Photos liées au tag '1995'

Voir toutes les photos
08 avril 2017

Garbage, l'album

Garbage Album


1995


1. Supervixen
2. Queer
3. Only Happy When It Rains
4. As Heaven Is Wide
5. Not My Idea
6. A Stroke Of Luck
7. Vow
8. Stupid Girl
9. Dog New Tricks
10. My Lover's Box
11. Fix Me Now
12. Milk


Enregistrement: L'album est composé, écrit et enregistré par les quatre membres du groupe, dans le studio d'enregistrement de Butch Vig et Steeve Marker (les Smart Studios à Madison, dans le Wisconsin) entre avril 1994 et mai 1995, avec la participation du bassiste Mike Kashou.
Butch Vig, Steeve Marker et Duke Erikson décident de monter un groupe. Mais après des essais vocaux avec Butch au micro, et de par leur expérience dans le métier, ils décident de prendre une chanteuse. Steeve Marker tombe par hasard un jour sur le clip du groupe de Shirley Manson, Angelfish, diffusé sur MTV. Ils contactent Shirley qui passe deux auditions.
Quand Shirley rejoint le groupe, les garçons ont déjà écrit la plupart des morceaux. Aux Smart Studios, Shirley commence à travailler sur des versions épurées des titres "Queer", "Vow" et "Stupid Girl". Le groupe est retardé par le travail de production de Butch Vig sur l'album de Soul Asylum "Let Your Dim Light Shine".

> 1995 - Smart Studios - enregistrement de l'album
captures du documentaire "Thanks For Your Uhh, Support" (DVD Absolute Garbage)
> Butch Vig / Steeve Marker

1995-garbage-Thanks_for_your_Uhh_Support-cap-smart_studios-01-1 1995-garbage-Thanks_for_your_Uhh_Support-cap-smart_studios-01-2 
> Shirley Manson
1995-garbage-Thanks_for_your_Uhh_Support-cap-smart_studios-02-1 1995-garbage-Thanks_for_your_Uhh_Support-cap-smart_studios-02-2 1995-garbage-Thanks_for_your_Uhh_Support-cap-smart_studios-02-3 
> Duke Erikson / Roxy Erickson, la fille de Duke

1995-garbage-Thanks_for_your_Uhh_Support-cap-smart_studios-03-1 1995-garbage-Thanks_for_your_Uhh_Support-cap-smart_studios-03-2 1995-garbage-Thanks_for_your_Uhh_Support-cap-smart_studios-dukes_daughter-1 

Composition: Butch Vig décrit le processus de composition comme une «démocratie disfonctionnelle» où quelqu'un apportait une boucle ou un sample, qui était suivi de sessions d'essais où les membres du groupe "trouveraient une barre qui serait un peu cool, enregistrée dans nos samplers, et Shirley improvisait", ce processus se poursuivant jusqu'à ce que la chanson soit terminée, et souvent "toutes les idées originales avaient disparu, et la chanson avait en quelque sorte muté en quelque chose de complètement différent."
Butch a raconté dans une interview accordée au magazine Rocksound France de septembre 1996: "Nous sommes incroyablement maniaques concernant notre musique, c'est à la limite de la pathologie. Nous avons une attitude totalement compulsive avec nos chansons, cherchant systématiquement à en tirer le meilleur parti possible, à les améliorer, à les retravailler, jusqu'à plus soif. (...) Mon test, lorsque je bosse sur une chanson, c'est de m'en faire une K7 et de me la passer dans la voiture, encore et encore des dizaines de fois jusqu'à écoeurement. J'ai écouté chaque chanson de notre disque plusieurs centaines de fois... Sans rire. Pour "Stupid Girl" et "Queer", j'étais à la recherche de l'équilibre parfait, de ce qui fait la différence entre une bonne chanson et une excellente chanson. Je ne m'en suis pas lassé. Après des dizaines et des dizaines d'écoutes, j'ai toujours envie de monter le son."

L'écriture: Une grande partie du travail pendant les séances a été pour Shirley Manson de travailler sur les paroles des chansons écrites par les garçons. Le groupe a tenté au départ d'écrire dans une perspective féminine mais cela semblait trop prétentieux. Shirley a donc permis de simplifier certaines idées, les paroles en sont ressorties ainsi plus subtiles et collaient bien aux chansons.
Pour Shirley, "j'ai trouvé certaines des idées pour les paroles inappropriées, mais d'autres que j'ai aimé et travaillé dessus. (...) Les paroles prennent un certain temps de travail et les garçons pouvaient donner des suggestions que j'ajoutais quand je les aimais."
Dans l'interview pour Rocksound France de septembre 1996, Butch ajoute que: "Pour ce qui concerne l'écriture, avant l'arrivée de Shirley dans Garbage, nos textes étaient franchement un peu creux, pauvres, très déséspérés, bref, pas très bons. Quand elle est arrivée et qu'elle a vu l'étendue des dégâts, elle a repris les textes un à un et leur a insufflé beaucoup plus de puissance, de dynamique. De toute façon, elle avait du mal à s'identifier à nos textes, il fallait qu'elle s'approprie quelque chose de plus personnel. Au bout du compte, je pense d'ailleurs que c'est une partie de la réussite de Garbage, d'avoir une musicalité masculine avec des paroles et une interprétation féminine."
Dans une autre interview accordée au magazine en ligne Addicted To Noise, Butch Vig dit qu'ils ont tenté de traiter de "thèmes sombres auxquels beaucoup de gens peuvent se rapporter d'une façon ou d'une autre", notamment le voyeurisme, l'hédonisme, la perversion, l'obsession et "l'art de l'autodestruction".

Label: Le groupe signe avec le label Mushroom Records pour le marché britannique et avec le label Almo Sounds de Jerry Moss pour l'Amérique du Nord.

Anecdote: En faisant des recherches pour la sortie de leur album best-of "Absolute Garbage" en 2007, le groupe découvre que les pièces d'enregistrement analogues ont diparues: ni les labels, ni le groupe ne les retrouvent. Butch Vig et leur ingénieur du son Billy Bush sont parvenus à retrouver une partie archivée, mais incomplète et endommagée. Avec l'aide de l'ingénieur de masterisation Emily Lazar, les chansons manquantes des archives endommagées sont retravaillées: elle utilise des versions alternatives pour compléter la version finale avec l'aide de son assistant Joe LaPorta qui a masterisé et édité les remixes.


- scan du CD et livret album EUROPE/France -
garbage_album_garbage-01-scan1  garbage_album_garbage-01-scan2 
garbage_album_garbage-01-scan3  garbage_album_garbage-01-scan4  
garbage_album_garbage-01-scan-livret1 garbage_album_garbage-01-scan-livret2 garbage_album_garbage-01-scan-livret3 
garbage_album_garbage-01-scan-livret4 garbage_album_garbage-01-scan-livret5 garbage_album_garbage-01-scan-livret6 


Crédits de l'album:
Garbage: direction artistique, production, enregistrement

Shirley Manson: chant, guitare
Steve Marker: basse, guitare, boucles, samples
Duke Erikson: guitare, clavier, six cordes et fuzz basse
Butch Vig: batterie, EFX, batterie, bruitage

Mike Kashou: basse (tracks 1–3, 5, 8, 12); fuzz basse (track 4)
Pauli Ryan: percussions (tracks 3, 5, 8, 10)
David Frangioni et Rich Mendelson: boucles additionnelles

masterisé par: Howie Weinberg à Masterdisk, NY
édition et post-production: Scott Hull, Masterdisk
2nd ingénieur aux Smart: Mike Zirkel

direction créative: Robin Sloane
direction artistique: Janet Wolsborn et Garbage
logo: Adrian Britteon
photos: Stephane Sednaoui
photos additionnelles: Clifford Lecuyer et Photo 24

SPECIAL THANKS: Shannon O'Shea and Meredith Cark at SOS,
Gary Ashley and everyone at Mushroom, Jerry Moss and everyone at
Almo SOunds, Ed Rosenblatt and everyone et Geffen, Rob Jefferson and
everyone at Discordant, Gary Kurfist and everyone at Radioactive,
Robin Sloane, Brendan Bourke, Kent Belden, Simon Gunning, Cindy Kahn,
Judy and Bob Marker, Mitchell and Muriel Manson, Saint Eddie, Billy,
Robert White, all of Shirley's girls, John Lennon, Patty Lew, Stephanie,
Sarah, Kristi, Spaceboy, Amy Finnerty, Puff, Trent Reznor, Queen Helen,
Beth Halper, Peter Love, Roxy Music, The Clash, Patti Smith, Frank Sinatra,
Linns for The Experience, Hank Fusspot, Bill Rock, John Reiser, Mark Starter,
Volume, Lance Freed, Ron Moss and everyone at Rondor, Kelsy, Mike, Brian,
Doug, Ernie, Mark and everybody at Smart, Cafe Montmartre and last
but not least to our families and friends for all your support.
(You know who you are !)


Critiques de l'album: l'album est unanimement salué par la critique de la presse musicale:
AllMusic (19/01/2013): 4,5/5
Encyclopedia of Popular Music (2011): 4/5
Entertainement Weekly (11/08/1995): note A
The Guardian (06/10/1995): 4/5
NME (23/09/1995): 8/10
Q (10/1995): 4/5
Rolling Stone (21/09/1995): 4/5
Select (09/1995): 4/5
Spin (10/1995): 7/10
Vox (10/1995): 8/10
> sur le blog: tag garbage album critiques


Les Charts: l'album se positionne en tête parmi certains offices de classement dans les pays du monde entier:
n°1 par RMNZ, New-Zealand Albums - NOUVELLE-ZELANDE
n°1 par Official Charts Company, UK Rock & Metal Albums - ANGLETERRE
n°4 par ARIA, Australian Albums - AUSTRALIE
n°5 par Official Charts Company, UK Independent Albums - ANGLETERRE
n°6 par Official Charts Company, Scottish Albums - ECOSSE
n°6 par Official Charts Company, UK Albums - ANGLETERRE
n°15 par Billboard, European Albums - EUROPE
n°16 par Syndicat National Edition Phonographique, French Albums - FRANCE
n°19 par Sverigetopplistan, Swedish Albums - SUEDE
n°20 par Billboard 200, US - USA
n°20 par Ultratop Wallonie, Belgian Albums - BELGIQUE
n°23 par Suomen virallinen lista, Finnifh Albums - FINLANDE
n°25 par RPM, Canada Top Albums - CANADA
n°30 par VG lista, Norwegian Albums - NORVEGE
n°33 par MegaCharts, Dutch Albums - HOLLANDE
n°34 par Ultratop Flandres, Belgian Albums - BELGIQUE
n°55 par Offizielle Top 100, German Albums - ALLEMAGNE


L'album: Garbage, album éponyme qui porte le nom du groupe, est leur premier album, sorti en 1995. Vingt ans après, en 2015, il est reédité à l'international en double CD: le CD original remasterisé + un CD bonus comportant les titres inédits figurant en face-B. Les sorties du premier album par dates dans le monde:

15 août 1995 - USA 
1995-08-15-garbage-garbage-usa 
Almo Sounds
CD
double-LP
cassette

29 août 1995 - EUROPE 
1995-08-29-garbage-garbage-europe 
Mushroom, BMG
CD
cassette

4 septembre 1995 - AUSTRALIE, NOUVELLE-ZELANDE
1995-09-04-garbage-garbage-australia 
White
CD
cassette

2 octobre 1995 - UK
1995-10-02-garbage-garbage-uk 
Mushroom
CD
double-LP
vinyle
édition set box

21 octobre 1995 - JAPON
1995-10-21-garbage-garbage-japan 
Mushroom, BMG
CD avec 2 chansons bonus:
- Subhuman
- #1 Crush

23 septembre 1995 - AUSTRALIE
1995-09-garbage-garbage-australie-cd_bonus_5_tracks 
White
Double CD: CD + disque bonus Tour Edition:
- Milk
(Rabbit in the Moon mix)
- Stupid Girl (Tee's radio mix)
- Queer (Danny Saber mix)
- Dog New Tricks (The Pal mix)
- Alien Sex Fiend

17 novembre 1995 - FRANCE 
1995-08-29-garbage-garbage-europe
1995-11-17-garbage-garbage-france1a 1995-11-17-garbage-garbage-france1b 
Mushroom, BMG
CD
au Virgin megastore:
CD + disque bonus Rare Track Collection:
- Subhuman
- #1 Crush
- Girl Don't Come
- Sleep
- Trip My Wire

1995 - CHINE
1995-garbage-garbage-chine-hong_kong 
Mushroom, BMG
CD

8 janvier 1997 - JAPON
1997-01-08-garbage-garbage-japan 
White, BMG
Double CD: CD + disque bonus Tour Edition:
- Milk
(Rabbit in the Moon mix)
- Stupid Girl
(Tee's radio mix)
- Queer
(Danny Saber mix)
- Dog New Tricks
(The Pal mix)
- Alien Sex Fiend

25 mars 1997 - COREE, SINGAPOURE
1997-03-25-garbage-garbage-coree_sud 
White, BMG
Double CD: CD + disque bonus de 4 titres:
- #1 Crush (Nellee Hooper mix)
- Girl Don't Come
- Subhuman
- Sleep

14 avril 1997 - FRANCE, ALLEMAGNE, ESPAGNE
Mushroom, BMG
CD + CD single #1 Crush (Nellee Hooper mix)

23 avril 1997 -JAPON
1997-04-23-garbage-garbage-japan 
Mushroom, BMG
CD "G - New Edition" avec 2 titres bonus:
- Subhuman
- #1 Crush
(Nellee Hooper mix)

29 novembre 1999 - FRANCE
Mushroom, BMG
CD deluxe edition digipak

29 novembre 1999 - UK
Simply Vinyl
Double LP

20 mars 2000 - UK
Mushroom
MiniDisc

 - encart promotionnel du Japon -
garbage_album-1996-promo_japan-1 garbage_album-1996-promo_japan-2 


Les ventes: Remises de disques de certifications en fonction du nombre de ventes de l'album dans chaque pays, par ordre croissant:
SINGAPOURE - par RIAS: Or, 5 000 exemplaires
IRELAND - par IRMA: Or, 7 500 exemplaires
PORTUGAL - par AFP: Or, 20 000 exemplaires
DANEMARK - par IFPI Denmark: Or, 25 000 exemplaires
NOUVELLE ZELANDE - par RMNZ: 2 x Platine, 30 000 exemplaires
AUSTRALIE - par ARIA: 2 x Platine, 140 000 exemplaires
FRANCE - par SNEP: Or, 174 300 exemplaires
CANADA - par Music Canada: 2 x Platine, 200 000 exemplaires
ALLEMAGNE - 230 000 exemplaires
UK (ANGLETERRE) - par BPI: 2 x Platine, 701 757 exemplaires
USA - par RIAA: 2 x Platine, 2 400 000 exemplaires


> Sur le web:
article  Garbage album wikipedia


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.


02 avril 2017

Rolling Stone 1995, September, 21

Garbage Album Reviews
Critiques de l'album Garbage


Rolling Stone
pays magazine: USA
date: 21 septembre 1995
web: rollingstone.com

RS1995 

Garbage: Garbage
RS1995etoiles 
by James Hunter

RS1995album 

Apprenticing in cheap and fast sessions during the '80s in Madison, Wis., at his Smart Studios, producer Butch Vig helped give structure and lucidity to the music of young bands such Killdozer, Tad and Urge Overkill. Then he rewrote the pop book on distortion with Nirvana's epocha Nevermind. Quickly he became current rock's best shaper, a quietly logical guy who could navigate the complicated corners of, say, Sonic Youth and still remember the big beat, chewy tunes and adolescent aggression that make pop fly. Now, Vig has formed Garbage with Shirley Manson of the indifferent Angelfish and his longtime associates Steve Marker (Smart's co-owner) and Duke Erikson. Together, this unshy Scottish female singer and guitarist and these three ingenious Midwesterners – who provide percussion, guitars, samples, bass and keyboards – compose a studio band that makes up its own drama and kicks as it goes along. 

Garbage screw around with dance pulses and guitar tones, pop concision and 12-inch madness, highly flown confessions and teenage thrills. Their basic attack comes from a known yet infrequently considered road: the rock remix. In the studio-driven world of hip-hop and its millions of track versions, this aspect of Garbage would seem unremarkable. But in rock, where the standard of live performance rules, remixes have been dicier affairs. Still, a few bands explore them, developing parallel sonic landscapes often denser and knottier than dance music's or hip-hop's. Vig, Marker and Erikson have themselves reconfigured sonics for U2, Depeche Mode, Nine Inch Nails, House of Pain and others, so this unpredictable remix sensibility arrives intact in Garbage. The rest of the shock comes from Manson, who hardly lounges around in these soundscapes like a pop singer content with her settings. This creates a jumpy, unsettled blur of scrupulously dear music and jarring mixed messages.

Immediately, as the mangy riffs of "Supervixen" begin to chum through space, Garbage drags you someplace else. As Manson's violet throatiness offers to create "a whole new religion," beats chatter, and delicate acoustic guitar notes and those opening riffs float in and out of the songs gently pounding rhythmic foundations. At times the main riff pauses to halt the music altogether. From there, Garbage ease into "Queer," a more roundly shaped tune orchestrated with this same love of junk and command of finesse. Acting as a sensual guide, Manson promises to "dirty up your mind," forecasting a black-and-white path through the strange and the lame as the music makes stringy transitions in ironic technicolor. On the next song, "Only Happy When It Rains," she and Garbage rock righteously as though Manson is running for the presidency of the Robert Smith Fan Club. Just as you think she has won by a landslide, the band swings in with rhythms and riffs whose complex demeanor recolor the whole song.

"As Heaven Is Wide" rides cool grooves high in focus and fiber, locomoting toward unknown dance-floor destinations. "Not My Idea," another querulous high-speed track, patiently explains its depressed circumstances, then bangs its silverware on the plate, insisting that "this is not my idea of a good time" Warm Euro-style balladry shows up with "A Stroke of Luck," but Manson shivers. "Here comes the cold again," she sings with regret. On "Vow," the current single, she's throwing fits again, threatening to tear somebody's world apart to the tune of industrialized guitar noise.

Near the end of Garbage, Manson affects a kind of peace with her own ravings. On "Stupid Girl" she marches along to a funky bass, indicting someone – herself? – for not believing in fear, pain or people she can't control. "All you had," she sings, seething, "you wasted." After another tuneful near-metal tantrum called "Dog New Tricks," she and Garbage crest on "My Lover's Box." On this great piece, arranged with those mangy riffs but reframed with syncopations from the Spinners and outbreaks from Bad Brains, Manson fears she'll never get to heaven and pleads, "Send me an angel to love." The album ends on a lovely two-song coda comprising "Fix Me Now," a wracked appeal for togetherness, and the lush "Milk," a ballad in which Manson and Garbage go grunge torch, and she explains her previous moments of cruelty in terms of having been "lost." Oh, was that it? Garbage teems with such disjunctions of tragedy and junk. Like so much fun and important rock & roll, it's the product of brilliant misunderstandings.

NME, 1995, September, 23

Garbage Album Reviews
Critiques de l'album Garbage


NME
pays magazine: Angleterre
date: 23 septembre 1995
article: p.22-23

NME-23-Sept-95-front 

by Natty Dreggs

the album is
"a reminder of how sweet angst can be in the hands of talented players".
Note: 8/10

Enregistrer

Enregistrer

Posté par ginieland à 19:04 - - Commentaires [0] - Permalien [#]
Tags : , , , ,

Melody Maker, 1995, September, 30

Garbage Album Reviews
Critiques de l'album Garbage


Melody Maker
pays magazine: Angleterre
date: 30 septembre 1995
article: p.34

01album_review-melody-maker-30th-september-1995 

Le disque de pop rock le plus proche de la perfection qu'aucun autre.

Enregistrer

Enregistrer

Enregistrer

Enregistrer

Addicted To Noise, 1995, September

Garbage Album Reviews
Critiques de l'album Garbage


Addicted To Noise
magazine en ligne: USA
date: septembre 1995
web: web.archive.org

1995-09-album01-review-addicted-logo 

Garbage Rise From The House That Grunge Built

Gil Kaufman Heads To Madison To Get the Skinny On The Band
That Could Turn Mega-Producer Butch Vig And His Pals Into Stars

by Gil Kaufman 
Madison, WI

 The House That Grunge Built is nestled quietly in-between muffler shops, adult bookstores and dry cleaners, and sits firmly in the shadow of the Capitol rotunda, the visual marker by which all direction is measured in Madison, Wisconsin. A nondescript brick building on the working class, east side of town, with a shoddy red paint job over the front half and a shakily scrawled address over the door, the windowless first floor of superstar producer Butch Vig's studio does more to suggest a chop shop than a rock shop.

Vig, who sat behind the board and produced Nirvana's breakthrough Nevermind, is also responsible for producing the Smashing Pumpkins' Gish and Siamese Dream, and a host of other stars in the alternarock universe including Urge Overkill, Gumball, L7, The Fluid, Tad, and the Poster Children. But these days, Vig has other things on his mind than producing somebody else's smash album.

Lately, Butch Vig has been thinking about garbage. Well, actually he's been thinking about Garbage, with a capital G. Garbage is the band Vig has formed with his partner in the studio (and long-time friend), Steve Marker, Duke Erikson, and a mysterious young singer from Scotland named Shirley Manson.

Butch Vig wants his own platinum record.

Already, Garbage has scored a hit single in England with the radio-friendly "Vow," released last year on a whim as a part of the Volume compilation. That song earned them an avalanche of European interest, before anyone had even heard of them stateside.

The Garbage album, released last month, is being greeted with critical praise. And for good reason. What the group has recorded, considering Vig's pedigree, is a surprisingly non-guitar rock mix of ambient noise, shifting trip-hop beats, grinding jungle rhythms and an ocean-size chunk of buzzing noise that, somehow, gels and rises above the din thanks to catchy hooks and killer song construction.

The sound of Garbage is akin to a Jackson Pollock painting, thick layers upon layers of sound that have been stripped down, torn apart, pasted together and then stripped again, until the result is a dizzying soundscape that reveals fresh nuances upon repeated listening. It's the sound of Portishead's bus smashing into Siouxsie Sioux's limousine and starting a chain-reaction accident involving everybody from Roxy Music to Echo and the Bunnymen (with Trent Reznor ending up in the hospital after falling off his scooter). Or as Vig will put it, "a killer pop album," but with a decidedly dark side.

Coincidentally, I meet up with Garbage, the band, the day before Garbage, the album, hits the streets. Also coincidentally, heaps of trash line the curbs, for tomorrow is moving day for the 35,000 students at the University of Wisconsin. The members of Garbage hope they outlast the junk man.

GET SMART

"Sorry I'm late, they're doing construction and it took me, like, an hour to get over here," Vig says as he blows into Smart Studios. He rushes to extend a pink-fingernailed hand in greeting, then makes a beeline for the phone to return some messages. While he dials, he asks Steve Marker where the rest of the troops are. Vig wants to make sure right away that this is going to be a group effort, not a trip down the memory lane of his greatest (producing) hits. And for someone who has done so much for the flannel nation, he's looking like one of the Three Musketeers today, what with a shoulder-length page boy haircut, swashbuckling goatee with unattached mustache and black jeans. No plaid or flannel in sight.

"This is only our second interview in the States for this record," says Vig. Then, with mock earnestness he adds. "I guess after tomorrow we'll know if we even need to do any more."

Before Vig can get too self-conscious, Erikson, also sporting pink nail polish and Manson, modeling a more subdued mix of deep red with gold flecks, amble into the studio. Asked what happened to his nail polish, Maker mumbles something about removing it because "pink isn't my shade."

Smart Studios, where Vig (drums, loops, noise), Marker (guitars, samples, more noise), Duke Erikson (guitars, bass, keyboards, a little more noise), and Shirley Manson (vocals, guitars), recorded Garbage, is about as unflash a rock & roll location as you could conjure, short of, say, Marker's basement, where the music for four of the twelve songs on the album were recorded. This low-key atmosphere is in tune with the lingering (moldy?) hippie-vibe that still hovers around Madison years after it was tagged with the "Berkeley of the Midwest" and "Third Coast" nicknames.

In fact, the best measure of how well the sound of Smart Studios fits in with the patchouli and pot culture of Madison, is to compare it to the guy who now owns the Loose Juice beverage cart on the campus quad. Twenty years ago, he was marching in the streets and plotting to blow up the math building to protest the Vietnam war. Now he spends his days mashing fruit and pouring smoothies for the kids. Ten years ago Vig and Marker were recording every punk band in sight, priming their talents for the flannel revolution. Today, they are half of a quartet that is hoping to usher in the new age of new pop music.

With the exception of Manson, the trio of men in Garbage have known each other for over a decade. Since the early 80's, when Vig and Erikson played together in the local band, Spooner, and Vig and Marker began producing punk bands on the cheap in a tiny space across the street from their current digs with only egg cartons on the walls and a cheap four-track recorder for equipment, the seeds for what has emerged as the Garbage sound have been taking root.

1995-09-album01-review-addicted-photo1 
"Shirley had a sort of darkness to her
that we immediately liked," Vig says of Manson

In 1993, after years of screwing around in their spare time, avoiding work, drinking beer, driving cabs, and banging around on instruments in Marker's basement discovering new sounds, Marker says the trio finally decided that they wanted to form a band. "I'm a musician first," says the mild-mannered Marker, who, with his well-kept, curly blond hair, Lennon glasses and dingy Chucks looks more like a University of Wisconsin philosophy teaching assistant than a rock guy. "We were always so busy producing before this that we never really had the time to record our own stuff."

They had already started working on their "own stuff" when Marker turned on MTV one night to watch "120 Minutes" and caught a video for "Suffocate Me" by a group called Angelfish (apparently, the video was shown only once on MTV). It was the singer, Shirley Manson, that caught Maker's attention. The three men had discussed bringing in a female vocalist, but hadn't found anyone that had the qualities they were after. "We knew we didn't want some trippy, happy girlie voice without any depth," says Vig. "Shirley had a sort of darkness to her that we immediately liked."

The fact that the four had never met and that she didn't even know who they were (yes, not even Vig), provided some real fireworks when the trio went to meet and greet Manson at an Angelfish gig at the Metro in Chicago last year. They had only spoken on the phone and were all nervous about the first meeting. Manson was growing increasingly unhappy with her position in Angelfish and had entertained thoughts of leaving them behind (since only she, not the band, was signed to a contract on the American label, Radioactive records). "We played the gig at Metro and afterwards I was wheeling Vic Chestnutt really fast down the sidewalk outside and I suddenly stopped and he went flying out of his wheelchair and to deliberately make me feel really awful, he let out this horrible wail, I thought, 'Fuck, they must think I'm so vile.' I tried not to make a really big scene about it, but I was dying a horrible death," says Manson in her punky Scottish burr.

Erikson, who has been standing behind Manson, kneading her shoulders since he walked in after finishing a cigarette, says, "Actually, we did think that was pretty vile," and then bursts into a subdued laugh, revealing a hint of the intimate, loose rapport these four have developed in less than a year together.

1995-09-album01-review-addicted-photo2  "Little did I know that Vic does that all the time," Manson continues. "After that we went to a dance club together and got drunk and stayed out until five in the morning at which point we decided we would try and work together."

Vig says the boys thought Manson was "kind of feisty." And that they "enjoyed hanging out together, which was a good sign. You hear someone's voice or see a picture, you may get a pre-conception of what they'll be like, but if you're going to work with them it's the chemistry of your personalities that's more important."

Now, instead of the awkwardness of those first few months, many of them spent arguing about lyrics that Manson said she "absolutely couldn't sing," there are quick-fire casual insults (most amusingly when Manson calls some of Vig's ideas "shite") and inside jokes. At one point, Manson and Marker burst into uncontrolled laughter, forcing Manson out of the room, much to the chagrin of Vig, who is confused and a little thrown off by the outburst. Upon her return, Manson puts Vig's mind at ease by explaining that she had caught Marker's eye and through an unspoken, dual remembrance of the pig movie, Babe, which everyone except Vig had seen the night before, she had lost control and had to excuse herself. Vig shrugs and tries to re-trace his train of thought as Manson dubs the porcine pic "a fucking brilliant human movie."

THE GIRL U WANT

Dressed all in black, from her tank top to her shoes, Manson's ivory, almost translucent skin and flaming red hair are the outward signals of an internal fire that comes through in her sometimes ferocious, sometimes deceptively sweet delivery. At once lithely feminine and delicate and also square-shouldered enough to knock your block off if she feels like being one of the guys, she sits with her feet up on a black swivel chair in the studio, her perfect eyebrows seemingly locked in a "yeah, fuck off" arch.

1995-09-album01-review-addicted-photo3 
"Now I work with men," says Manson.
"Before I was working with boys."

 

Manson, 26 (Vig coyly refuses to give the ages of the others, but suggests they are in their late thirties and not exactly pin-up boy material), saddled with an unfortunate surname shrouded in a darkness that's perhaps not as infamous in her native Scotland, says she was overjoyed to find three men that she could feel comfortable enough to work with in a band. Hailing from Edinburgh, Scotland, Manson, who will say only that she had a "fucking miserable" childhood, wherein she fancied herself the ugliest little girl in the world, joined her first rock band at 16 and has played in at least a half a dozen since.

At 17 she joined the band Goodbye Mr. MacKenzie as a backing vocalist and keyboard player and released a few albums that didn't go very far beyond their native land. Eventually, she joined the band Angelfish as lead singer, recording one 1994 album with them. Interestingly enough, the straighter pop of that album does hint at the sound Manson and the rest of Garbage have concocted, only it's a much more traditional album. Manson doesn't want to talk about her former band. "Angelfish was just a band from Scotland," she says curtly. "There's nothing to say, really."

At the time when Vig and the boys called her, Angelfish had just had a college hit; Manson recalls that time as a "stifling" one. She says the major difference between her situation then and now is this: "Now I work with men, before I was working with boys."

She says Angelfish was described in the Scottish press as New Wave or "Blondie-meets Patti Smith," but she disagrees, "it was just pop, and not very good at that."

She is self-effacing, and whether she believes it or not, tells me that she doesn't think she's much of a singer. "Your vocal style is dictated by your actual abilities and I'm not the world's greatest singer, so I suppose I've learned to develop some kind of..." at which point, Erikson, who is wont to finish the others' sentences, or supply the precise word they are seeking (myself included), whispers, "style." And after a pause and a wry grin, "No style is too good for you."

Vig, as he is also wont to do, breaks in and says, "We didn't know what we would do with the songs before we met Shirley. We had four or five songs that were initially pretty pretentious and lyrically very simple, maybe a little bit too literal. We didn't want Duke to sing, even though he's a good singer, because Steve and I thought it would sound too much like Spooner. But Steve and I were so uncomfortable with our vocals that we tried to bury them deep in the mix or totally distort them with effects.

According to Vig, before Manson's arrival, they had wanted to concoct a sound, "way more fucked up and experimental. More hardcore than Nine Inch Nails, more rhythmically groovy than a hip-hop record, more guitars than My Bloody Valentine. I actually wanted," he says, "to saturate the guitars ten times more than MBV and add tons of manipulated sounds that were twisted up until they became indistinguishable. But ultimately, a lot of that doesn't work when your trying to write a song and put it in a context that works. So we threw most of that shit out the window and tried to make the songs work on their own.

"Once Shirley came in," Vig continues, "and started singing them and writing lyrics, the songs went more in the direction that we think is better for a pop song, which is to be a little bit more ambiguous and let the listener make up his or her own mind what the song is about and not give it all away. On 'Queer' I had a scratch vocal where I just screamed all the way through and Shirley heard that and did the total opposite. She sang it with this total understatement, which makes it much more intense. You think that by screaming it's going to be intense, but a lot of times its just the opposite, it makes it more subversive."

1995-09-album01-review-addicted-photo4 
In spite of their chummy appearance,
Garbage sometimes runs into creative
differences in the studio.

Praise notwithstanding, Manson soon dredges up a still-sore point between herself and Vig about her original vocals on the song "Supervixen." The song, the first on the CD, is distinguished by a heart-stopping guitar riff that drives you up an aural mountain, only to stop at the very top and leave you hanging for a split second before a wave of sound comes crashing back in. Manson talks about one of the epic battles during the making of the record, where she argued for a vocal, a rappy, tossed-off bit she was particularly fond of, that made it onto the record, but is barely perceptible at the end of the song, buried under a pile of clashing sounds constructed by Vig.

Erikson, a droll, quietly intense figure who prefers to hover near the doorway and let the others do the talking, (he can't smoke near the mixing console, which, it is interesting to note, once belonged to the Osmond Family and still bears an Osmond sticker on the back) speaks sporadically, often in sarcastic bursts, jumps in to defend the amount of sound on the record. He says that even though they were interested in well-structured songs, they also wanted to amass layers of noise and sound that, while in-your-face, wouldn't get in the way of the melodies of the songs. Manson rolls her eyes at this backwards defense of Vig and sticks out her tongue at Erikson, mumbling "cunt" under her breath, vaguely in Vig's direction.

KURT STOOD HERE

"That's about where he stood," says Vig, somewhat reluctantly. We are standing in the basement of Smart Studios and Vig is pointing up at the moldy ceiling, approximating where Kurt Cobain stood when he laid down the vocals for "Polly," which appeared on Nevermind. We are underneath the main studio on the first floor because there is currently a band recording in there and Vig is not willing to interrupt them for a morbidity tour. Prior to this Vig took me on a mini-tour of the studio, which he cautioned is not nearly on the scale of other rock studios in L.A. or New York.

"This place is only 2,500 square feet or something, so you can't really get a huge drum sound here like you might in a bigger room at a bigger studio," he says, less as a cop-out than as a affirmation that this is the place to get a nice, warm, personal sound. He is understandably hesitant about the inevitable Nirvana questions, not wanting to seem like a grave dancer or an opportunist. He mimics a German journalist, giving a hint of the type of questions the rest of the band had to endure while promoting the record overseas, by saying "Zo, tell me about vorking vith Kurt Cobain?" Vig seems not so much reluctant as shyly protective.

Underneath Smart is an endless series of racks of equipment and a maze of iron shelving units crammed with reel-to-reel tapes, masters and DATs representing a mini-history of modern rock. As fans and humidifiers buzz in the background, Vig, prompted again to share a little more Nirvana lore, is slowly overcome by a detached look. He reluctantly talks about the need to keep moving. "I'll never make a record as critically or commercially important as Nevermind," he says quietly. "But that doesn't mean I should just retire and give it up. I am proud and lucky to have been a part of making that record, it was definitely a once in a lifetime thing."

1995-09-album01-review-addicted-photo5 When pressed further about how Cobain acted, what type of person he was, how he treated Vig, he mulls it over a bit and says, "There's a sort of doctor-patient confidentiality that goes along with that relationship and when you work with somebody they bare a part of their persona to you and it's not fair to give that up."

He looks me straight in the eye, as if to say, "Get it?" Yeah, I get it. Vig seems to be saying this not just for my benefit, but maybe for his own, to again remind himself that even though those were exciting, maybe charmed times, to share them with everybody else would cheapen them and make him somewhat of a traitor.

I press on, and after a little (I think subtle) prompting, he points to another spot above us, a little to the left of the Cobain spot and motions to where Chad Smith sat, or rather stood, while Cobain tried to show him how he wanted the drums to sound. Vig gets a little bit of joy out of pantomiming Cobain's frustration at Smith's inability to get the drums to sound the right way. He then happily remembers the day when Cobain called him to tell him that he had just gotten the greatest drummer in the world, Dave Grohl. After that, Vig, without a word or a gesture, makes it clear that there will be no more Nirvana questions, and even though there are a million more, that seems okay.

THE ODD LITTLE MISTAKE

Upstairs again, Vig shows off the platinum and gold records from Nevermind Siamese Dream and three or four other albums high up on the walls in the cramped front office. He makes no apologies for the music he has helped create, least of all for Garbage. "Listen, this is a pop record. And while the three of us are too old to be pop stars­­we're no Boyz II Men, certainly not teen idols­­I think we have made a really good record. If nothing else, the name is fitting. Garbage. Here today, gone tomorrow. But, really, I hope it's more than that. I hope it's not that disposable. Of course, we have certainly left ourselves open for the ultimate one word record review, 'Garbage...Indeed.'"

The three guys in Garbage are, understandably, most comfortable talking about recording, songwriting, the making of 'records.' They've have spent much of their adult lives holed up in recording studios. "A lot of what ended up on the record," says Duke Erikson, "were sounds that we found accidentally, like Steve's sample of a tape deck backing up, or the bit in 'Stupid Girl' that was initially a mistake, but when we slowed it down, actually fit the timbre and pace of the song and became the hook."

"You can find something like that that is non-musical and by incorporating it into the song it can actually become the hook, through either repetition or dropping other things out and focusing on that somehow," says Vig.

Manson, getting up to take a phone call, adds, "I don't think we've done anything weird. There's a lot more bands doing wilder things, that's just what bands do when they get in the studio. I think we've basically just made a pop record with the odd little mistake in it that we kept."

1995-09-album01-review-addicted-photo6  The three men mull this over for a second and decide that they like that description. "The odd little mistake," repeats Erikson in a horrible approximation of Manson's accent.

The "record it today and erase it all tomorrow" attitude the group adopted helped them figure out what to do with the tracks that pre-dated Manson's arrival. "A lot of the songs, because some of the rhythm tracks were recorded before Shirley joined us, went through a series of evolutions," says Vig. "When we were working on 'As Heaven is Wide,' it started out more as a big rock track. Steve had all these guitars on it, Duke had fuzz bass, I had a live, big room drum sound on it and Shirley sang and we kind of put it away for a while. Then, one day Duke and Steve came in and erased everything and put all these techno elements on it."

Phone call completed, Manson seamlessly jumps in. "Do you remember when that was?" she asks Erikson. "That's when we heard Tom Jones on the radio and I said that's what we should do, we should make it more electronic. That's what was wrong with it, it lacked a sort of power. And taking away the really mental guitars, it made it weirder and then you two..."

Erikson, again, finishes her thought: "We started messing around with different beats and at one point Shirley comes running into the room and yells, 'That's it, do that!'"

Vig recalls that because he was out of town, he hadn't heard the track since the original mental guitar version and when he'd heard what they'd done he thought it was "supercool." "Even though Shirley had sung to this vocal rock track, her vocal was way more intense being sung over this electronic techno groove track. The only thing left from that original recording is Duke's fuzz bass and Shirley's vocal. We erased everything else. And it really worked."

Manson, again jumping in, quips, "And it's weird, because it makes the track much harder sounding by taking away the guitars. They were really loud and crunchy and we put a little inoffensive keyboards on it and it ROCKS!," she squeals in her best pseudo-American accent. "It's so weird."

Keeping up the united front, the band takes collective credit for the lyrics. They describe the words as a collaborative psycho-therapy session wherein personal demons of various sizes and importance are exorcised, vilified, taken revenge upon and laid to rest. It is, however, the slippery voice of Manson that anchors the entire affair. Her vocals, which soar, dip and crawl over the course of the CD, are executed more like mini-performances, each with barely perceptible nuances that create not just a sonic texture, but a sonic character.

Manson says that although the writing was a collaborative effort, the words obviously had to travel through her body. "Because there are two sexes in the band, there are certain things that wouldn't be appropriate maybe, or that I would want to sing about, but that the boys didn't really give a (Americanized accent) rats ass about. I'd want to sing about my periods, but I don't think the boys would be particularly interested in working all day in the studio on that kind of thing. We try to find a common ground."

Erikson looks up under a furrowed brow and says in a surprised dead-pan, "You'd love to sing about your periods?"

"If you asked us about the themes on the record, we'd probably all give you different answers," says Vig, steering the conversation in a different direction as he unconsciously twists the gold band on his ring finger. "My personal life is somewhat of a mess. There are certain lines in the songs that I relate to because they mean something to me in a way that only makes sense to me. There are things that we touch on, like voyeurism, hedonism, perversion, obsession and the art of self-destruction, these dark themes that I think a lot of people can relate to, like Shirley said, universally, in some way or another."

1995-09-album01-review-addicted-photo7 Although themes of personal strength and spirituality, in the body of angels, gods, demons and spirits, saturate the lyrics, Vig says there are quite a few songs where, "God didn't bother to show up, or maybe he showed up and it wasn't quite what you expected, or he was late."

Whether it is the tongue-in-cheek homage to Russ Meyer in "Supervixen," where Manson purrs, "We'll make a whole new religion/ A falling star that you cannot live without," or her hidden razor-in-the-mouth verse, "You thought I was a little girl/ You thought I was a little mouse/ You thought you'd take me by surprise/ Now I'm burning down your house," from "Not My Idea," the CD certainly does wallow in a seemingly, salvation-less darkness.

But Manson is quick to point out the difference between the darkness on the record and what she describes, perhaps in a dig at her old bandmates, as the self-involved angst of "hormonally-driven sixteen year-olds." She says the band is "interested in lending some depth to what we do. We hope that they are pop songs that work on one level and as you listen to them, you glean other things from either what's going on sonically or lyrically."

One of the things Garbage realized half-way through the recording process was that all their angst- and misery-bearing was turning the record into a somewhat somber, vaguely depressing affair. Enter, "Only Happy When it Rains." Set to a grinding beat and sung in a bored-to-tears deadpan by Manson, the lyrics to the song, "I'm only happy when it rains/ I feel good when things are goin' wrong/ I only listen to sad, sad songs/ Pour your misery down on me/ My only comfort is the night gone black" (you get the point), shows the lighthearted side of Garbage, even if it is hidden beneath a black-eyeliner goth veneer. "It's really just us poking fun at ourselves," says Marker. "We're poking fun at the alternarock angst, wearing your heart on your sleeve thing and at ourselves for writing such dark songs."

THE FIRST HIT

After a few hours the band members start to drift out of the room to make more preparations for tomorrow's CD release party. Vig repairs to the upstairs lounge area to do a phone interview, while Erikson removes his shirt, pops open a Sierra Nevada and plops down in a chair on the wooden deck where he says many beers were had during the recording of Garbage. Looking out over the balcony, watching a Madisonian scrape fistfuls of gunk out of his rain gutter, I'm reminded of why Vig said Madison is a great place for him, and Garbage, to make music. "I stayed here because I didn't want to get a real job," he said earlier in the day. "Plus, it's a fairly liberal town with decent restaurants. It's a nice city and because its a college town, there's plenty of good bands."

And, as he also told me earlier, he believes that Madison will continue to provide something of a reality check for him and his mates. "Ultimately, it's a small town and we're living in a fishbowl, which helps keep me grounded," he said. "I don't really see how you could be pretentious and get away with it here. If we started going around acting like pop stars, people would call us on it in a minute."

1995-09-album01-review-addicted-photo8 A half hour after heading upstairs, Vig returns, phone interview completed, and asks if I want to hear a few b-sides that they just finished for the European single of "Only Happy When It Rains." Manson also wanders back in. The songs, "Girl Don't Come," a grinding, beautiful mess of hard techno beats and "Sleep" a narcotic drone that sounds like phonetically-correct ear candy, produce a far-away look in both Vig and Manson's eyes as they concentrate hard on the music pounding out of the massive speakers, each tapping their feet to the beat.

As she munches on crackers and sips mineral water, a sliver of a smile crosses Manson's face, suggesting that, maybe, just maybe, she is actually happy with how the mix on the songs sounds. After "Sleep" fades, Vig pops the DAT out of the player and looks at Manson. "'Don't Come' needs more guitars," he says in a half-question.

"Yeah, you're right," she says, dead-pan. Then with a sneer she ads, "And the fucking vocals need to be further up."

After spending much of the day with the group, I decide it's time to ask Vig how he feels about sharing the spotlight that's been aimed at him due to the hits he's produced, with his three bandmates. He says it was never really a concern. He also says that, to some extent, he's burned out on producing indie-nation bands. "If anything, we didn't want to have to be a band that is two guitars, bass and drums, plays in the basement, then go and record yourself au natural in the studio," says Vig, not afraid to shoot himself in his gilded foot. "That kind of alternarock scene, I think, to a certain extent, is getting stale."

The bands Vig says he is excited about are ones that are making more eclectic pop records, like Tricky, Portishead, and Bjork, to name a few. The band says they hope they're a hit on the dance floor. In fact, they say they've talked to a number of re-mixers in the hope that they can find someone to come in and Garbageize the songs, i.e., erase everything except for the vocals and totally re-invent the songs.

Garbage never intended to release their first single at all. In November of last year their British manager called and said they had a chance to submit a song for Volume, a well-respected CD compilation/booklet, the only catch was that they had to have it ready within three days. They quickly finished the song "Vow," the only one they felt was close to being done. Before they knew it, British radio picked up the song. Within a few months KROQ (FM) in LA and a Modern Rock station in Seattle also picked it up.

1995-09-album01-review-addicted-photo9
"I don't really care if we become rock stars.
I just want to sell enough records so that we
can tour the world," dreams Manson.

This screwed the band up a little, because they realized that they didn't necessarily want "Vow" to be their first single, or a single at all. Not only that, but the song doesn't really best represent the Garbage sound. Like those unfortunate masses who were suckered into Beck's excellent debut thinking they would get a dozen "Loser" re-treads, anyone who picks up Garbage expecting twelve alternative guitar hits with chick vocals will be disappointed. In fact, "Vow" is surely the exception on the record, the only hint that one of the members is known more for cock rock than club hits. "Actually I've begun to think that it's quite fortunate that 'Vow' was the first single," says Manson, ever contrary. "Because had we done one of the more clubby tunes we would have been pigeonholed as a dance band and that's a hard tag to shake. Now we can do whatever and people won't know what to expect."

Manson tells me that a few nights ago at their favorite local bar, Cafe Montmarte, the owner, a friend of theirs, played a few tracks off an advance of Garbage and she was both excited and horrified. "It occurred to me that as of tomorrow, people in the States will be able to slag us off for the first time," she says. "Before this we've never sold a single record in this country. That's a bit scary."

Even as Marker laughs a little at the suggestion that this record might make them rock stars, Manson is quick to say, "I don't really care if we become rock stars. I just want to sell enough records so that we can tour the world. I've never been to Thailand, I'd like to go. Just so long as we sell that many, that would be okay with me."

Enregistrer

Enregistrer

Enregistrer

Enregistrer

Enregistrer


Entertainment Weekly, 1995, August, 11

Garbage Album Reviews
Critiques de l'album Garbage


Entertainment Weekly
pays magazine: USA
date: 11 août 1995
web: ew.com

1995-album01-review-entertainment_weekly-1995-08-11 

1995-album01-review-entertainment_weekly-1995-08-11-logo  

Garbage
Steven Mirkin
August, 11, 1995

type: Music
Current Status: In Season
Producers: Almo Sounds, Geffen
genre: Rock

You expect great guitar and drum sounds from producer Butch Vig (Nirvana, Smashing Pumpkins); the surprise is that the songs on this stunning self-titled debut album, Garbage, are just as good. With their menacing sexuality, sonic playfulness, inventive guitar treatments, and cool vocals by Shirley Manson, Garbage comes off like a punkier, less cerebral Golden Palominos.
Note: A

Enregistrer

Enregistrer

Enregistrer

12 mars 2017

Garbage: Alien Sex Fiend

Garbage Album
Face-B


1995 
Alien Sex Fiend
* Face-B des singles "Stupid Girl", "Milk"
* Chanson n°8 de l'album "G Sides" de "Garbage 20th Anniversary"


Enregistrement: La chanson a été écrite et enregistrée par les quatre membres du groupe, dans leur propre studio d'enregistrement (les Smart Studios à Madison, dans le Wisconsin) en même temps que les autres titres de leur premier album, entre avril 1994 et mai 1995.

Paroles
You're an alien sex fiend
You're an alien sex fiend
You're an alien sex fiend
You're an alien sex fiend

You're an alien sex fiend
You're an alien sex fiend
You're an alien sex fiend
You're an alien sex fiend

You're an alien sex fiend
You're an alien sex fiend
You're an alien sex fiend
You're an alien sex fiend

And you go la la lala la la la la lala la la...

Traduction
T'es un démon de sexe étranger (x 12)

Et tu vas la la lala la la la la lala la la...


- video non officielle -


Alien Sex Fiend est une face-b des singles Stupid Girl et Milk, extraits du premier album éponyme du groupe Garbage, sorti en 1995.

Les singles de Stupid Girl comportant le titre:

CD Grande-Bretagne - 2
    "Stupid Girl" – 4:19
    "Alien Sex Fiend" – 4:37
    "Stupid Girl (Dreadzone dub version)" – 6:08
    "Stupid Girl (Dreadzone vocal mix)" – 6:34

Les singles de Milk comportant le titre:

07 octobre 1996
CD - Australie  - White D1519

"Milk - Rabbit In the Moon mix - 5:49
 "Stupid Girl - Tee's Radio mix" - 3:45
"Queer - Danny Saber mix - 5:39
"Dog New Tricks - The Pal mix" - 4:02
"Alien Sex Fiend" - 4:37


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

16 décembre 2016

Garbage: Fix Me Now

Garbage Album


1995 
Fix Me Now
chanson n°11 de l'album


Enregistrement: La chanson a été écrite et enregistrée par les quatre membres du groupe, dans leur propre studio d'enregistrement (les Smart Studios à Madison, dans le Wisconsin) en même temps que les autres titres de leur premier album, entre avril 1994 et mai 1995.

Paroles
Things don't have to be this way
Catch me on a better day

Bury me above the clouds
All the way from here
Take away the things I need
Take away my fear

Hide me in a hollow sound
Happy evermore
Everything I had to give
Gave out long before

Fix me now I wish you would (Fix me now)
Bring me back to life (Fix me now)
Kiss me blind somebody should (Fix me now)
From hollow into light

Crashing silent broken down
Falling into night
Who gave up an who gave in
I'll go without a fight

Cut me down or cut me dead
Cut me in or out
Kiss me blind time after time
Take away my doubt

Fix me now I wish you would {Fix me now I wish you would} (Fix me now)
Bring me back to life (Fix me now)
Kiss me blind somebody should {Kiss me blind somebody should} (Fix me now)
From hollow into light

Oh, oh, oh, yeah... x4

Things don't have to be this way
Catch me on a better day

Nowhere only down from here
Pick me off the floor
Take away the things I dream
One time one place one more

Fix me now I wish you would {Fix me now somebody should} (Fix me now)
Bring me back to life (Fix me now)
Kiss me blind somebody should {Fix me now somebody should} (Fix me now)
From hollow into

Fix me now I wish you would {Fix me now somebody should} (Fix me now)
Bring me back to life (Fix me now)
Kiss me blind somebody should {Fix me now somebody should} (Fix me now)
From hollow into light

Things don't have to be this way
Catch me on a better day
Things don't have to be this way
Catch me on a better day.

Traduction
Les choses n'ont pas à être comme cela
Attrapes moi lors d'un jour meilleur

Enterre moi au dessus des nuages
N'importe ou loin d'ici
Emporte les choses dont j'ai besoin
Emporte ma peur

Cache moi dans un bruit creux
Plus jamais heureux
Tout ce que je devais donner
Je l'ai donné il y a bien longtemps

Règle moi mon compte, j'espere que tu. (règle moi mon compte maintenant)
Ramène moi à la vie (règle moi mon compte)
Embrasse moi aveuglement, quelqu'un devrais (régle moi mon compte maintenant)
De l'ombre à la lumière

Fracas silentieux, décomposé,
Tombant dans la nuit
Qui a abandonné et qui a cédé
Je partirais sans me battre

Réduis moi ou coupe moi morte
Interrompts moi ou supprime moi
Enbrasse moi aveuglément jours après jour
Eemporte mes doutes.

Règle moi mon compte, j'espere que tu. (règle moi mon compte maintenant)
Ramène moi à la vie (règle moi mon compte)
Embrasse moi aveuglement, quelqu'un devrais (régle moi mon compte maintenant)
De l'ombre à la lumière


Oh, oh, oh, yeah... x4

Les choses n'ont pas à être comme cela
Attrapes moi lors d'un meilleur jour

Loin de cet endroit
Enleve moi du sol,
Emporte les choses dont je rêve
Une fois, un endroit, une fois de plus

Règle moi mon compte, j'espere que tu. (règle moi mon compte maintenant)
Ramène moi à la vie (règle moi mon compte)
Embrasse moi aveuglement, quelqu'un devrais (régle moi mon compte maintenant)
De l'ombre à la lumière

Règle moi mon compte, j'espere que tu. (règle moi mon compte maintenant)
Ramène moi à la vie (règle moi mon compte)
Embrasse moi aveuglement, quelqu'un devrais (régle moi mon compte maintenant)
De l'ombre à la lumière


Les choses n'ont pas à être comme cela
Attrape moi lors d'un jour meilleur
Les choses n'ont pas à être comme cela
Attrape moi lors d'un jour meilleur


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

Posté par ginieland à 23:43 - - Commentaires [0] - Permalien [#]
Tags : , , , ,

14 décembre 2016

Garbage: My Lover's Box

Garbage Album


1995 
My Lover's Box
chanson n°10 de l'album


Enregistrement: La chanson a été écrite et enregistrée par les quatre membres du groupe, dans leur propre studio d'enregistrement (les Smart Studios à Madison, dans le Wisconsin) en même temps que les autres titres de leur premier album, entre avril 1994 et mai 1995; avec, pour ce titre, la participation du percusionniste Pauli Ryan.

Paroles
My lover's charms
Are in a box
Beneath my bed
And piece by piece
I'll cherish them
Until the end

Send me an angel to love
I need to feel a little piece of heaven
Send me an angel to love
I'm afraid I'll never get to heaven

They burn my hand
Scar my face
And blind my eyes
I'll steal your breath
And throw away
What I despise

Send me an angel to love
I need to feel a little piece of heaven
Send me an angel to love
I'm afraid I'll never get to heaven

Between these walls
And darkened halls
I've done my time
If I should die
Before I wake
Then you'll know why

Send me an angel to love
I need to feel a little piece of heaven
Send me an angel to love
I'm afraid I'll never get to heaven (Piece by piece)

Send me an angel to love (Piece by piece)
I need to feel a little piece of heaven (Piece by piece)
Send me an angel to love (Piece by piece)
I'm afraid I'll never get to heaven (Piece by piece)

Piece by piece
Piece by piece
Piece by piece (Send me an angel)
Piece by piece (Send me an angel)
Piece by piece (Send me an angel)
Piece by piece (Send me an angel)

Traduction
Tous mes charmes
Sont dans une boite
Sous mon lit
Et morceaux par morceaux
Je les chérirais jusqu'à la fin

Envoi moi un ange de l'amour
Je veux sentir une petite part du paradis
Envoi moi un ange de l'amour
J'ai peur je n'obtiendrais jamais le paradis

Ils brûlent ma main
Me défigure
Et me crèvent les yeux
Je volerais ton souffle
Et jetterais toujours
Ce que je méprise

Envoi moi un ange de l'amour
Je veux sentir une petite part du paradis
Envoi moi un ange de l'amour
J'ai peur je n'obtiendrais jamais le paradis

Entre ces murs
Et ces salles obscur
J'ai fait mon temps
Si je devais mourir
Apres m'être éveillée
Alors tu saurais pourquoi

Envoi moi un ange de l'amour
Je veux sentir une petite part du paradis
Envoi moi un ange de l'amour
J'ai peur je n'obtiendrais jamais le paradis (morceaux par morceaux)

Envoi moi un ange de l'amour (morceaux par morceaux)
Je veux sentir une petite part du paradis (morceaux par morceaux)
Envoi moi un ange de l'amour (morceaux par morceaux)
Je veux sentir une petite part du paradis (morceaux par morceaux)

Morceaux par morceaux
Morceaux par morceaux
Morceaux par morceaux (Envoi moi un ange)
Morceaux par morceaux (Envoi moi un ange)
Morceaux par morceaux (Envoi moi un ange)
Morceaux par morceaux (Envoi moi un ange)


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

Posté par ginieland à 20:04 - - Commentaires [0] - Permalien [#]
Tags : , , , , ,

07 décembre 2016

Garbage: Butterfly Collector

Garbage Album
Face-B


1995 
Butterfly Collector
* Face-B des singles "Queer", "Stupid Girl"
* Chanson n°7 de l'album "G Sides" de "Garbage 20th Anniversary"
* Cover: The Jam


Enregistrement: La chanson a été écrite et enregistrée par les quatre membres du groupe, dans leur propre studio d'enregistrement (les Smart Studios à Madison, dans le Wisconsin) en même temps que les autres titres de leur premier album, entre avril 1994 et mai 1995. Butterfly Collector est une "cover", c'est à dire une reprise du groupe de punk rock anglais The Jam, qui figure en face-b de leur single "Strange Town" (de l'album Snap!) sorti en 1979:

- The Jam "Butterfly Collector"

Paroles
So you finally got what you wanted,
You've achieved your aim by making the walking lame,
And when you just can't get any higher,
You use your senses to suss out this week's climber,
And the small fame that you've acquired,
Has brought you into cult status but to me you're still a collector.

There's tarts and whores but you're much more,
You're a different kind 'cause you want their minds,
And you just don't care 'cause you've got no brains,
It's just a face on your pillowcase that thrills you.

And you've started looking much older,
And you're fashion sense is second rate like your perfume,
But to you in your own little dream world,
You're still the queen of the butterfly collectors.

You carry on 'cause it's all you know,
You can't light a fire, you can't cook or sew,
You get from day to day by filling your head,
But you surely must know the thrill between your legs, has worn off.

And I don't care about morals,
'Cause the world's insane and we're all to blame anyway,
And I don't feel any sorrow,
Towards the kings and queens of the butterfly collectors.

There's tarts and whores but you're much more,
You're a different kind 'cause you want their minds,
And you just don't care 'cause you've got no brains,
It's just a face on your pillowcase that thrills you.

You carry on 'cause it's all you know,
You can't light a fire, you can't cook or sew,
You get from day to day by filling your head,
But you surely must know the thrill between your legs, has worn off.

And I don't feel any sorrow,
Towards the kings and queens of the butterfly collectors.

Traduction
Donc, tu as finalement obtenu ce que tu voulais
Tu as réalisé ton but en boitant
Quand tu ne pouvais pas juste obtenir plus haut
Tu as utilisé tes sens pour supputer le grimpeur de cette semaine
Et la petite gloire que tu as acquise,
T'as apporté le statut de culte mais pour moi tu es toujours un collectionneur.

Il y a des tartes et des putains mais tu es beaucoup plus,
Tu es d'une sorte différente parce que tu voulais leurs avis,
Tu t'en fichez parce que tu n'as aucune intelligence,
C'est juste un visage sur ta taie d'oreiller qui te fait frisonner.

Et tu as commencé à sembler beaucoup plus vieux,
Et ton sens de la mode est au deuxiéme niveau comme ton parfum,
Mais pour toi dans ton petit pays des rêves,
Tu es toujours la reine des collectionneurs de papillons.

Tu continues parce que c'est tout ce que tu sais faire
Tu ne sais pas allumer un feu, tu ne sais pas cuisiner ou coudre,
Tu vas de jour en jour en remplissant ta tête,
Mais tu dois sûrement savoir que le frisson entre tes jambes, est passé.

Et je m'en fiches des morales,
Car le monde est fou et nous sommes pour blâmer tout de toute façon
Et je ne ressens aucune peine
Vers les rois et les reines des collectionneurs de papillon.

Il y a des tartes et des putains mais tu es beaucoup plus,
Tu es d'une sorte différente parce que tu voulais leurs avis,
Tu t'en fichez parce que tu n'as aucune intelligence,
C'est juste un visage sur ta taie d'oreiller qui te fait frisonner.

Tu continues parce que c'est tout ce que tu sais faire
Tu ne sais pas allumer un feu, tu ne sais pas cuisiner ou coudre,
Tu vas de jour en jour en remplissant ta tête,
Mais tu dois sûrement savoir que le frisson entre tes jambes, est passé.

Et je ne ressens aucune peine,
Envers les rois et les reines des collectionneurs de papillon.

-version de Garbage-


Butterfly Collector est une face-b des singles Queer et Stupid Girl, extraits du premier album éponyme du groupe Garbage, sorti en 1995.

Le single de Queer comportant le titre:

20 novembre 1995
CD single 2 - UK - Mushroom Records
 "Queer" – 4:04
    "Butterfly Collector" – 3:41
    "Queer" (F.T.F.O.I. mix) – 7:17
    "Queer" (Danny Saber mix) – 5:39

Les singles de Stupid Girl comportant le titre:

CD Single - Europe
    "Stupid Girl" – 4:19
    "Butterfly Collector" – 3:41
    "Trip My Wire" – 4:29

CD / Cassette - Australie - 2
    "Stupid Girl" – 4:19
    "Butterfly Collector" – 3:41
    "Queer (F.T.F.O.I. Mix)" – 7:17
    "Queer (Danny Saber Mix)" – 5:39


-- Bonus --

> Noel Gallagher & Paul Weller (The Jam)


© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

Enregistrer

Enregistrer

Enregistrer

Enregistrer

Enregistrer

Enregistrer

Enregistrer

Enregistrer