Weld [Live]

Editorial Reviews
Amazon.com
Live Rust gets the most props, but if you're looking for a live document of Neil Young and Crazy Horse at their speaker-shredding, stage-scorching best, Weld is an absolute must-own. Fired up by the success of 1990's Ragged Glory, and outraged by the eruption of the Gulf War, Young and his cohorts attacked their 1991 tour like men on a suicide mission. An angry, gunshot-laced version of Dylan's "Blowin' in the Wind" is the closest thing here to an acoustic reverie; the rest of the album offers up staggeringly intense electric versions of Neil songs both current ("Crime in the City," "Love to Burn," "Rockin' in the Free World") and classic ("Cortez the Killer," "Cinnamon Girl," "Powderfinger"). The back-cover photo of a disheveled Young cradling a broken-stringed guitar pretty much says it all--no one could have unleashed a sonic onslaught this brutal, and emerged unscathed from the experience. --Dan Epstein

Tracks:

Hey Hey, My My (Into The Black)
Crime In The City
Blowin' In The Wind
Welfare Mothers
Love To Burn
Cinnamon Girl
Mansion On The Hill
F*!#in' Up

Tracks:

Cortez The Killer
Powderfinger
Love And Only Love
Rockin' In The Free World
Like A Hurricane
Farmer John
Tonight's The Night
Roll Another Number

Amazon.com

Live Rust gets the most props, but if you're looking for a live document of Neil Young and Crazy Horse at their speaker-shredding, stage-scorching best, Weld is an absolute must-own. Fired up by the success of 1990's Ragged Glory, and outraged by the eruption of the Gulf War, Young and his cohorts attacked their 1991 tour like men on a suicide mission. An angry, gunshot-laced version of Dylan's "Blowin' in the Wind" is the closest thing here to an acoustic reverie; the rest of the album offers up staggeringly intense electric versions of Neil songs both current ("Crime in the City," "Love to Burn," "Rockin' in the Free World") and classic ("Cortez the Killer," "Cinnamon Girl," "Powderfinger"). The back-cover photo of a disheveled Young cradling a broken-stringed guitar pretty much says it all--no one could have unleashed a sonic onslaught this brutal, and emerged unscathed from the experience. --Dan Epstein

Customer Reviews:

Distorted, deranged pulchritude.......2007-06-29

"This is the story of Johnny Rotten" - no s#it; "Rockin' In The Free World" - nihilistic, sarcastic, unforgiving - could have oozed outta PiL's Album (remember "Home"). On Weld, classic NY&CH epics get nailed SHUT. And it's all done with wrists - no whammy bars on these abused Gibsons. All those gnarly Cheap Thrills' leads blast outta the crypt.

Urban dystopia inflicted. "Welfare Mothers" and "Crime In The City" (the latter among Young's most barbed, and lucid, storytelling) drag the listener into fierce noise and despairing nihilism. Then, the humanism erupts with "Blowin' In The Wind," a sure Hendrix phantasm. Hippie frisson abounds on "Cortez The Killer" and "Roll Another Number" - succumb.

It's also "grunge." Jad Fair might have written "Like A Hurricane" - if he possessed the endorphins. To the point, it's all about Crazy Horse; they can play Madison Square Garden like a St. Louis bowling alley. Every fuzztoned note is blood, telepathy, exorcism. A cluster of unfortunate observations, made euphoric.

Ferocious...and better than "Live Rust".......2007-05-05

Very few live albums are as angry and snarling as this live set. Crazy Horse never sounded better, and Young--angry at the outbreak of the Gulf War in '91--unleashes a set of songs, some old, some new (what an amazing cover of "Blowin' in the Wind"!!) that more or less define the grunge attitude in the early 90s. Coupled with the 30 minute feedback montage "Arc", this double disk set is positively breathtaking. You can just feel the energy and volume. Wish I coulda been there...

Good, but not as good as Live Rust.......2007-02-08

I don't understand how people think this is better than Live Rust. It's good, but not as good as reviews would lead me to believe. Some songs are great, but others kinda drag. Love the Album Ragged Glory, but the live versions of songs from that album aren't as good as the studio versions.

I'm the guy who yells "POWDERFINGER!" at the beginning of Disc 2.......2006-04-28

If you listen to this CD, my voice can be heard... When I saw Neil and Horse live in L.A., I yelled "Powderfinger", "Powderfinger", two times... I really wanted to hear that song. Then, right after, the song "Cortez the Killer" began... I turned to my friend and said: "Oh, cool... Powderfinger will be next because they always play those songs together". On this CD, which is partly recorded in L.A., right before the song CORTEZ THE KILLER you can hear a voice... that is me... yelling "Powderfinger" twice. And that, my friends, is my fifteen seconds of fame... Or rather, seven seconds. This CD, other than the stud yelling on disc 2, is very good, and is much better than YEAR OF THE HORSE that came out a few years later. I also like it better than RUST NEVER SLEEPS 'cept that that CD has acoustic stuff... I'll put it this way; WELD is my favorite live CD of Crazy horse electric tunes. And don't bother getting ARC or ARC/WELD because ARC is just a bunch of feedback and is kinda annoying, and I like feedback. Anyhow... "POWDERFINGER! POWDERFINGER!"

A Showcase of Grunge.......2006-02-12

There is just no other artist that sings like Neil Young, that plays a guitar like Neil Young, or that covers so many various styles as Neil Young -- from gentle country rock (exemplified by his latest film Heart of Gold) to the angriest and hardest grunge. Weld showcases Young & Crazy Horse at their hardest, loudest, and grungiest. Young's extended distortion drenched guitar solos are riveting and jaw-dropping. Young unleashed. But be forewarned, this album is not for the faint of heart. It must be played loud!

Average customer rating:

Deep Blue Ocean Planetary Groove
The kid is back!
Very different from I, Lucifer

The Return of the Clerkenwell Kid
The Real Tuesday Weld
Manufacturer: Six Degrees
ProductGroup: Music
Binding: Audio CD

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Similar Items:

I, Lucifer
L' Amour et la Morte
Where Psyche Meets Cupid
The Ugly and the Beautiful
I, Lucifer: Finally, the Other Side of the Story

ASIN: B0009NSDFW
Release Date: 2005-06-21

Tracks:

Waking Up (Intro)
Anything But Love
On Lavender Hill
At The House Of The Clerkenwell Kid
L'Amour Et La Morte
Bruises
Turn On The Sun Again
Close Your Eyes When You Read This
Daisies
Something Beautiful
Deja Vu
The Birds And The Bees
Little White Birds
I Love The Rain
Asteroids
Am I In Love?
Goodbye Stephen

Album Description

The Real Tuesday Weld's first Six Degrees release, I, Lucifer, was conceived as no less than a companion piece to Glen Duncan's novel of the same name, a mischievous view of the Devil's take on humanity. As the devil's advocate, so to speak, The Real Tuesday Weld created music described by W magazine as "oddball electronica-goes-Tin Pan Alley… a hit of aural Ecstasy with a champagne chaser." Writing in The New York Times, Stephen Merritt of the popular alternative band Magnetic Fields admired the album's blend of "accordion ballads and dance floor fodder," calling it "fun for actually listening too." Putting his money where his pen was, Merritt has since taken The Real Tuesday Weld out on the road with him.

The Return of the Clerkenwell Kid is no less audacious in its potent mixture of ancient and modern sounds and styles. In fact, the album's songs actually covers a much wider stylistic range, extending beyond cabaret and swing to embrace breezy bossa nova, classic pop and gentle psychedelia—adding Joao Gilberto, Martin Denny, Brian Wilson and the Beatles to the sonic mix.

Stephen Coates, the artist behind The Real Tuesday Weld says,"The Return of the Clerkenwell Kid is, like I, Lucifer, a kind of concept album: the story of a love affair from before its beginning to after its end," he explains. "Like a love affair, the record stayed with me after I thought it was finished. You know how it is—things are never black-and-white and neatly packaged." In this particular case, certain songs were dropped, replaced by a handful of tunes The Real Tuesday Weld had previously recorded for his debut on the Kindercore label. "Also, on a very pragmatic level, we were playing these songs live; some became favorites, so there was a great desire to make them available again. So I put everything back into the mixer, and what emerged is, I suppose, a new record."

The end result of Coates' creative concepts are newly recorded versions of such live favorites as "Daisies", "Anything But Love" and "I Love the Rain" sitting comfortably with such brand new tracks as "Lavender Hill", "Something Beautiful" and "Bruises"

For everyone intrigued by I, Lucifer, The Return of the Clerkenwell Kid shows a fascinating new musical voice who has now truly arrived at the peak of his songwriting powers.

Customer Reviews:

Deep Blue Ocean Planetary Groove.......2006-01-14

Soft, smooth, and oh so cool, baby. Go get this ya silly thing ... and chill to progressively chilled grooves of Rio's de Janeiro's Casbah. Exotic caked up visions appear in a dream from an east asian opium den of brit pop as we glide contendely in a jet set ride from London's groove scene to Paris's 'je ne sais quois.'

Give it up to in a nostalgic swim down into the deep blue green of a sparkling silver lined ocean you giant grouper. Be launched into space exploring distant planets where you will find the mystic secrets of The Real Tuesday Weld apeal.

Here's lookin at ya ...

The kid is back!.......2005-07-28

Somewhere between Tin Pan Alley and Stereolab lies... "The Return of the Clerkenwell Kid."

British musician Real Tuesday Weld (real name: Stephen Coates) made a critical hit with "I Lucifer," a slyly oddball concept album. Now he has produced the softer follow-up, a delightful mixture of electronica and old-style jazz. Bright and sunny, but just a little weird.

After a muffled string intro, the music slips into a soft guitar/piano groove, with the odd whistle and horn. "Something's wrong, cause I'm always wasted/Something's gone, and I just gotta face it," Coates sings softly. "Well I don't need much/to make me feel good/no I don't need/anything but love..."

From there on, he takes things into stranger territory: piano-jazz with an electronic twist, gentle acoustic ballads with angelic backing vocals, sunny trip-hop, and dark haunted electropop. And woven in are little blips and whistles, as well as samples of birdsong and other sounds.

It's not exactly an identifiable sound: for instance, "Little White Birds" is even filtered so that it sounds like it's playing on an old radio. It's split between the old-style jazz and pop, and the more modern keyboard stuff. And surprisingly, it meshes together with only a few brief stumbles, little glitches here and there.

This time around, the Real Tuesday Weld isn't dabbling in the more controversial matter of "I Lucifer," or even really on a story. Instead, he's focused on love, on how love affects our life, and even death. For a song theme that has been recycled through a thousand bad pop ballads, it's amazing how smart and introspective the Real Tuesday Weld can get.

But surprisingly, this doesn't get morbid or boring. The last song, for instance, is Coates imagining his own funeral. But "Goodbye Stephen" isn't a sad song; instead, it's a happy, sweet, funny song that bids people, "So don't cry/or ask why/it's hard enough as it is."

With "The Return of the Clerkenwell Kid," the Real Tuesday Weld goes all out for something just a little different. Charming, weird and sunny.

Very different from I, Lucifer.......2005-07-05

If you liked I, Lucifer give "Return of the Clerkenwell Kid" a try. Like the liner notes say it really does tell a love story. If you listen to the tracks in order you do feel more of a sense of a novel than I, Lucifer did. It isn't nearly as completely different in genre from track to track. You do feel more of a sense of story being woven together. The tracks have a more cohesive sense together than the tracks of I, Lucifer. If you appreciated the concept and sound of blending Tin Pan Alley and Jazz era sounds updated and blended you will love this album and appreciated the updated lyrics.

I don't know if you will like it or not, give a listen to the samples. You may just be pleasantly surprised.

Average customer rating:

absolutely fantastic ...
Return of the Mills Brothers w/ a little Whispering Jack Smith
Alternative Cabaret
Unholy delight
Loopy, Off-kilter, Nostalgic and Fun

I, Lucifer
The Real Tuesday Weld
Manufacturer: Six Degrees
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Return of the Clerkenwell Kid
I, Lucifer: Finally, the Other Side of the Story
The Ugly and the Beautiful
Where Psyche Meets Cupid
L' Amour et la Morte

ASIN: B0001HOX1E
Release Date: 2004-05-11

Tracks:

It's A Dirty Job But Somebody's Got To Do It
Bathtime In Clerkenwell
The Ugly And The Beautiful
(Still) Terminally Ambivalent Over You
Someday (Never)
One More Chance
The Eternal Seduction Of Eve
La Bete Et La Belle
Easter Parade
The Life And Times Of The Clerkenwell Kid
The Show Must Go On
Heaven Can't Wait
Someday (Soon)
The Pearly Gates

Amazon.com

Contemporary pop music often deals with its burgeoning past by pretending to ignore it, all the while frantically picking over the debris to cynically reinvent the wheel. But the U.K.'s The Real Tuesday Weld (a.k.a. singer/composer/multi-instrumentalist Stephen Coates) triumphs here by boldly synthesizing a context of intimate '20s and '30s cabaret jazz, then deftly informing it with subtle touches of modern electronica. That it remains much closer in spirit to the former than the latter makes it a compelling, consistently satisfying listen. Taking the form of a mock soundtrack to novelist Glen Duncan's amusingly warm tale of the devil returning to earth for an ill-advised comeback, Coates' cabaret electronique draws on influences as diverse as Django Reinhardt, Serge Gainsbourg, Tom Waits, and Al Bowlly (Coates claims the '30s London crooner inspired him in a dream), TRTW spins breathy, endlessly moody tales of bittersweet romance, all of it informed by a dry, graceful wit. The dizzy, French tongue-tripper "Bathtime in Clerkenwell" quickly became an unlikely Euro club hit; guest performers include the Tiger Lillies' Martyn Jacques ("Someday (Never)"), Pinkie McClure (the cinematic "One More Chance"), and David Guez ("La Bete et La Bete"'s Gallic throwback folk-pop). A lot of unfocused musical ambition gets passed off as cutting-edge post-modernism, but the inviting, time-warped conceit Coates/TRTW have concocted here challenges the very notion of such constraining labels. --Jerry McCulley

Album Description

This modern-day electronic cabaret singer-songwriter, whose given name is Stephen Coates, has crafted a unique new sound, informed by Al Bowlly, Serge Gainsbourg, Ennio Morricone as well as modern electronica. I, Lucifer is the imaginary soundtrack to the best selling novel of the same name by Glen Duncan, about the devil returning to earth for a second shot at repentance and mortality. The enhanced CD features the Sundance Online Film Festival award winning animated video for "Bathtime In Clerkenwell."

In the U.K. where the first album track has been released on 10" vinyl, it has become an unexpected dance floor hit, with people like Coldcut, Groove Armada and Fatboy Slim singing its praises

Customer Reviews:

absolutely fantastic ... .......2007-01-06

it'll make you smile, move and wonder about the man behind the music all at the same time. truely one of the most original music I've heard in a long long time. Unfortunately, I didn't care for his other album.

Return of the Mills Brothers w/ a little Whispering Jack Smith.......2006-04-06

A delightful and silly album, at times playful, at others sardonic (the French and English versions of "The Ugly and the Beautiful" / "La Bete et la belle" are filled with shrewd, ironic, and cuttingly clever remarks of insecure resentment!). Musically, the most fun is the "Bathtime" number. The 1930s samples sound to me primarily drawn from the original Mills Brothers--their early work as syncopated, scat/vocalese experimenters, done in the early 30s. His own breathy, close-mic vocals are reminiscent of Whispering Jack Smith (though he claims Al Bowlly was his hero). Great then, great now. Coates' follow-up album, Return of the Clerkenwell Kid, is also witty and weird, old jazz, pop, electronica, but this has more variety and daring. I hate to see them going for remainder-prices, but it's a good time to buy them both.

Alternative Cabaret.......2004-08-14

The Real Tuesday Weld presents I, Lucifer is alternative cabaret at its goofiest and most entertaining. London-based Stephen Coates, TRTW's braintrust, is Stephin Merritt without remorse (in fairness to Merritt, he doesn't quite have his catalog of Cole Porter melodies, either). This first official release (after a series of EP's) is a kicky romp through the English music hall and is called, in the CD notes, a cycle of "torch songs straight from Hell". It's not all that, but Coates has a way with genre exercises. "(Still) Terminally Ambivalent Over You" could just as easily be eked out on a ukulele as it is played as a blues shuffle (with carousel organ). "The Eternal Seduction of Eve" is spoken-word loungecore; "La Bête et la Belle" pungent French cheese. Best of all is the wordless, though not vocal-less, "Bathtime in Clerkenwell" - three minutes of nonsense that Bobby McFerrin should record on Ecstasy.

Unholy delight.......2004-07-05

"I never really wanted this job. But look at it from my point of view." So says Stephen Londoner Coates, known to the world as the Real Tuesday Weld. Melding electronica with 20's and 30's jazz, he concocts the strangely alluring "I Lucifer." His murmuring vocals and hallucinatory musical style make this a bizarre delight.

Coates starts off in "It's A Dirty Old Job But Somebody's Got To Do It," a reflective, melancholy monologue. Then the melancholy is shed with the infectious jazzy "Bathtime In Clerkenwell" and the angular "(Still) Terminally Ambivalent Over You." It slows down with the soaring "Someday (Never)," and the languid "Easter Parade," followed by the tense "The Life & Times Of The Clerkenwell Kid." It rounds off with the quietly hopeless "Someday (Soon)," and the ethereal, wavering "Pearly Gates."

"I Lucifer" is the imagined soundtrack to Glen Duncan's novel of the same title, about the devil having a second chance on earth, if he can last out a certain time period with no sinning. Story records don't come along too often, but "I Lucifer" works quite well, partly because it's just so fun.

The music is a a seemingly unholy mix of lounge jazz and electronica. But Coates melds them together without a hitch. The joyous scatting, gentle percussion, horns, cymbals, and orchestral choirs are all layered with old fuzz and distortion, which adds to the early 20th century feel of the music. At the same time, he uses electronic backdrops to give it a slightly hallucinatory feel.

Coates' vocals aren't exceptional, as a singer. When he actually sings, as he does in "Someday (Never)," his voice sounds scratchy. But when he murmurs, he sounds seductive and vaguely amused. It fits in with the atmosphere of smoky cabarets and corporeal devils, especially in the opener, where he calmly tells us, "It doesn't matter. You fall... you don't rise again," backed by violins.

He may not be able to really sing, but the Real Tuesday Weld has made a unique experience in his second album. Sepia-tinted jazz is mixed with electronica in "I Lucifer," one of the most original guilty pleasures of 2004.

Loopy, Off-kilter, Nostalgic and Fun.......2004-07-04

I got hooked by the video of "Bathtime in Clerkenwell", a strange silhouette/papercutting/magic lantern animation that seems to have something to do with birds taking over the world. The vocals sound like someone scat-singing through a megaphone. I'd never seen or heard anything quite like it, so intrigued, I played the CD at my local Tower listening station. Wow! This is an incredibly well-done, tongue-in-cheek combination of 30's dance hall music and electronica - it made me smile all the way through. Stephen Coates' many influences have been cited or suggested - everyone from Terry Gilliam to Tom Waits to old-time British performers like Al Bowlly. But I don't think I've heard this loopy a homage to '20's and '30's music since the Bonzo Dog Band - that's what this CD recalls for me. If you want something completely different (Monty Python reference intended), give this unique CD a try.

Tracks:

Hey Hey, My My (Into The Black)
Crime In The City
Blowin' In The Wind
Welfare Mothers
Love To Burn
Cinnamon Girl
Mansion On The Hill
F-!#in' Up

Average customer rating:

L' Amour et la Morte
The Real Tuesday Weld
Manufacturer: Kindercore Records
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Return of the Clerkenwell Kid
The Ugly and the Beautiful
I, Lucifer
Where Psyche Meets Cupid

ASIN: B000055ZBJ
Release Date: 2001-02-13

Tracks:

L'Amour Et La Morte
The Days Of Me And You
Epitaph For A Dead Uncle (George)
The Real Tuesday Weld (Weld Mix)
Blues For Barbara Hepworth

Average customer rating:

This record makes me happy
not bad, not bad
the hoarse whisperer
We're just like daisies trying to avoid the cow
WHERE THE HEARTFELT PAST MEETS A BEAUTIFUL FUTURE.....

Where Psyche Meets Cupid
The Real Tuesday Weld
Manufacturer: Kindercore Records
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Return of the Clerkenwell Kid
I, Lucifer
L' Amour et la Morte

ASIN: B00005NWOF
Release Date: 2001-09-11

Tracks:

Am I In Love?
Asteroids
I Love The Rain
At The House Of The Clerkenwell Kid
Terminally Ambivalent Over You
The Birds And The Bees
Deja Vu
L'amour Et La Morte
Close Your Eyes When You Read This
Daisies
Turn On The Sun Again
Anything But Love
Blues For Bukowski
Bruises
Goodbye Stephen

Customer Reviews:

This record makes me happy.......2004-09-22

If, like me, you occasionally stare at your album collection and look in vain for something not depressing, you might really appreciate this low-key collection of musings on love. Mr. Coates writes deceptively simple melodies, but often layers them on top of complex combinations of retro (80s) electronics and really retro (30s and older) big-band samples -- complete with LP-crackle. Sometimes the effect is melancholy, sometimes funny: "Terminally Ambivalent Over You" could be the soundtrack to a Felix the Cat short.
What distinguishes him from other insecure romantics like Belle and Sebastian or Stephin Merritt is his voice: he half-whispers his way through much of his songs, sitting slightly off-key on some notes, sounding both young and old, both jaded and hopeful, like Syd Barrett channelling Billie Holiday. Pop this album into your walkman and the album becomes truly intimate, as if you had tuned into a radio broadcast from someone's living room -- a broadcast that perhaps had been floating around in the aether for decades. Brings a smile to my face every time.

not bad, not bad.......2004-08-01

oooh, a good album full of new ideas...it's actually an original-sounding record. well, the influences are obviously loungey-type golden oldies--the crooning stuff--but complemented with cute little beats and breathy feel-good vocals like "it's raining, it's pouring, but i ain't complaining, i like the rain." a fun record, for fans of the elephant six sound.

the hoarse whisperer.......2004-01-09

I honestly want to like this album. I ordered it ages ago and waited forever for it. Well, I finally got it and... ehh.
The music and sampling is great, totally smooth, an amazing job. The thing I find so off putting is the vocals (he can't hit the notes and endlessly whispers out of tune) and the lame lyrics (juvenile and predictable). I think mr. Coates would be great if he stuck to the instrumentals. I wish there was a karaoke version available without the vocals.
maybe it will grow on me. I don't know.
This is his 1st album, so maybe things will improve.

We're just like daisies trying to avoid the cow.......2002-05-13

It finally happened. Someone went out and made the album that I had been imagining for a long time. For, I don't know, the past year or something I had the idea in the back of my mind that it would be great if someone made songs using samples from old jazz records. I'm talking Al Jolson/Andrew Sisters/prohibition era songs on old crackly LPs. You could sample some horns, make them jump around and do something new, while it still retained that sweet cracklin' flavor! Stephen Coates, the man behind (The Real) Tuesday Weld, did just that.

Mr. Coates actually has a lot in common with another guy who shares his first name, Stephin Merritt of the Magnetic Fields. Just like 69 Love Songs had everything to do with love, so does this album. And just like Merritt writes songs that almost sound like they could've been written decades ago if it weren't for his modern sense of humor, Coates doesn't seem like he was born for these days either. For the most part, these are love songs in the classic sense. They don't mince words. They go straight for the heart, hitting whatever cliches might be in the way. It's the music that gives the words sincerity.

"Am I In Love?" an obvious choice for a single, has some catchy horn and scat samples and says things like "Love makes you a date / Takes you to some wonderful place / Love fills it plate / And leaves you to pay." Is Stephen in love just with his love or with the idea of love? It becomes more clear as the album progresses that it's probably the latter. The album features a lot of sad love songs, a fair share of instrumentals, and just like the Magnetic Fields box set, not many clearly happy love songs where everything turns out okay. One such song though is "I Love The Rain" which features some nice and sleazy horn samples and is about dancing in the rain.

"At The House of the Clerkenwell Kid" is just what I was imagining when I thought of an album like this. It's an instrumental that seems like an original studio recording instead of a collage, which is what it really is. An old guitar sample in the back changes pitch and fidelity every few bars and moves along with train-like propulsion while Coates plays something mysterious on the piano. This is followed by a song with one of the best titles in recent memory, "I'm Terminally Ambivalent Over You," a fun song with a poorly placed soulful synth line.

The second half of the CD is more of the same: Expertly and seamlessly mixed speakeasy-era jazz mixed with electronic effects and beautifully crafted love songs. You could call this "antique radio synth pop" or maybe "electro-Glenn Miller." I'm not sure. Stephen Coates is crossing genres like you've never heard before. Where Psyche Meets Cupid is an great example of modern music that shows what can be done with samples by bringing it all the way back to the beginnings of recorded sound.

WHERE THE HEARTFELT PAST MEETS A BEAUTIFUL FUTURE............2002-04-25

....this is an album of songs and beats and surreal retro-romantic sonic landscapes. "Where Psyche Meets Cupid" is both lovely and enticing: a playful love-affair of "cut n paste" methodology filled with yearning and notalgia and wonder. And not without a strong nod to the best of today's finest inventive electronic technology. This album is rather like a cross between Air at their giddy breeziest, and Stephen Merritt's sweetly progressive work in his "Sixths" incarnation. The vocals may seem tossed-off at first, but there is a keen natural gift going on here that only makes it all seem easy and effortless. Even as a debut release, this is a masterwork of wonder and charm and skilled songwriting that will you feeling all warm and fuzzy inside. No other recent album has such great promise for taking post-rock ideas into such fertile new territories. Finally! Someone daring to write cutting-edge music in a more light-hearted and generous mode! Is anyone else doing anything even remotely close to this nowadays? I don't think so....especially not when most critics automatically equate any sort of pseudo-angst or ugliness as indicators of REAL art. Well, with "the REAL Tuesday Weld," make no mistake....REAL art has more to do with originality, and risk-taking, and daring to explore new regions for expression, no matter how lighthearted and inventive. And this album has all of these qualities in spades! HIGHLY RECOMMENDED!

Average customer rating:

The Ugly and the Beautiful
The Real Tuesday Weld
Manufacturer: Pias
ProductGroup: Music
Binding: Audio CD

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I, Lucifer
L' Amour et la Morte
The Return of the Clerkenwell Kid

ASIN: B0002AZFWQ
Release Date: 2004-07-26

Tracks:

Ugly And The Beautiful ( Original Version)
Something Beautiful
Ugly And The Beautiful ( Backini Remix)
Ugly And The Beautiful ( Senor Coconut's 24- Bit Instrumental Remix)

Average customer rating:

An enjoyable collaboration
Great Chicago blues by two of the best on slide guitars.

Keep on Walkin'
Lil Ed and Dave Weld
Manufacturer: Earwig
ProductGroup: Music
Binding: Audio CD

General | Blues | Styles | Music

Acoustic Blues | Blues | Styles | Music

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Who's Been Talking

ASIN: B000004BV7
Release Date: 1996-07-30

Tracks:

North Carolina Bound [Acoustic Duo]
Combination Boogie
I'm Not a Slave
Confess Diane
So Long So Long
Let's Boogie Baby
Lonely, Lonely (When Evening Comes)
Too Late Baby
New Year's Resolution
Sweet Shiny Brown Eyes
I Can't Have Nothin'
Keep on Walkin'
Set My Sight on You
North Carolina Bound [Band Version]

Customer Reviews:

An enjoyable collaboration.......2004-08-02

This warm set of contemporary blues finds Lil' Ed Williams and Dave Weld, both of whom learned to master the slide guitar from Williams' uncle J.B. Hutto, splitting the lead vocals and the flashy solos about equally, alternating between acoustic and electric numbers.

"Keep On Walkin'" opens with one of the best songs in this 59-minute set, the laid-back blues shuffle "North Carolina Bound", and it is obvious that Williams and Weld are not only strong soloists, they are also quite adept at backing each other.

And the material is quite strong as well. The 1944 pop ballad "Too Late Baby" is a hideous monstrosity, swamped by an overblown string arrangement and completely out of place on this otherwise fine, rootsy CD, but most of what is here is very good. Lil' Ed Williams is the man behind the best song of the lot, the swinging acoustic "I'm Not A Slave", and the soulful slowie "Confess Diane", the swaggering "So Long, So Long", and the exuberant "Set My Sight On You" are also among the highlights. A few songs don't really hold up too well, but there should be enough good stuff here to keep you interested.

Lil' Ed and Dave Weld are backed by an excellent band, drummer Jeff Taylor, bassist Bernard Reed, and top-notch pianist Jasper Buchanan, and this CD is a nice listen for contemporary blues fans who likes a rock n' roll twist in their blues.
3 3/4 stars. Recommended.

Great Chicago blues by two of the best on slide guitars........1999-05-12

This cd is one of my favorites with these two musicians. Playing great blues, and with real feelings. Having heard many small blues bands, these are the guys I will follow anytime I can get to where they are playing. We need more from them on cd's.

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