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beautiful freak
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电梯直达

楼主

发表于 2003-11-14 05:36:14 |只看该作者 |倒序浏览

“Souljacker Part 1”
http://www.motor.de/_kuenstlerseiten/_eels/video.html
"Last Stop, This Town"(本人最喜欢的一首）
http://www.dreamworksrecords.com ... opthistown_high.ram

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beautiful freak
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沙发

发表于 2003-11-14 05:43:19 |只看该作者

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beautiful freak
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板凳

发表于 2003-11-14 05:47:15 |只看该作者

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beautiful freak
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地板

发表于 2003-11-14 05:53:10 |只看该作者

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LeapToDeath
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5楼

发表于 2003-11-14 23:48:22 |只看该作者

thanks beautiful freak. exams are coming. i have no time to search more songs. you pastings help me a lot.

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Dasea
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6楼

发表于 2003-11-14 23:53:26 |只看该作者

太感谢了~
非常喜欢！

It's not easy.
It's not supposed to be easy..

(: 欢迎空余时间去音乐版交流音乐 :)

。。。

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beautiful freak
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7楼

发表于 2003-11-15 01:56:18 |只看该作者

Although marketed as a band, the leader and focus of alt-rockers Eels is undeniably singer/songwriter/multi-instrumentalist E (real name Mark Oliver Everett). Born April 9, 1963, in Virginia, Everett became interested in rock music at an early age via his sister's record collection, and began playing drums at the age of six (as well as tinkering on his family's piano). After his father's passing just a few years later, Everett began leading a troubled teenage life, being arrested and expelled from school. But the turmoil led to an even stronger interest in music for Everett, as he taught himself how to play his sister's guitar, and shortly thereafter wrote his own original compositions. Due to the fact that several of his friends also were called Mark, it was also around this time that Everett began going by just his initials, and eventually, solely by the letter "E."

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beautiful freak
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8楼

发表于 2003-11-15 01:57:12 |只看该作者

By his early 20s, E was demoing countless songs on a used four-track cassette recorder, eventually deciding to pursue his rock & roll dreams by relocating to Los Angeles. Due to his prolific songwriting, the quality of his songs naturally began to improve, which prompted a recording contract as a solo artist for Polydor Records. A pair of underappreciated releases soon followed, 1992's A Man Called E (which was supported with a tour opening for Tori Amos) and 1993's Broken Toy Shop, before E left the label and formed Eels along with bassist Tommy Walter and drummer Butch Norton. The trio inked a deal with the then-newly formed DreamWorks label, and issued their debut, 1996's Beautiful Freak, as the group's sound was often compared to Beck. The album spawned a sizeable MTV/alternative radio hit with "Novocaine for the Soul," as its promo clip received three MTV Video Music Award nominations the following year, and the group's popularity rose in England (resulting in a Brit Award, presented to the group by goof metallists Spinal Tap).

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beautiful freak
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9楼

发表于 2003-11-15 01:57:45 |只看该作者

What should have been a time of great promise for E and company turned out to be one of tragedy, as both the singer's sister and mother passed away (in addition to Walter leaving the group). The dark mood resonated in Eels' sophomore effort, Electro-Shock Blues, which proved to be even stronger than their debut, yet failed to break the group through to the big time commercially; despite collaborations with the likes of Mike Simpson (the Dust Brothers), Mickey P., Grant Lee Phillips (Grant Lee Buffalo), Jon Brion (Aimee Mann), and T-Bone Burnett. With new bassist Adam Siegal in tow, the group toured behind the release, before returning back to the studio immediately afterward to work on their third album. Issued in 2000, Daisies of the Galaxy proved to not be as dark as its predecessor, but again, failed to expand the group's following (R.E.M. guitarist Peter Buck guested on the album, and even helped co-pen a track). Despite the album's commercial failure, E put together "the Eels Orchestra" to support the release on tour, playing throughout Europe, America, and Australia, while the six-piece band featured saxophone, trombone, trumpet, banjo, guitar, violin, upright bass, piano, melodica, clarinet, and timpani (to make it work on-stage, each bandmember had to play three to four different instruments each night).

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beautiful freak
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10楼

发表于 2003-11-15 01:58:33 |只看该作者

After a live recording of the 2000 Orchestra tour, Oh What a Beautiful Morning, was issued via the group's official website, E began preparing for Eels' fourth studio release overall. Instead of penning the entire album by himself (as he'd done with the group's previous work), Souljacker was co-written and co-produced by E along with John Parish, as the album was issued throughout most of the world in September of 2001, but not in the U.S. until March of 2002 (in the U.S., the first edition of the CD contained a bonus four-track disc). The resulting tour saw E and Norton joined by multi-instrumentalist Parish, as well as new bassist/synthesizer player Koool G Murder. A live disc, Electro-Shock Blues Show, followed soon after to promote the tour. Spring 2003 began a flurry of Eels/E-related releases, beginning with MC Honky and his SpinART release I Am the Messiah. While the man behind Messiah's splattering mix of hip-hop beats, dance grooves, and kitschy samples may or may not have been E in DJ drag, the album was nevertheless an enjoyable slice of summertime fun. April of that year saw the release of E/Everett's score for the indie film Levity, and in June came Shootenanny!, the Eels fifth studio album.

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beautiful freak
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11楼

发表于 2003-11-15 02:01:22 |只看该作者

The Eels were always a vehicle for a songwriter called (E), but by the point of their third album, 2000's Daisies of the Galaxy, they were his and his alone. When it came time to deliver a follow-up to the intimate, tortured Electro-Shock Blues, (E) couldn't help but deliver a lighter album, but he'd already turned so far into himself that his music was entirely insular. Of course, his music had always been fairly insular, but if Daisies of the Galaxy is any indication, he's gone so far in, he can't really come out. He's certainly not as extreme as Brian Wilson or Syd Barrett, but he's at the level of XTC or Roy Wood, making pop music for an already-established audience. Nothing on Daisies of the Galaxy will draw in casual listeners the way "Novocaine for the Soul" did, since everything is in miniature, from the yardsale production to the poetic scrawlings. Unlike its predecessor, the album doesn't play like (E)'s private diary; instead, it feels as if one is rummaging through his sketchbook. And, like many sketchbooks, some moments have blossomed, and others remain just intriguing, unformed ideas. For the dedicated, it's worth sifting through the album to find the keepers, since there are enough moments of quirky genius. But not all longtime fans will find this rewarding, since (E) has spent more time in creating mood than crafting songs. There are very few melodies that resonate like his best work, and the stripped-down, yet eccentric production — sounding much like a cross between Jon Brion and Beck — never feels realized. That's the problem with an offbeat, gifted musician becoming too insular; there are still clear clues of why he has his reputation, but there's not enough to justify exactly why he does.
1. Grace Kelly Blues (Everett) - 3:37
2. Packing Blankets (Everett) - 2:07
3. The Sound of Fear (Everett) - 3:33
4. I Like Birds (Everett) - 2:35
5. Daisies of the Galaxy (Everett) - 3:27
6. Flyswatter (E [1]) - 3:20
7. It's a Motherfucker (Everett) - 2:14
8. Estate Sale (Everett) - 1:36
9. Tiger in My Tank (Everett) - 3:07
10. A Daisy Through Concrete (Everett) - 2:26
11. Jeannie's Diary (Everett) - 3:37
12. Wooden Nickels (Everett) - 2:55
13. Something Is Sacred (Everett) - 2:52
14. Selective Memory (Everett) - 2:44
15. Mr. E's Beautiful Blues (Everett) - 3:58

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beautiful freak
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12楼

发表于 2003-11-15 02:09:02 |只看该作者

The Eels' second release, Electro-Shock Blues, is a much darker album than their underrated debut, 1996's Beautiful Freak, but just as rewarding. Singer/guitarist/songwriter (E) experienced many upheavals in his personal life between albums (the passing of several family members and close friends), and decided to work his way through life's tribulations via his music. The result is a spectacular epic work, easily on par with such classic albums cut from the same cloth — Neil Young's Tonight's The Night, Lou Reed's Magic And Loss, etc. For some of the most introspective and haunting tunes of recent times, look no further than the title track, "Last Stop: This Town," and "Elizabeth on the Bathroom Floor." And although the lyrics deal almost entirely with mortality, the music for "Hospital Food," "Cancer for the Cure," and "Going to Your Funeral Part I" is comparable to Beck's funky noise, while "Efils' God," "The Medication Is Wearing Off," and "My Descent Into Madness" are all ethereal, soothing compositions. One of the finest and fully realized records of 1998, a must-hear.
1. Elizabeth on the Bathroom Floor (Eels) - 2:10
2. Going to Your Funeral, Pt. 1 (Eels/Huxley/Jacobsen) - 2:37
3. Cancer for the Cure (Eels/P.) - 4:45
4. My Descent into Madness (Eels/Houston/Nakamora/Simpson) - 3:54
5. 3 Speed (Eels) - 2:45
6. Hospital Food (Butch/Eels/Lang) - 3:23
7. Electro-Shock Blues (Eels/P.) - 2:29
8. Efils' God (Eels/Simpson) - 3:19
9. Going to Your Funeral, Pt. 2 (Eels/Jacobsen) - 1:30
10. Last Stop: This Town performed by Eels / Butch / Elton Jones - 3:27
11. Baby Genius (Eels/Lang) - 2:03
12. Climbing to the Moon (Eels) - 3:38
13. Ant Farm (Eels) - 2:11
14. Dead of Winter (Eels) - 2:59
15. The Medication Is Wearing Off (Eels/P.) - 3:51
16. P.S. You Rock My World (Eels) - 3:08

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beautiful freak
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13楼

发表于 2003-11-15 02:11:31 |只看该作者

Eccentric and quirky are the best ways to describe the Eels' debut effort, Beautiful Freak. Concise pop tunes form the backbone of the album, yet tinges of despair and downright meanness surface just when you've been lulled into thinking this is another pop group, as titles like "My Beloved Monster," "Your Lucky Day in Hell" and "Novocaine for the Soul" indicate. All in all, Beautiful Freak is a satisfying first record.
1. Novocaine for the Soul (Edge/Goldenberg) - 3:08
2. Susan's House (Edge/Jacobsen/Weatherly) - 3:43
3. Rags to Rags (Edge) - 3:53
4. Beautiful Freak (Edge) - 3:34
5. Not Ready Yet (Edge) - 4:46
6. My Beloved Monster (Edge) - 2:13
7. Flower (Edge/Jacobsen) - 3:38
8. Guest List (Edge) - 3:13
9. Mental (Edge) - 4:01
10. Spunky (Edge) - 3:11
11. Your Lucky Day in Hell (Edge/Goldenberg) - 4:28
12. Manchild (Edge) - 4:05

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beautiful freak
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14楼

发表于 2003-11-15 02:13:44 |只看该作者

As with the band's previous albums, Souljacker bristles with pop euphoria and cracking production, and proves Eels' frontman, E, to be a superb songwriter, but just like those previous albums, Souljacker ultimately falls a bit flat over the course of its extended running time. Album opener "Dog Faced Boy" exemplifies the weaker half of the album's 12 tracks. Though it's a decent punk glam take on T-Rex dynamics, it doesn't exactly beg for repeat listens like the album's better half. "That's Not Really Funny," "Woman Driving, Man Sleeping," "Fresh Feeling," "Friendly Ghost," and "What Is This Note?" are as strong as any songs in the band's back catalog. On these songs, lush strings, found sounds, children's toys, spy themes, surf music, elaborate piano segments, and fuzzy harmonicas mingle in the band's trademark, innovative way. Easily besting almost anything in Beck's quirky bag of songs, these songs display the charm, polish, and sincerity of E's original vision. Sadly, there's too much skronking punk-pop noise in the remaining songs that serves to drag the album down. This limited-edition release adds a bonus disc of four songs, one of them superb, two of them downright horrible, and one of them a useless remix. Only "I Write the B-Sides" warrants seeking out the limited edition. Its opening lines show E at his most poignant and wise, as he sings "I write the B-sides that make a small portion of the world cry/I like the seaside and singing songs that make you not want to die." Punchy, exuberant, and smart, the song would have made perfect sense on Souljacker in place of the somewhat mindless filler that permeates its cracks. Souljacker is certainly a welcome addition to any fans Eels collection, but due to its weaker batch of tracks, it's hard to recommend it to newcomers.
1. Dog Faced Boy (Parish) - 3:18
2. That's Not Really Funny (Parish) - 3:19
3. Fresh Feeling (E/Murder) - 3:37
4. Woman Driving, Man Sleeping (E [1]/Parish) - 3:30
5. Souljacker, Pt. I (Butch/E/Siegel) - 3:15
6. Friendly Ghost - 3:22
7. Teenage Witch (Parish) - 4:44
8. Bus Stop Boxer (E [1]/Parish) - 3:45
9. Jungle Telegraph - 3:40
10. World of S#! T (Parish) - 3:30
11. Souljacker, Pt. II - 1:58
12. What Is the Note? (Parish) - 2:27
13. I Write the B-Sides

- 3:56
14. Hidden Track

- 4:25
15. Jehovah's Witness

(E/Parish) - 3:39
16. Rotten World Blues

- 2:44

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