Screaming Trees - Where The Twain Shall Meet Lyrics | corrosion-corrintel.info
the twain shall meet.” Never the .. and West shall never meet? That they Music from Badakhshan”, PAN Records, CD, Leiden (). The Twain Shall Meet - Eric Burdon Declares "War" - Black Man's Burdon - Love Is The lack of a frontman and their weak song material never seemed to slow. Lyrics to "Where The Twain Shall Meet" song by Screaming Trees: Alright now Push against the wooden table A sliver cut You never know which one stays.
Most of the record consists of three long, enjoyable jams "Blues For Memphis Slim" - but it's punctuated with the spacey, irresistably danceable A-side "Spill The Wine," which reuses Burdon's "Tobacco Road" gimmick of narrating a daydream, but even more effectively.
The production is sparse and the sound often not very different from traditional Chicago blues, which creates the feel of a tight and professional live performance: Most of the tracks are quite long, and there's an epic medley based on " Paint It Black " that's quite memorable.
There are also two versions of " Nights In White Satin ," but mostly the material is new. Some of it really works. The title track is a powerful funk groove, with Burdon rising above his voice's hoarseness and the band supplying interesting Motown-flavored harmonies.
An early take of "Tobacco Road" has even more energy than the later, released version. And there's a daring, unexpected cover of the Beatles' " A Day In The Life " - unfortunately it's too earnest, it exposes Burdon's vocal limits, and it drags at eleven minutes.
Actually, it's so embarassing it's downright funny. And there are other problems like the tediously generic eleven-minute blues "Home Dream. JA War War was still backing Burdon when they signed their own record contract, but they split with him soon after.
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Their eponymous debut album was a flop even though Burdon designed the clever, eye-bending album cover. It's too bad, because it's very professional and graced with a few genuine creative flashes. Typically of the band, four different members sing lead on four tracks, with the other two being instrumentals - on "War Drums" they frame some frenetic sax and conga solos with a completely goofy group vocal. The best tune is "Sun Oh Son," with a long, lazy, nicely harmonized intro and a harsh funk segment with Dickerson's vocal proving that he's a total pro.
Elsewhere there's a couple of generic soul numbers "Lonely Feelin'"; "Back Home" and a sprawling jam "Vibeka". The most memorable, if not best moment is the long, flakey, embarassingly self-righteous, Cuban-flavored anti-Castro "Fidel's Fantasy," with Papa Dee's voiceover ploddingly imitating Burdon's brand of free association.
Not a great record, but a respectable one. JA All Day Music The mellow, bossa nova-flavored title track was the band's first Top 40 hit; it's really enjoyable, with thrilling group harmonies and a soothing dance beat. Half a year later the longish and musically more conventional, but even more entertaining funk ballad "Slippin' Into Darkness" got a single release.
It promptly outsold its predecessor, boosting the LP into gold album territory - War had finally made the big time. There's also a spartan, mid-tempo funk number that draws the lines to be filled in by later hits like "Cisco Kid" "Get Down". But at least all of this proves the band's amazing versatility, and unlike several other War albums this one escapes without any real embarassments.
It brilliantly blends rebellious 60s experimentation with starry-eyed 70s hedonism, delivering all of their signature motifs: The best-known track, their 2 hit "The Cisco Kid," uses a loping Caribbean beat to irresistable effect. They put across a danceable, gospel-tinged funk-rocker "Where Was You At"a desolate blues with soulful harmonies and spacey Eastern effects "Four Cornered Room"and a lulling funk riff with crowd harmonies and steel drums "Beetles In The Bog".
And amazingly, they get away with two long-format jams: Solid and creative, the collection's only real shortcoming is its meagre listing of just six tracks. JA Deliver The Word With the band having become a huge commercial success, messing with formulas was definitely not on the agenda.
So pretty much everything here is a retread. Probably the best-known song here is the hit single "Gypsy Man," which starts and ends with excessively long jams, and depends on some earnestly strummed guitars and an attention-grabbing descending hook.
It's decent but not a breakthrough. Meanwhile, Jordan testifies mightily on the slick, melodramatic, eight-minute title track. But like the record in general, it just doesn't add up to much. There are just eight tracks, so almost everything other than "Lonely Feelin'" gets stretched out. Includes the instrumental "Ballero," which just made it into the Top 40 a few months after the album was released.
It's kind of pathetic.
They got more than they can handle...
The backing is a noxiously loud generic mids two-guitars-bass-and-drums corporate rock band that seems to think it's really hot stuff. You'd think that War had never happened. But ironically, Burdon's echo-slathered voice seems fine, and he lends some manic energy to the proceedings - in a few places he pretty much screams his head off, but it's fun. Both of them were Top 10 hits, and at least the first of them wears thin real quick. But the rest of the album is completely serious and frequently fascinating, with some experiments that teeter on the edge of disaster.
The funk jam "Heartbeat" sputters madly; "Leroy's Latin Lament" flies between lush balladry and manic salsa; and the harmony-fest "In Mazatlan" veers into Brian Wilson territory.
And the conventional tunes effectively recycle the band's mellow, harmonious formula: Possibly the band's greatest moment, and as an artifact of the era it's unsurpassed.
MUSIC PREVIEW: Never the Shania Twain shall meet
JA Stop Eric Burdon: Actually recorded before Sun Secrets, it's a set of completely new material featuring a completely different band. Most of it was co-written by John Sterling, who also collaborated with producer Jerry Goldstein.
The formula is occasionally unpredictable, with touches like female choruses and acoustic jazz piano beaming in at random "Gotta Get It On". It's not all golden, though; there are several kitschy pop songs, and Burdon's involvement is pretty minimal - he co-wrote only three of the tunes. Packaged together with Sun Secrets on one disc, it manages make up for that album's pathetic mindlessness in the course of a nine-track, minute running time.
JA Lee Oskar Oskar: DBW I've got this and I like it; a complete review will follow. Suffice it to say that Oskar gets an awful lot of mileage out of one harmonica, a couple of borrowed Santana players, and a bunch of easy funk and Latin grooves. He even delivers an entertaining vocal on one number.Bull Angus - Bull Angus 1971 (full album)
JA Greatest Hits We don't usually list or discuss greatest hits packages, but this one may have included the single "Summer" as a bonus track - it was released just a couple months before. In any event, "Summer" was War's last hurrah, breaking the Top 10 and going gold. JA Platinum Jazz This collection of studio out-takes was put out on the jazz label Blue Note and quickly went gold no, not platinumbut didn't fare too well in the Top Three of the tracks were salvaged from an incomplete movie soundtrack to be called The River Niger.
Their first new effort was yet another instant gold album, and it sold a little better than Platinum Jazz, with the discoified title track becoming War's last Top 40 hit - but just barely, since it only reached There's not a lot of songwriting this time, but there aren't any embarassments either. JA Youngblood Soundtrack to the blaxploitation film.
Even though this was a flop compared to the band's last few records, it's actually respectable. However, the band does pull out three quality tunes in their characteristically upbeat style: And some of the instrumental stuff is interesting: Far from a key record, but it's pleasant background music and has some personality. Produced by Goldstein, Jordan and Scott. JA The Music Band War was burning out at this point; the album didn't yield a hit single, barely missed the Top 40, and took an uncharacteristic four months to gold.
They also made their first personnel change, adding singer Alice Tweed Smith. This was Smith's second and last appearance on a War record. Most of that band does show up, including Allen, Brown, Jordan, and especially Rizzo, who gets in several horn solos and even has a co-write. But it's not at all a War record. The sentimental orchestration and acoustic guitar on "My Road" make it sound like a European movie soundtrack theme.
The big vocal number is so airy and embarassingly earnest that War wouldn't have touched it "Children's Song". The only really ambitious effort is the five-part, quarter-hour "Our Road," a pastiche of funk, orchestrated melodrama, and Brazilian rhythms that doesn't really grab you the way War's best work does. Introduction Aren't these kids ever unjustly forgotten. Yeah yeah okay, everybody mentions them whenever there's a historical lecture on 'The British Invasion'.
What is practically forgotten is that the original and quintessential "Animal Sound" was patented not so much by Eric, but rather by the fantastic organ playing of Alan Price - playing that, for better or for worse, defined its epoch. Along with Rod Argent although the latter worked in the pop sphere rather than the r'n'b oneAlan was one of the very first pop music figures to lead "Rock" away from trademark guitar cliches into the world of the gloomy Hammond, and on certain - if relatively rare - occasions the Animals, through him, reached to such depths as could never be dreamt of by the early Stones with their exuberant, cockrocking attitude.
Not that Hilton Valentine was a particularly bad guitar player, but I do sometimes wonder if perhaps they never really looked for a better one with the precise aim of making Alan's keyboards seem even more jaw-dropping against the background of a simply-competent guitarist.
Of course, Eric Burdon's raunchy voice, boasting an unusual amount of wicked, snarling English nastiness, is equally important for the band.
The Twain Shall Meet - Eric Burdon & the Animals | Songs, Reviews, Credits | AllMusic
In a still much too young, much too inexperienced and timid world of white blues-based music, he was one of the few who was neither afraid to give it his all nor actually devoid of that "all". Endowed with a great roar and never hesitating to put it to good use. Displaying great range and being capable of turning the most generic piece of bar blues into a hellish soap opera. Who could beat the guy? Listen to what I deem his defining moment, the 'come on let's shake it! In England, in at least - no-one.
Alas, it is true that the band - and Eric in person - had spent quite a lot of time dirtying their own reputation. The original "Animals" were much too short-lived. Price left bydepriving the band of its key ingredient.
Even during the period when he was an active member, the songs they chose to record were mostly covers, since the band lacked competent songwriters: Burdon never even tried to seriously compete with the biggies, and the few originals of his that can be found on the 'classic period' records were rather obvious rip-offs - the most blatant example is 'I'm Going To Change The World', a single B-side that simply steals the guitar riff from the cover on the A side, 'It's My Life'.
Then, inthe band collapsed completely, with Eric retaining the name. To be fair, some of Eric's songwriting of the period as witnessed through stuff like 'Sky Pilot' and 'Year Of The Guru' showed potential, although most of it simply drowned in the seas of "artsy" psychedelic and pseudo-psychedelic sludge.
In the end, the new "Animals" now remain responsible for some of the most laughably dated music of the Summer of Love era - and manage to cast a completely undeserved shit-shadow on the original band as well. Since then, Burdon's career has been a long and turbulent one.
Collaborations with WAR, temporary reunions with the original Animals, solo albums with various backing bands, experimentation with styles and technologies, the man's been busier than an undertaker all his life. Much of what he did was proverbially awful; some, however, bordered on greatness, showing that the distance between the two poles is seriously shorter than one could think.
Nevertheless, for me, one thing is certain: Hey, any R'n'B, for that matter. Fuck racial and territorial borders. All the more pitiful is the fact that, as of now, there's not even a single comprehensive Animals site on the web at least, none that I could find.
Weren't they, like, the first band after the Beatles to enjoy serious success in the American charts? Or was that the Dave Clark 5? Actually, even the Dave Clark 5 are better represented on the Web today, which is the acme of injustice if injustice ever had an acme.
All that remains for me is to proudly dub this little page 'The Animals Preservation Society' and support it by assigning them to Class C, no mean feat for a band whose original compositions can be counted on the fingers of one hand. It is not out of compassion, however, that I am doing this, but out of recognizing that the Animals, in their prime, were just as important for rock music in general as the Stones in those early days.