wilde, Bobby Darin, Bobby Vee, Buddy Holly, Connie Francis, Lesley Gore, The Shangri-Las, Little Anthony &amp; The Imperials, The Cascades, The Five Satins, Paul Anka, The Four Seasons, Chris Montez, The Contours, Brian Poole &amp; The Tremeloes, Bruce Channel, Maurice Williams &amp; The Zodiacs, Andy Williams, Petula Clark, Dusty Springfield, Roy Orbison, The Exciters, Little Peggy March, The Angels, Darlene Love, The Marvelettes, The Velvelettes, Etta James, Peggy Lee, Ketty Lester, Bobby Vinton, Julie London, Doris Day, Bill Fury, The Platters, Conway Twitty, Jackie Wilson, Larry Williams, Danny &amp; The Juniors, Del Shannon, Connie Stevens, The Dixie Cups, Neil Sedaka, Marty Robbins with Ray Conniff, Tommy Steele &amp; The Steelmen, Frankie Laine, Rosemary Clooney, Bob B. Soxx &amp; The Blue Jeans, The Marcels, The Crew Cuts, The Penguins, Shelley Fabares, Brenda Lee, The Everly Brothers, Bobby Fuller Four, Cliff Richard &amp; The Shadows, Johnny Kidd &amp; The Pirates, Gene Vincent &amp; His Blue Caps, The Big Bopper, The Ronettes, The Crystals, The Clovers, Betty Everett, The Chiffons, The Toys, Carole King, The Mamas &amp; The Papas, Skeeter Davis, Brian Hyland, The Walker Brothers, and The Righteous Brothers.</p>
  219. <p>Even though <em>Now That’s What I Call Jukebox Classics</em> may not have personally introduced me to a lot of music I wasn’t already familiar with from the 1950’s and 1960’s, I think it does a great job of gathering up a good selection of 100 tracks from this era in music. If you have an appreciation for pop music of the 1950’s and 1960’s and are looking for a compilation that gathers together a lot of great material from the era, then <em>Now That’s What I Call Jukebox Classics</em> might be up your alley.</p>
  220. <p><em>(reviewed by Lesley Aeschliman on May 5, 2024)</em></p>
  221. ]]></content:encoded>
  223. <wfw:commentRss>https://aeschtunes.com/2024/05/05/compilation-album-review-now-thats-what-i-call-jukebox-classics/feed/</wfw:commentRss>
  224. <slash:comments>0</slash:comments>
  228. <media:content url="https://2.gravatar.com/avatar/5a84dfe221b8672f8dc259f40520aaf14aa548d3c4bd2e2d3da87b45eeaa781a?s=96&#38;d=identicon&#38;r=G" medium="image">
  229. <media:title type="html">aeschtunes</media:title>
  230. </media:content>
  231.  
  232. <media:content url="https://aeschtunes.files.wordpress.com/2024/04/now-thats-what-i-call-jukebox-classics.jpg" medium="image">
  233. <media:title type="html">Now That&#039;s What I Call Jukebox Classics</media:title>
  234. </media:content>
  235. </item>
  236. <item>
  237. <title>EP Review: Garbage &#8211; &#8220;Lie To Me&#8221;</title>
  238. <link>https://aeschtunes.com/2024/05/04/ep-review-garbage-lie-to-me/</link>
  239. <comments>https://aeschtunes.com/2024/05/04/ep-review-garbage-lie-to-me/#respond</comments>
  241. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  242. <pubDate>Sat, 04 May 2024 20:00:00 +0000</pubDate>
  243. <category><![CDATA[music]]></category>
  244. <category><![CDATA[review]]></category>
  245. <category><![CDATA[music review]]></category>
  246. <category><![CDATA[Garbage]]></category>
  247. <category><![CDATA[Lie To Me]]></category>
  248. <category><![CDATA[alternative music]]></category>
  249. <category><![CDATA[rock]]></category>
  250. <category><![CDATA[2020s]]></category>
  251. <category><![CDATA[2020s music]]></category>
  252. <guid isPermaLink="false">http://aeschtunes.com/?p=20045</guid>
  253.  
  254. <description><![CDATA[On April 20, 2024, Garbage released the four-track Lie To Me EP as a Record Store Day release. On May 5, 2024, the EP was made available on digital platforms. The EP opens with “Better Not Lie to Me,” a track that was co-written with Tim Armstrong that is an outtake from the Bleed Like&#8230; <a href="https://aeschtunes.com/2024/05/04/ep-review-garbage-lie-to-me/" class="more-link">Continue reading <span class="screen-reader-text">EP Review: Garbage &#8211; &#8220;Lie To&#160;Me&#8221;</span></a>]]></description>
  255. <content:encoded><![CDATA[<p><img loading="lazy" data-attachment-id="20044" data-permalink="https://aeschtunes.com/garbage-lie-to-me/" data-orig-file="https://aeschtunes.files.wordpress.com/2024/05/garbage-lie-to-me.jpg" data-orig-size="1000,1000" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="Garbage Lie To Me" data-image-description="" data-image-caption="" data-medium-file="https://aeschtunes.files.wordpress.com/2024/05/garbage-lie-to-me.jpg?w=300" data-large-file="https://aeschtunes.files.wordpress.com/2024/05/garbage-lie-to-me.jpg?w=825" class="size-full wp-image-20044 aligncenter" src="https://aeschtunes.files.wordpress.com/2024/05/garbage-lie-to-me.jpg?w=825" alt="Garbage Lie To Me"   srcset="https://aeschtunes.files.wordpress.com/2024/05/garbage-lie-to-me.jpg 1000w, https://aeschtunes.files.wordpress.com/2024/05/garbage-lie-to-me.jpg?w=150&amp;h=150 150w, https://aeschtunes.files.wordpress.com/2024/05/garbage-lie-to-me.jpg?w=300&amp;h=300 300w, https://aeschtunes.files.wordpress.com/2024/05/garbage-lie-to-me.jpg?w=768&amp;h=768 768w" sizes="(max-width: 1000px) 100vw, 1000px" /></p>
  256. <p>On April 20, 2024, Garbage released the four-track <em>Lie To Me</em> EP as a Record Store Day release. On May 5, 2024, the EP was made available on digital platforms.</p>
  257. <p>The EP opens with “Better Not Lie to Me,” a track that was co-written with Tim Armstrong that is an outtake from the <em>Bleed Like Me</em> era. An interesting note on this track is the fact that all the members of Garbage are singing the chorus, instead of Shirley Manson singing it solo. I thought this added an interesting dimension to the track, because this is something that we’ve never heard the band do with its material. I think having all of those voices on the chorus make the point of the lyrics even stronger. Speaking of the lyrics, the song is from the point of a speaker who’s gone through a breakup. The speaker is willing to take the other person back… if they won’t lie to them. While this track may be an ultimatum, the vibe of the track is upbeat but doesn’t have the anger that you would expect from a song with this kind of a theme. However, I think this works quite well. While I enjoyed “Better Not Lie to Me,” I can hear why this was ultimately left off of <em>Bleed Like Me</em>. It just wouldn’t have fit in with the material that ultimately did make it onto the album.</p>
  258. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/6um2AUP4qcE?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  259. <p>Next is “Revenge And Hurt,” a previously unrelease track. Musically, this one makes me think of some of Garbage’s early B-sides. This is a slower track with an atmospheric sound to it. It’s an interesting song, and Shirley’s vocals sound quite good on this one. However, like with a lot of the band’s B-sides that fall in this vein, I likely won’t go out of my way to listen to this one. It’s not a bad track, but I have to be in just the right mood to listen to Garbage’s more atmospheric B-sides.</p>
  260. <p>This is followed by “Song to the Siren,” which is a cover of a song by Tim Buckley.  I never expected to hear Garbage cover a folk song, but here we are. However, I’m not familiar with Tim Buckley’s original version, so I have to judge this on its own merits. While this has more of an atmospheric feel and an emphasis on electronics, I actually liked how this one turned out. There are some strings included in the musical arrangement of this one at times, so I think that helps make it stand out from “Revenge And Hurt.” I also think that Shirley’s vocal performance is fantastic on this one.</p>
  261. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/QuKXbEB7bUI?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  262. <p>The <em>Lie To Me</em> EP closes with a 2023 remix of “Bad Boyfriend,” a track originally from <em>Bleed Like Me</em>. This mix updates the sound of the song but maintains the vibe and feel of the original track. It’s a pretty good mix, and I appreciated hearing “Bad Boyfriend” being recast into a modern sound. This is one of the songs that I enjoy on <em>Bleed Like Me</em>, and at this point, I have yet to hear a bad remix of this one.</p>
  263. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/z5SjNBT3Im8?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  264. <p>Overall, <em>Lie To Me</em> is a pretty good EP. With the release opening and closing with tracks associated with the <em>Bleed Like Me</em> era, you can almost see this as a companion to go along with the 2024 reissue of the album.</p>
  265. <p>For Garbage fans, this release is worth getting a hold of in order to acquire all of these tracks for your music library, since all of these tracks were unavailable before being included on this release.</p>
  266. <p><em>(reviewed by Lesley Aeschliman on May 4, 2024)</em></p>
  267. ]]></content:encoded>
  269. <wfw:commentRss>https://aeschtunes.com/2024/05/04/ep-review-garbage-lie-to-me/feed/</wfw:commentRss>
  270. <slash:comments>0</slash:comments>
  274. <media:content url="https://2.gravatar.com/avatar/5a84dfe221b8672f8dc259f40520aaf14aa548d3c4bd2e2d3da87b45eeaa781a?s=96&#38;d=identicon&#38;r=G" medium="image">
  275. <media:title type="html">aeschtunes</media:title>
  276. </media:content>
  277.  
  278. <media:content url="https://aeschtunes.files.wordpress.com/2024/05/garbage-lie-to-me.jpg" medium="image">
  279. <media:title type="html">Garbage Lie To Me</media:title>
  280. </media:content>
  281. </item>
  282. <item>
  283. <title>Album Review: Green Day &#8211; &#8220;Saviors&#8221;</title>
  284. <link>https://aeschtunes.com/2024/05/04/album-review-green-day-saviors/</link>
  285. <comments>https://aeschtunes.com/2024/05/04/album-review-green-day-saviors/#respond</comments>
  287. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  288. <pubDate>Sat, 04 May 2024 17:00:00 +0000</pubDate>
  289. <category><![CDATA[music]]></category>
  290. <category><![CDATA[review]]></category>
  291. <category><![CDATA[2020s]]></category>
  292. <category><![CDATA[2020s music]]></category>
  293. <category><![CDATA[alternative music]]></category>
  294. <category><![CDATA[Green Day]]></category>
  295. <category><![CDATA[music review]]></category>
  296. <category><![CDATA[rock]]></category>
  297. <category><![CDATA[Saviors]]></category>
  298. <guid isPermaLink="false">http://aeschtunes.com/?p=19982</guid>
  299.  
  300. <description><![CDATA[In 2024, Green Day released their 14th album, Saviors. Before the album was released, I heard “The American Dream Is Killing Me,” “Look Ma, No Brains!,” and “Dilemma.” After listening to these tracks, I was interested in picking up Saviors and adding it to our music collection. It took a little longer than I hoped&#8230; <a href="https://aeschtunes.com/2024/05/04/album-review-green-day-saviors/" class="more-link">Continue reading <span class="screen-reader-text">Album Review: Green Day &#8211; &#8220;Saviors&#8221;</span></a>]]></description>
  301. <content:encoded><![CDATA[<p><img loading="lazy" data-attachment-id="19981" data-permalink="https://aeschtunes.com/green-day-saviors/" data-orig-file="https://aeschtunes.files.wordpress.com/2024/04/green-day-saviors.webp" data-orig-size="300,300" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Green Day Saviors" data-image-description="" data-image-caption="" data-medium-file="https://aeschtunes.files.wordpress.com/2024/04/green-day-saviors.webp?w=300" data-large-file="https://aeschtunes.files.wordpress.com/2024/04/green-day-saviors.webp?w=300" class="size-full wp-image-19981 aligncenter" src="https://aeschtunes.files.wordpress.com/2024/04/green-day-saviors.webp?w=825" alt="Green Day Saviors"   srcset="https://aeschtunes.files.wordpress.com/2024/04/green-day-saviors.webp 300w, https://aeschtunes.files.wordpress.com/2024/04/green-day-saviors.webp?w=150&amp;h=150 150w" sizes="(max-width: 300px) 100vw, 300px" /></p>
  302. <p>In 2024, Green Day released their 14th album, <em>Saviors</em>. Before the album was released, I heard “<a href="https://aeschtunes.com/2023/10/24/song-review-green-day-the-american-dream-is-killing-me/">The American Dream Is Killing Me</a>,” “<a href="https://aeschtunes.com/2023/11/02/song-review-green-day-look-ma-no-brains/">Look Ma, No Brains!</a>,” and “<a href="https://aeschtunes.com/2023/12/07/song-review-green-day-dilemma/">Dilemma</a>.” After listening to these tracks, I was interested in picking up <em>Saviors</em> and adding it to our music collection. It took a little longer than I hoped to get our hands on this one, but we finally have it and gave it a listen.</p>
  303. <p>After opening with “The American Dream Is Killing Me” and “Look Ma, No Brains!,” the album moves on to “Bobby Sox.” I’d heard a bit of hype around this one when <em>Saviors</em> was first released, and seeing it labeled as a bisexual anthem. There’s no question when you hear the lyrics that the speaker of the song is bi, because there’s no other way to interpret these lyrics. Knowing that Billie Joe Armstrong came out as bi nearly 30 years ago, you knew that he wasn’t going to treat these lyrics as a joke. Billie Joe’s vocals are great here, and are set to a catchy, almost anthemic sounding musical arrangement. I think Green Day handled the topic for this song well, and I’m glad to hear that there’s something here that can serve as an anthem for a marginalized community. “Bobby Sox” is among my favorite tracks on <em>Saviors</em>.</p>
  304. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/NDjtguZG6iw?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  305. <p>Next is “One Eyed Bastard,” and musically this one is quite catchy. It starts out with a classic heavy metal riff before launching into a kind of big guitar anthem that Green Day has been known for during their career. According to Billie Joe, the song’s lyrics is from the point of view of a speaker reflecting on the bad times in their life. I can see that, but I think there could also be other interpretations of the lyrics as well. From the music, though, you can tell that the speaker is quite frustrated about what they’re talking about. To me, this is another standout track on <em>Saviors</em>.</p>
  306. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/aN8rJiwK_3U?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  307. <p>This is followed by “Dilemma,” and after that is the track, “1981.” Musically, this one sounds catchy, but it sounds a little more derivative of Green Day’s earlier material rather than being a progression. It’s not bad, but there’s not a lot to this track to make it stand out musically. Lyrically, this one seems to be about a doomed relationship, and it seems the references to 1981 are more metaphoric in nature. From how the lyrics are written, I have a hard time believing that the speaker of the song is talking about a relationship from 1981. “1981” is a good song, don’t get me wrong, but it doesn’t have that something to help make it stand out from other material in Green Day’s catalog.</p>
  308. <p>“Goodnight Adeline” slows the album down at this point, with it being more of a slow-to-midtempo track than an uptempo rocker. In a lot of respects on a musical level, this almost could have fit in with the songs on <em>American Idiot</em>, but it has a more modern sound to it rather than sounding derivative. Lyrically, this one is from a first person point of view of a speaker who is in a relationship that’s dissolving. Billie Joe’s vocal performance really sells these lyrics, and for me, “Goodnight Adeline” is another standout on <em>Saviors</em>.</p>
  309. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/cfuCksZGjSw?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  310. <p>Next is “Coma City,” which picks the tempo of the album back up. Musically, this one is quite upbeat and catchy, which is quite a stark dichotomy from the lyrics of the song. The lyrics make a lot of references to a dystopian world, which is a place where hopelessness and despair is prominent. I like the idea behind these lyrics, and even though the musical arrangement creates a dichotomy, I actually think this works and helps to highlight the idea that there may be people in that world who are oblivious to what’s going on and leading blissful lives. My only real complaint with this one is the fact that the ending is a little longer than it needs to be, and that the song would have been stronger if the ending instrumental had been tightened up a bit.</p>
  311. <p>This is followed by “Corvette Summer.” Musically, this sounds like it takes some inspiration from some of the rock of the early 1980’s but given a 2020’s makeover with a hint of punk added. This song is quite catchy musically, and it also gives off a summery vibe, and I think this fits in with the lyrics of the track. This one seems to be from the point of view of a speaker who feels disenfranchised with life and feels that music is their only real escape. While that sounds dour and wouldn’t work with an upbeat musical arrangement, it actually does. While the lyrics convey more of a negative tone, the positive tone of the music reinforces the idea of music being the speaker’s escape from their life. It seems opinions on this song are rather mixed, but personally, I enjoyed this one.</p>
  312. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/Dju2ZhJasx4?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  313. <p>“Suzie Chapstick” is a slower track that gives the listener a break from the previous two upbeat tracks. It’s a mid-to-slower tempo song, and in some respects, I can almost hear some 50’s and early 60’s musical influence on this one. However, you can tell it’s something that’s more modern thanks to the Instagram reference in the first verse. Lyrically, this is another track about a lost relationship, but this is from the point of view of a speaker looking back at the time of that relationship and isn’t upset or angry when they do. Instead, it’s more of a wistful looking back at a time that was likely more innocent for the speaker. This isn’t the type of track I normally expect to hear from Green Day, but I thought this turned out quite well. For me, “Suzie Chapstick” is a standout on <em>Saviors</em>.</p>
  314. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/Py30LKfCA1I?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  315. <p>Next is “Strange Days Are Here to Stay,” which is an upbeat sounding track. However, don’t let the sound of this track fool you. Lyrically, this song sees a speaker ruminating about how strange the world has become over during nearly the past decade. I say nearly, because in the lyrics it says, “Ever since Bowie died it hasn’t been the same,” and David Bowie passed in 2016. I have to say that 2016 serves as good benchmark for what Billie’s talking about here. In the lyrics, we get references to fentanyl, racism, Uber, Gen Z, and Baby Boomers, which are all major points from over the past decade. In a lot of ways, I get where Billie Joe is coming from with these lyrics, and I have to admit that sometimes I have similar feelings. “Strange Days Are Here to Stay” is another song that I appreciate on this album.</p>
  316. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/gQdNELsxLV8?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  317. <p>This is followed by “Living in the ‘20s,” a rocker that makes it clear just how crazy the 2020’s have been. It references shootings at grocery stores and murder hornets, as well as ideas that are more abstract but still apt to describe life in the 2020’s. For example, in the second verse, it says, “I drink my media and turn into vomit,” and that seems to be a way to mention how people eat up whatever they hear in the media of their choice and then regurgitate it without fact-checking or determining if what they’re hearing is actually true. To be honest, this song kind of sums up my feelings about the 2020’s and sets it to a catchy beat. This is another standout to me on <em>Saviors</em>.</p>
  318. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/pmAFdDA17AU?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  319. <p>“Father to a Son” stars out very simply, with just Billie Joe’s vocals, an acoustic guitar and piano. When the song kicks in, we get some percussion, strings, and guitar added to the mix. Billie Joe wrote this song for his two sons, and we hear in his delivery how genuine he is in expressing to his kids how much they have enriched his life, and how he’ll be there to support them on their life journey. Some may argue that this song is sappy, but I don’t think it is. I may be a mother instead of a father, but I’m still a parent, and I can relate to the message that Billie Joe imparts in this track. “Father to a Son” is another favorite of mine on <em>Saviors</em>.</p>
  320. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/nnBvszA7EFI?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  321. <p>Next is the title song, which picks the tempo of the album back up. While I like how it sounds, one thing that bothers me is that in the song’s verses, Billie Joe’s vocals are distorted to sound like it’s coming out of a bullhorn, but the vocals on the chorus and the bridge are regular vocals. To be honest, I’m not sure that the effects on the vocals truly added anything to the track. For me, at least, it was a little disconcerting. I like what the song has to say in its lyrics and how it’s accompanied by a catchy musical arrangement, but the vocal effects on the verses weakened this one for me.</p>
  322. <p><em>Saviors</em> closes with “Fancy Sauce,” which slows the album back down for its conclusion. While the song becomes a little more intense after its intro, it maintains its slower tempo for its entirety. A lot of ways, it feels like lyrically, this one is bringing all the threads of the album together and summarizing the point of the album. The speaker of this track is lamenting the state of the world. For a song titled “Fancy Sauce,” this track is pretty grim and a little depressing, and it wasn’t what I was expecting. However, it’s a good song, and it works quite well as the album closer.</p>
  323. <p>After listening to <em>Saviors</em>, I think that Green Day did a great job capturing the moment in their music, especially the chaos and confusion that we’ve been living in during the 1990’s. While I’m not quite ready to say that this is the second coming of <em>American Idiot</em>, which perfectly captured the moment of time that it was released, <em>Saviors</em> comes close. And when looking at the album as a whole, I have to say that while there truly isn’t a bad song on here, there are a couple of tracks just don’t personally grab me as much as the others do.</p>
  324. <p>I think fans of Green Day will be pleased with <em>Saviors</em>, and even more casual listeners of the band may find an appreciation for this album. I thought <em>Saviors</em> was worth the wait, and it’ll be interesting to hear how Green Day will follow this up in the future.</p>
  325. <p><em>(reviewed by Lesley Aeschliman on May 4, 2024)</em></p>
  326. ]]></content:encoded>
  328. <wfw:commentRss>https://aeschtunes.com/2024/05/04/album-review-green-day-saviors/feed/</wfw:commentRss>
  329. <slash:comments>0</slash:comments>
  333. <media:content url="https://2.gravatar.com/avatar/5a84dfe221b8672f8dc259f40520aaf14aa548d3c4bd2e2d3da87b45eeaa781a?s=96&#38;d=identicon&#38;r=G" medium="image">
  334. <media:title type="html">aeschtunes</media:title>
  335. </media:content>
  336.  
  337. <media:content url="https://aeschtunes.files.wordpress.com/2024/04/green-day-saviors.webp" medium="image">
  338. <media:title type="html">Green Day Saviors</media:title>
  339. </media:content>
  340. </item>
  341. <item>
  342. <title>Song Review: Lenny Kravitz &#8211; &#8220;Human&#8221;</title>
  343. <link>https://aeschtunes.com/2024/05/03/song-review-lenny-kravitz-human/</link>
  344. <comments>https://aeschtunes.com/2024/05/03/song-review-lenny-kravitz-human/#respond</comments>
  346. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  347. <pubDate>Fri, 03 May 2024 17:00:00 +0000</pubDate>
  348. <category><![CDATA[music]]></category>
  349. <category><![CDATA[review]]></category>
  350. <category><![CDATA[2020s]]></category>
  351. <category><![CDATA[2020s music]]></category>
  352. <category><![CDATA[Human]]></category>
  353. <category><![CDATA[Lenny Kravitz]]></category>
  354. <category><![CDATA[music review]]></category>
  355. <category><![CDATA[rock]]></category>
  356. <guid isPermaLink="false">http://aeschtunes.com/?p=19720</guid>
  357.  
  358. <description><![CDATA[I had an appreciation for Lenny Kravitz’s music back in the 1990’s, but I lost track of what he was putting out musically once we entered into the 2000’s. When I saw that Lenny released a new song in 2024, I decided that I needed to check it out to hear what he would have&#8230; <a href="https://aeschtunes.com/2024/05/03/song-review-lenny-kravitz-human/" class="more-link">Continue reading <span class="screen-reader-text">Song Review: Lenny Kravitz &#8211; &#8220;Human&#8221;</span></a>]]></description>
  359. <content:encoded><![CDATA[<p>I had an appreciation for Lenny Kravitz’s music back in the 1990’s, but I lost track of what he was putting out musically once we entered into the 2000’s. When I saw that Lenny released a new song in 2024, I decided that I needed to check it out to hear what he would have to offer to music listeners in the 2020’s.</p>
  360. <p>I can hear the essence of what Lenny Kravitz has done musically during his career, although I can hear what sounds like an 80’s influence on “Human.” I love the vibe that this mid-to-uptempo track is giving and the mood of the music just fits with the message of the lyrics. Lenny’s voice also sounds great on this one, and to be honest, it doesn’t sound as if his voice has changed much over the past 20 or so years. He’s definitely still got it, both musically and vocally.</p>
  361. <p>Lyrically, the song seems to be from the point of view of a speaker has decided to be true to who they are, because they realize that they’re not going to live forever and that it’s better to live by truth rather than trying to project a lie and hide who they really are. To be honest, this is the kind of message we really need to be hearing in music right now, especially with the way things have been going in the world. During the roughly three-and-a-half minutes that I was listening to “Human,” I felt calm and at peace, which is something that a lot of recent music hasn’t been able to accomplish for me. “Human” is a refreshing change of pace, and for me, at least, this was much needed.</p>
  362. <p>I feel very confident that fans of Lenny Kravitz will love this song. I think that listeners who have more of a casual interest in Lenny’s music will find an appreciation for this track as well. And readers who may be looking for something in a rock vein that has a positive message and needs something soothing to listen to might find “Human” to their liking.</p>
  363. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/tF0bfZ6qLak?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  364. <p><em>(reviewed by Lesley Aeschliman on May 3, 2024)</em></p>
  365. ]]></content:encoded>
  367. <wfw:commentRss>https://aeschtunes.com/2024/05/03/song-review-lenny-kravitz-human/feed/</wfw:commentRss>
  368. <slash:comments>0</slash:comments>
  372. <media:content url="https://2.gravatar.com/avatar/5a84dfe221b8672f8dc259f40520aaf14aa548d3c4bd2e2d3da87b45eeaa781a?s=96&#38;d=identicon&#38;r=G" medium="image">
  373. <media:title type="html">aeschtunes</media:title>
  374. </media:content>
  375. </item>
  376. <item>
  377. <title>Sneak Peek of Some Upcoming Reviews</title>
  378. <link>https://aeschtunes.com/2024/05/03/sneak-peek-of-some-upcoming-reviews/</link>
  379. <comments>https://aeschtunes.com/2024/05/03/sneak-peek-of-some-upcoming-reviews/#respond</comments>
  381. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  382. <pubDate>Fri, 03 May 2024 16:29:13 +0000</pubDate>
  383. <category><![CDATA[music]]></category>
  384. <category><![CDATA[review]]></category>
  385. <category><![CDATA[AeschTunes]]></category>
  386. <category><![CDATA[music review]]></category>
  387. <guid isPermaLink="false">http://aeschtunes.com/?p=20030</guid>
  388.  
  389. <description><![CDATA[I posted a video to my YouTube channel of a sneak peek of some upcoming reviews you can expect to see at AeschTunes. Check it out!]]></description>
  390. <content:encoded><![CDATA[<p>I posted a video to my YouTube channel of a sneak peek of some upcoming reviews you can expect to see at AeschTunes. Check it out!</p>
  391. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/PlSwNJ0wfyk?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  392. ]]></content:encoded>
  394. <wfw:commentRss>https://aeschtunes.com/2024/05/03/sneak-peek-of-some-upcoming-reviews/feed/</wfw:commentRss>
  395. <slash:comments>0</slash:comments>
  399. <media:content url="https://2.gravatar.com/avatar/5a84dfe221b8672f8dc259f40520aaf14aa548d3c4bd2e2d3da87b45eeaa781a?s=96&#38;d=identicon&#38;r=G" medium="image">
  400. <media:title type="html">aeschtunes</media:title>
  401. </media:content>
  402. </item>
  403. <item>
  404. <title>AeschTunes Promotional Video</title>
  405. <link>https://aeschtunes.com/2024/05/02/aeschtunes-promotional-video/</link>
  406. <comments>https://aeschtunes.com/2024/05/02/aeschtunes-promotional-video/#respond</comments>
  408. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  409. <pubDate>Thu, 02 May 2024 17:32:06 +0000</pubDate>
  410. <category><![CDATA[Uncategorized]]></category>
  411. <category><![CDATA[AeschTunes]]></category>
  412. <guid isPermaLink="false">http://aeschtunes.com/?p=20027</guid>
  413.  
  414. <description><![CDATA[I&#8217;ve added a promotional video for AeschTunes to my YouTube channel. Please check it out and share it if you feel so inclined. Thank you for your support!]]></description>
  415. <content:encoded><![CDATA[<p>I&#8217;ve added a promotional video for AeschTunes to my YouTube channel. Please check it out and share it if you feel so inclined.</p>
  416. <p>Thank you for your support!</p>
  417. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/xI-wf96z9Hc?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  418. ]]></content:encoded>
  420. <wfw:commentRss>https://aeschtunes.com/2024/05/02/aeschtunes-promotional-video/feed/</wfw:commentRss>
  421. <slash:comments>0</slash:comments>
  425. <media:content url="https://2.gravatar.com/avatar/5a84dfe221b8672f8dc259f40520aaf14aa548d3c4bd2e2d3da87b45eeaa781a?s=96&#38;d=identicon&#38;r=G" medium="image">
  426. <media:title type="html">aeschtunes</media:title>
  427. </media:content>
  428. </item>
  429. <item>
  430. <title>Album Review: The Cure &#8211; &#8220;Paris&#8221; (2024 Reissue)</title>
  431. <link>https://aeschtunes.com/2024/05/02/album-review-the-cure-paris-2024-reissue/</link>
  432. <comments>https://aeschtunes.com/2024/05/02/album-review-the-cure-paris-2024-reissue/#respond</comments>
  434. <dc:creator><![CDATA[Lesley Aeschliman]]></dc:creator>
  435. <pubDate>Thu, 02 May 2024 17:00:00 +0000</pubDate>
  436. <category><![CDATA[music]]></category>
  437. <category><![CDATA[review]]></category>
  438. <category><![CDATA[1980s]]></category>
  439. <category><![CDATA[1980s music]]></category>
  440. <category><![CDATA[1990s]]></category>
  441. <category><![CDATA[1990s music]]></category>
  442. <category><![CDATA[80s]]></category>
  443. <category><![CDATA[80s music]]></category>
  444. <category><![CDATA[90s]]></category>
  445. <category><![CDATA[90s music]]></category>
  446. <category><![CDATA[alternative music]]></category>
  447. <category><![CDATA[music review]]></category>
  448. <category><![CDATA[Paris]]></category>
  449. <category><![CDATA[rock]]></category>
  450. <category><![CDATA[The Cure]]></category>
  451. <guid isPermaLink="false">http://aeschtunes.com/?p=19969</guid>
  452.  
  453. <description><![CDATA[On March 22, 2024, The Cure reissued the Paris live album as a 30th anniversary reissue, even though the original version of the album had been released in 1993. At the time of its original release, Paris was meant to be a companion to The Cure’s 1993 live album, Show. All of the tracks included&#8230; <a href="https://aeschtunes.com/2024/05/02/album-review-the-cure-paris-2024-reissue/" class="more-link">Continue reading <span class="screen-reader-text">Album Review: The Cure &#8211; &#8220;Paris&#8221; (2024&#160;Reissue)</span></a>]]></description>
  454. <content:encoded><![CDATA[<p><img loading="lazy" data-attachment-id="19968" data-permalink="https://aeschtunes.com/the-cure-paris/" data-orig-file="https://aeschtunes.files.wordpress.com/2024/04/the-cure-paris.webp" data-orig-size="300,300" data-comments-opened="1" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="The Cure Paris" data-image-description="" data-image-caption="" data-medium-file="https://aeschtunes.files.wordpress.com/2024/04/the-cure-paris.webp?w=300" data-large-file="https://aeschtunes.files.wordpress.com/2024/04/the-cure-paris.webp?w=300" class="size-full wp-image-19968 aligncenter" src="https://aeschtunes.files.wordpress.com/2024/04/the-cure-paris.webp?w=825" alt="The Cure Paris"   srcset="https://aeschtunes.files.wordpress.com/2024/04/the-cure-paris.webp 300w, https://aeschtunes.files.wordpress.com/2024/04/the-cure-paris.webp?w=150&amp;h=150 150w" sizes="(max-width: 300px) 100vw, 300px" /></p>
  455. <p>On March 22, 2024, The Cure reissued the <em>Paris</em> live album as a 30th anniversary reissue, even though the original version of the album had been released in 1993. At the time of its original release, <em>Paris</em> was meant to be a companion to The Cure’s 1993 live album, <em>Show</em>. All of the tracks included on this release were recorded at Le Zenith in Paris, France in October 1992.</p>
  456. <p>For this 2024 reissue, the sequencing of the tracks has been changed, and two new tracks were included. The new tracks are “Shake Dog Shake” (which opens the disc) and “Hot Hot Hot!!!” (which closes the disc). Unfortunately, when it comes to the change in the sequencing of the tracks, I have no idea if this change is a more accurate depiction of what the show’s setlist was like. When I listened to this, though, I could for sure that the sequencing of the last two tracks (“Close To Me” and “Hot Hot Hot!!!”) is accurate, because you can hear how seamlessly the audio is between these two tracks.</p>
  457. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/RiWJfCSsduc?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  458. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/deX4Wfyt3Is?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  459. <p>When it comes to the tracklist, it overall focuses more on fan-favorite songs at that time than it does on the group’s bigger hits. The hits aren’t totally excluded, though, since songs like “Lovesong,” “A Letter to Elise,” and “Close To Me” are included here.</p>
  460. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/8X0Tzxw97M0?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  461. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/Z9gW33FfHVs?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  462. <div class="jetpack-video-wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/gIQBEq8Arp8?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></div>
  463. <p>When broken down by album eras, <em>Seventeen Seconds</em> gets the most representation with three tracks. The following album eras each have two songs included in the tracklist: <em>The Top</em>, <em>Pornography</em>, <a href="https://aeschtunes.com/2022/12/01/album-review-the-cure-wish-30th-anniversary-reissue/"><em>Wish</em></a>, and <em>Kiss Me Kiss Me Kiss Me</em>. The following album eras have one song represented in the tracklist: <a href="https://aeschtunes.com/2023/10/17/album-review-the-cure-disintegration/"><em>Disintegration</em></a>, <em>Faith</em>, and <em>The Head on the Door</em>.</p>
  464. <p>The audio has been remastered for this reissue of <em>Paris</em>, and I have no complaints with the audio quality of this release. I also want to add that for the audio, I’m glad that the original release was a live recording that didn’t mix out the audience. Being able to hear the audience helps me to almost feel like I’m at the venue listening to the band as they perform the tracks.</p>
  465. <p>The performance itself is fantastic, and Robert Smith’s voice sounds really good on this live recording. You can hear a lot of sincerity in his performance as he sings the lyrics of each song that’s performed here. And the rest of the band sound great with their contributions as well.</p>
  466. <p>I do have a slight complaint with “Shake Dog Shake,” though. The audio quality is fine, but right at the end of the track, we hear Robert say &#8220;Merci!&#8221; and then the audio quickly cuts off. I thought that maybe that was running too close to the next track, but you don&#8217;t really hear that when the disc moves on to &#8220;The Figurehead.&#8221; To me, this just felt a little choppy.</p>
  467. <p>Speaking of stage banter, was there really little to no stage banter from Robert during this performance, or was it cut out for this release? If that&#8217;s really the case, then it can&#8217;t be helped that it&#8217;s not there. However, the relative lack of stage banter does make this release feel less like you’re actually at the venue listening to the performance and more like a collection of performances from the show that were collected together onto an album.</p>
  468. <p>For fans of The Cure who already own the original release of <em>Paris</em>, this reissue is worth getting into order to have the remastered audio from this release, as well as the two previously unreleased tracks. For fans who haven’t already gotten their hands on the original release, this version is also worth picking up in order to add it to your collection.</p>
  469. <p><em>(reviewed by Lesley Aeschliman on May 2, 2024)</em></p>
  470. ]]></content:encoded>
  472. <wfw:commentRss>https://aeschtunes.com/2024/05/02/album-review-the-cure-paris-2024-reissue/feed/</wfw:commentRss>
  473. <slash:comments>0</slash:comments>
  477. <media:content url="https://2.gravatar.com/avatar/5a84dfe221b8672f8dc259f40520aaf14aa548d3c4bd2e2d3da87b45eeaa781a?s=96&#38;d=identicon&#38;r=G" medium="image">
  478. <media:title type="html">aeschtunes</media:title>
  479. </media:content>
  480.  
  481. <media:content url="https://aeschtunes.files.wordpress.com/2024/04/the-cure-paris.webp" medium="image">
  482. <media:title type="html">The Cure Paris</media:title>
  483. </media:content>
  484. </item>
  485. </channel>
  486. </rss>
  487.  

If you would like to create a banner that links to this page (i.e. this validation result), do the following:

  1. Download the "valid RSS" banner.

  2. Upload the image to your own server. (This step is important. Please do not link directly to the image on this server.)

  3. Add this HTML to your page (change the image src attribute if necessary):

If you would like to create a text link instead, here is the URL you can use:

http://www.feedvalidator.org/check.cgi?url=http%3A//www.aeschtunes.com/rss.xml

Home · About · News · Docs · Terms

 
Copyright © 2002-9 Sam Ruby, Mark Pilgrim, Joseph Walton, and Phil Ringnalda