7 Worlds Collide, spearheaded by Crowded House’s Neil Finn, is a loose collective formed with friends, acquaintances and contemporaries coming together in a studio to hash out some songs. It’s a nice concept, though not an entirely unique one, the most recent comparison (relatively speaking, considering its decades-long gestation) being Peter Gabriel’s Big Blue Ball
The Sun Came Out has a rock & roll through-line and, therefore, is an easier listen. The pedigree is outstanding as well, since you’re not just getting more Finns than you can shake a stick at, but you’re getting a chunk of Radiohead, a large part of Wilco, and some Johnny Marr for good measure. One of the early standouts is “Run in the Dust,” a Marr contribution with some nice, moody guitar textures, but the set spans two CDs or four full vinyl sides. By the sheer weight of the thing, the listener instinctively begins to cherry-pick tracks. For the CD or iTunes set, that’s fine. For the vinyl collector, not so much. (more…)
In late 1992, the idea of Jesus Jones covering Jimi Hendrix was viewed one of two ways: it was either the most awesome idea ever, or grounds for justifiable homicide. (Bear in mind, this came a full year before the Hendrix tribute album Stone Free, where everyone from the Cure to PM Dawn took Jimi’s songs for a ride.) He’s the greatest guitarist of all time, and they…play keyboards! (*Shake fists at God*) As Popdose resident remix geek, I’m guessing you already know which side of this debate I’m on.
She’s the voice you hear on the Smiths’ “Ask” and Morrissey’s “Interesting Drug.” She’s the salty dame calling Shane McGowan a “cheap lousy faggot” on the Pogues’ “Fairtytale Of New York.” And she’s one of the most underrated songwriters of the ’90s and one of our biggest losses.