Circa 1980

Editorial Reviews
Album Description
"Both Donald Martino (b. 1931) and Coleridge-Taylor Perkinson (b. 1932) are composers who have intense affinities with jazz (Martino plays clarinet and Perkinson, the piano). The admixture of jazz and serial composition may seem incongruous at first until we consider that other American composers using serial technique have also been strongly attracted to the other art form. Indeed, for so many American composers in the twentieth century, jazz is arguably as much a determiner of identity as any of the various schools of composition in which they were trained (or founded, for that matter). However, 'jazzy-sounding' concert music easily becomes musical kitsch. Thoughtful composers are then forced to declare, with Debussy, 'How much we must first find, and then suppress in order to reach the naked flesh of emotion.' In the case of the two works recorded here, the composers seem guided by the deepest respect for jazz. One might say that a profound understanding of the human condition intrinsic to jazz is at the root of these highly original works rather than any set of musical gestures per se. Still the sound of the pieces does, at times, reflect the sound of jazz, each in its own way. Rather than a reflection, both compositions refract the strong beams of jazz and serial composition with a brilliance that is too variegated, too faithfully realized to ever sink into what is too pat or derivative."

- from the liner notes by John Cheek

Tracks:

Rosanna
Manuela Run
Angela
Secret Love
Million Miles Away
I'll Be Over You
Lovers in the Night
Carmen
We Can Make It Tonight
Stop Loving You

Average customer rating:

A Lifelong Numan Fan Comments....
A rough gem
Alan Replica Official Web Site !
Numanesque
Electronic alternate soundtrack for Brazil?

Clockworks, Juliet
Alan Replica
Manufacturer: Ninthwave Records
ProductGroup: Music
Binding: Audio CD

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Tracks:

Isolation
Dreams, Inc.
Intrusion
Factys II(deus sive natura)
The Machines-!
Dream Deceiver
Soul Corruption
Light in the Dark
Machineries of Joy
This Device
20th Century Rust
Animas
Clockworks, Juliet
My Time Warp

Album Description

Alan Replica - "Clockworks, Juliet" Ninthwave Records releases here the new Alan Replica (aka MASQ) album "Clockworks, Juliet" featuring a set of 14 homogeneous tracks of a futurist rock style. The songs, rough cut electro, are filled with pulsating sequences, heavy drums and layers of guitars, developing into anthem-like choruses. The atmosphere, a mix of cold sci-fi machinery, rock guitars and orchestral ornaments supports the insinuating melancholic melodies served by Alan Replica's precise arrangements and sharp voice. The lyrics, relying on a machines world pretext à la Phillip K. Dick, issue strange emotions like disposable snapshots, while evoking topics such as the place of an individual in personal and social relations, deceiving situations and loss. `Underlying, "Clockworks, Juliet" highlights the automatisms we use to evade thinking our mortal condition' (like making music?). Still, cheer up! The music is not as dark and gloomy, and if the influence of pioneers in the genre like Sparks, Ultravox, Gary Numan, Depeche Mode, New Order, Anne Clark, Visage… Is well present, Alan Replica walks a path of his own; his constructions based on vintage synthesizers and different period ornaments, introduce a concept of multi-storied (stratums?) moments, pleasingly to the ear. The other pleasant surprise (for the eye this time) is the CD cover, finely-worked by designer Todd M. Lemieux. Producer, David Richards at Ninthwave Records (Macondo, Spray, Empire State Human …) who spotted this artist, has, from the quote of Alan Replica himself, exceptionally enough in the business to be outlined here, left full artistic directions to the artist… Hail! Hail! Futurist Rock! Alan Replica is not really a newcomer, he started back in the 80's with a band named MASQ, then disappeared for a while; this marks a return to studio work. ----------------------------------------------

Customer Reviews:

A Lifelong Numan Fan Comments...........2006-10-17

With a name like Replica and song titles like The Machines, Soul Corruption and Dream Deceiver, comparisons to Gary Numan are bound to occur. Listening to the CD and reading the lyrics (from his website - no lyrics with the CD itself) makes Mr. Replica's study of Numan's back catalogue rather more obvious.

Trying to imitate Numan's lyrical phraseology and song structure is OK up to a point, but comes unstuck when you realise Numan's overall sound is based very much upon Numan's own voice and the way he sings. Unfortunately Mr. Replica hasn't got the voice to pull this off and he doesn't offer the listener much in the way of vocal range, style or passion either. In fact, most of the album is sung in a monotone `I've got a cold' kind of way. The most effective singers/vocalists have a distinctive voice and vocal delivery. Mr. Replica demonstrates little of either on this CD.

On to the music. Well, the opening track "Isolation" is actually pretty good. Musically. Lyrically it's awfully close to something Numan himself would have penned around 1979 or 1980. Strike 1! "Intrusion" borrows heavily from the live version of Numan's "Everyday I Die". Strike 2! "My Time Warp" is practically Numan's "We Have A Technical" all over again. Strike 3!

In between there are some solid and enjoyable moments of synth indulgence ala Numan, Ultravox, Tears for Fears and Depeche Mode. Overall though, you can't help feeling this effort is the amalgamation of half a dozen albums Mr. Replica must have listened to before sitting down to write is `own' material. They say imitation is the sincerest form of flattery, but when it's this close to your rather obvious influences it becomes plagiarism.

A rough gem.......2006-02-18

The first things that stroke me listening to the CD was the raw aspect of the recording which gives the sensation of a close presence like a live album, but also the overall even quality of the 14 songs. It shows the same attention and work was put in each song, which is quite rare to find on CD nowadays. The music is difficult to describe, it sounds like Joy Division/New Order (think Substance)meet Ultravox/Gary Numan (think Living Ornaments tour) meet Mary Chain/Ministry. The songs are like detachable fragments of a same piece, like an opera in some sense, though it's not boring as a concept album can be. I've been listening to this Cd over and over, and my favorite songs keep changing, which is a sign of a good CD that will stand the test of time for me, and it also seems to unveil new things each time. This is not a new color in electro rock, but it certainly brings new shades, and for this it's a ground breaking album.

Alan Replica Official Web Site !.......2005-11-11

Hi,
Alan Replica 's official website was launched November, 1rst of 2005. The site offers full scale sections like News, Bio, Disc, Contact info and free Songs & Photos to collect. [...]

Numanesque.......2005-01-04

I first heard Alan Replica on the Electricity II various artists CD. The single 'Machines' was billed as being by Masq, his band in the 80s. Clockworks, Juliet takes the listener back to post-punk, pre-funk Numan, when cold robotic rhythms dominated the music. It's very reminiscent of Numan's 'The Pleasure Principle' and 'Telekon'. Replica immitates Numan's vocal style throughout the CD while adding his own style as well, and even includes a couple Numan covers, 'Factys II' and 'This Device'. Finally, Clockworks, Juliet attests to the brilliance of Gary Numan. More than 20 years after his greatest phase, he is still a big influence in the music world.

Electronic alternate soundtrack for Brazil?.......2004-09-29

I love every song on this album and frequently just listen to the entire album. The songs all have similar sounds, so it's nice to just listen to them all in a row, like different movements of a long piece, but they're different enough I only feel like I'm listening to the same thing over and over again in a *good* way. It's nice electronic stuff with a beat, some machine-oriented lyrics, and often a nice mood of melancholy as well as beauty and energy - sort of like goth and klezmer, if they were written as techno or ebm. Alan Replica is listed as Masq on the album Electricity II, which includes 'The Machines' from Clockworks. I hate trying to describe music in print reviews, but this album deserves a review and 5 stars. This album sort of sounds like a less angry Apoptygma Berzerk, a more gothy Spray, or S.P.O.C.K if they were a lot better & not singing about Star Trek.

Basement Tapes: Studio Demos Circa 1980-1981

Average customer rating:

'Noos rarities better than most bands' official albums
Long-lost demos for terrific unreleased third album

Basement Tapes: Studio Demos Circa 1980-1981
The Rubinoos
Manufacturer: One Way Records Inc
ProductGroup: Music
Binding: Audio CD

New Wave | New Wave & Post-Punk | Alternative Rock | Styles | Music

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Power Pop | Rock | Styles | Music

Paleophonic
Everything You Always Wanted to Know About The Rubinoos
Crimes Against Music

ASIN: B000002R56
Release Date: 1993-06-30

Tracks:

Hurts Too Much
Hey Rita
Hit the Nerve
I Don't Wanna Break Up
Let Me Hear You Say Yeah
Fireball
Not Just Another Pretty Face
Like Candy
It's a Shame
I Love the Way You Touch
When the Rain Comes Down
Mothers Always Know
Saturday Morning Cartoons

Customer Reviews:

'Noos rarities better than most bands' official albums.......2003-09-17

Although the Rubinoos were never one of the better known power pop groups, their inclusion on the Rhino Poptopia! and D.I.Y. CD's showed that they bettered most of their contemporaries, unfortunately, they didn't produce many proper albums. Fortunately, this rarities collection shows that they still had a wealth of great material. The Not Lame reissue is the preferred edition, since it tacks on 3 totally worthy tracks, although the production on the bonus tracks is a bit dated. Get the Anthology first, and if you enjoy it, snag everything else by this wonderful band - starting of course with Basement Tapes.

Best Tracks:
"Hurts Too Much" - Catchy riff-driven pop rocker, the "No No No" on the last chorus is my favorite vocal moment on any Rubinoos song.
"Hey Rita" - Sounds a lot like "Jennifer" (found on Anthology) but with a better chorus. Sweet and simple.
"Let Me Hear You Say Yeah" - Cheesy lyrics but great performances by the band.
"Fireball" - Similar in execution (if not in sound) to Van Halen's cover of "You Really Got Me" - early swingin' rock n' roll with heavier guitar and a screaming solo.
"Not Just Another Pretty Face" - Second best track on the album, one of those songs that sounds like you've heard before but its totally original.
"Handle With Care" - Charming mid-tempo pop song - one of the bonus tracks.
"Too Up To Feel Down" - Totally catchy AM Radio rocker that adds some 80's production tricks to a totally 60's pop-rocker. Try not to sing along!

Long-lost demos for terrific unreleased third album.......2003-08-06

The Rubinoos first "Odds 'n' Sods" volume (complemented by the follow-up "Garage Sale" release) collects studio demos from 1980-81 for a never-to-be-released third album. With bassist and vocalist Al Chan replacing original member Royse Ader, the Rubes sound as crisp and exuberant as ever. Tommy Dunbar's songs (he wrote or co-wrote all except "It's a Shame") are insanely hummable, with infectious melodies and sing-along harmonies; this is easily as good a collection of originals as those found on the band's first two albums.

Jon Rubin's vocals soar as beautifully as ever, and he yields the spotlight now and again for effective leads by Tommy and Al. Though these are only demos, the harmonies are intricate and sharply sung. The finish of the recordings adds a slight rawness that actually plays well against the polished playing and singing.

There have been two U.S. issues of this album. The original thirteen-track edition on the One Way label includes terrific song-by-song notes by the band. The Not Lame reissue (entitled "The Basement Tapes... Plus") drops the song-by-song liners, but adds three more original demos ("Handle With Care" "It's Magic" and "Too Up to Feel Down"). One or the other is a must-have for any power-pop fan, and an essential missing link in the Rubes canon.

Joel Forrester & Illustrious Others: Pre Microscopic Music Circa 1980
Average customer rating:
Joel Forrester & Illustrious Others: Pre Microscopic Music Circa 1980
Joel Forrester & Illustrious Others
Manufacturer: Koch Records
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music
General | Jazz | Styles | Music
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ASIN: B00000IITN
Release Date: 1999-04-20

Tracks:

Getting Started
Until Tomorrow
Mary
He Do
Lt. Cassowary
Dr. Real
Work
Portrait Of Denis Charles
A Clean Break

Amazon.com

The fact that this collection of Joel Forrester compositions sounds a trifle muddy in its production should only be noted in passing. Forrester's music is some of the post-free-jazz era's most compelling, full of weird melodic curves and always hearkening back to some fictional jazz squiggle where swing, bebop, and hard bop all coexisted in a playful mix. Forrester's compatriots in the Illustrious Others are awesome, especially vocalist Shelley Hirsch, whose warbly pitch-shifts entertain and spur the band--especially its horn-wielders--to surprising heights of mischief, always in the context of a tune (as opposed to a full-on avant-garde blast). Forrester's clipped fingerings on the piano get good props, too, with "Mary" inviting comparison to so much of the Downtown 20th-century classical music scene. All in all, the flexing of this band is best captured when the full roster of seven musicians is swinging and, not surprisingly, soprano saxophonist Phillip Johnston sounds spectacular. --Andrew Bartlett

Average customer rating:

Brilliant

Circa 1980
Martino , and Cheek
Manufacturer: JRI Recordings
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B00013UB0U
Release Date: 2003-11-15

Album Description

"Both Donald Martino (b. 1931) and Coleridge-Taylor Perkinson (b. 1932) are composers who have intense affinities with jazz (Martino plays clarinet and Perkinson, the piano). The admixture of jazz and serial composition may seem incongruous at first until we consider that other American composers using serial technique have also been strongly attracted to the other art form. Indeed, for so many American composers in the twentieth century, jazz is arguably as much a determiner of identity as any of the various schools of composition in which they were trained (or founded, for that matter). However, 'jazzy-sounding' concert music easily becomes musical kitsch. Thoughtful composers are then forced to declare, with Debussy, 'How much we must first find, and then suppress in order to reach the naked flesh of emotion.' In the case of the two works recorded here, the composers seem guided by the deepest respect for jazz. One might say that a profound understanding of the human condition intrinsic to jazz is at the root of these highly original works rather than any set of musical gestures per se. Still the sound of the pieces does, at times, reflect the sound of jazz, each in its own way. Rather than a reflection, both compositions refract the strong beams of jazz and serial composition with a brilliance that is too variegated, too faithfully realized to ever sink into what is too pat or derivative."

- from the liner notes by John Cheek

Customer Reviews:

Brilliant.......2006-03-10

John Cheek is a phenominal pianist -and just as important-a fabulous interpreter. Both composers are excellent, and I miss Coleridge-Taylor Perkinson. This disc has a well earned place in my CD collection, and have no hestitaions in suggesting the same to others. Bravo John Cheek.