Nie wysyłam
za pobraniem osobom bez minimum 25 pkt.!

Przed pytaniem czy zakupem przeczytaj stronę
"O mnie"
- unikniemy nieporozumień.

Boys Next Door - Door, Door

Jak ktoś nie wie, The Birthday Party najpierw nazywali się The Boys Next Door. Tyle że pod tą nazwą zdążyli nagrać dwie sesje, obydwie zebrane na tym, jedynym ich albumie.
Słychać jak zespół bardzo szybko przechodzi od wczesnego brytyjskiego punku spod znaku Buzzcocks, Damned, czy The Jam do... wczesnego brytyjskiego post-punku w stylu Television, Echo & The Bunnymen, Siouxie & The Banshees, dając zapowiedź wczesnego australijskiego proto-noise'u... Tyle że Cave od samego początku śpiewał po cave'owemu... I choć Cave & co. później do tego stopnia nie byli zachwyceni "Door, Door", że zmienili nazwę zespołu, to dobra płyta - po prostu bardziej przystępna (czasami prawie przebojowa) i mniej odkrywcza, niż to, co działo się potem.

1 The Nightwatchman (2:08)
2 Brave Exhibitions (2:27)
3 Friends Of My World (2:46)
4 The Voice (3:55)
5 Roman Roman (1:35)
6 Somebody's Watching (2:39)
7 After A Fashion (4:36)
8 Dive Position (2:47)
9 I Mistake Myself (4:31)
10 Shivers (4:32)

All Music Guide: As the cult of Cave grows, more and more non-Australian music fans may discover the Boys Next Door and their lone album, 1979's Door, Door. Singer Nick Cave, guitarist/multi-instrumentalist Mick Harvey, bassist Tracy Pew, and drummer Phil Calvert were disaffected, dissatisfied teenagers growing up in a middle-class section of Melbourne, listening to hard rockin' glam acts like the Sensational Alex Harvey Band and Alice Cooper. (It won't surprise anyone to find out that Cave was also informed by country luminaries Johnny Cash and Hank Williams.) They uprooted themselves from the "right" side of the tracks and settled down comfortably with the junkies and prostitutes in an appropriately run-down area. As the rising tide of punk began to crash on Australia's shores, the Boys' realized that this was the proper direction for their chaotic, anarchic energies, and homegrown punk heroes like the Saints and Radio Birdman greatly influenced their musical direction. They started working their way towards the top of the musical heap, their live shows quickly becoming notorious as chaotic, noisy, and nasty affairs — characteristics the musicians would later push to the breaking point as the Boys Next Door. This sheer recklessness garnered them a following, the buzz eventually leading to a deal with Mushroom, a successful Australian independent record label. The band recorded six songs before having the good fortune of stumbling upon Rowland S. Howard, who became the band's second guitarist and author of their most popular composition, "Shivers." That song, along with three others, was recorded in later sessions that featured the revamped lineup. "Shivers" became something of an anthem among the Australian punks and was the musical centerpiece in the bleak film Dogs in Space, concerning the sordid lives of a handful of young people in a Melbourne slum. The album that appeared, Door, Door, combined the two recording sessions but was not well-loved by the musicians, as they felt the results were too poppy (comparing it to any of their later releases, especially the albums Prayers on Fire and Junkyard, one can't help but agree).
They were rapidly changing their style, anyway, as well as their name: in 1980 they released their first album as the Birthday Party, and soon hightailed it from Australia to London.

If one compares Door, Door to later albums made by these soon-to-be-infamous Aussies — albums released under the Birthday Party moniker — it sounds fairly tame and relatively straightforward. But that's not to say there's anything wrong with it. In fact, it's a frantic, edgy, and surprisingly catchy piece of post-punk mayhem; just don't expect anything as original or downright disturbing as "Big-Jesus-Trash-Can" or "Zoo-Music Girl." The album starts out in high gear with "The Nightwatchman," replete with ringing guitar figures, a boppy punk-pop chorus (yes, those are "ooh-ooh-ooh-oohs" you're hearing), and dirty sax lines. Sax pops up on "Brave Exhibitions" as well, providing a meaty partner to the lead guitar on circular, descending scales that bring some weirdness to a straight-up rocker. Things begin to get slightly more strange and troubled as the record plays on: "The Voice" and "Somebody's Watching" are filled with a paranoid mania and creepy, memorable musical phrases that make them two of Door, Door's highlights. (The lead guitar parts in the latter song make it seem as if Rowland Howard spent time listening to Television at the wrong speed.) And "Roman Roman" is a frenzied schoolyard chant that hints at some of the anarchic pandemonium the group could create on-stage. It's impressive how, even at this early stage, Nick Cave was a confident and unique singer, perfectly aware of the strengths and limitations of his voice; although he's not much for range, he knows how to come across in a scary and theatrical manner that perfectly complements the music. Nowhere is this more apparent than on the band's closing, mournful ballad, "Shivers," an unashamedly melodramatic example of post-adolescent anguish.

Jestem autorem załączonego skanu i przedstawia on sprzedawaną płytę, bądź to samo wydanie w takim samym stanie.