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▄▄░▀████████▄▄▄║D e B T i s S l a V 3 r Y S T u P i D║░▄▄▄████████▀░ ▀
░▓█████▓░░░ ░ ╚═════╗ ╔════════╝▀ ░ ░░░▓█████▓░
▄▄███░▓████▓░░▀▀ ▀ ║DuBi0uSlY EnDoWs YoU WiTh║ ▀ ▀▀░░▓████▓░███▄▄
▄▀░████▓╔═══════════════════════╩═════════════════════════╩══════════════════════════╗▓████░▀▄
▐░ ▀▓████║ Chris_Connelly_and_The_Bells-The_Ultimate_Seaside_Companion_(Revisi ║████▓▀ ░▌
▀ ░████╚════════════════════════════════════════════════════════════════════════════╝████░ ▀
▀ ▀▀█████▀░████ ▄ ▄ ░▓████░▀ ████▀▀ ▀
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▄▄▀▀███████████▀▀▀ ▀▀████████████▀▀ ░
▄░▓███████▄▄▄░ ARTiST.... Chris Connelly & The Bells ░▄▄▄███████▓░▀
░▓█████▄░░ ▄ ▀ TiTLE..... The Ultimate Seaside Companion █████▓░
▀░████▓░░▀ ░ ▀ LABEL..... Invisible ▀ ░ ▀░░▓████░▀
░▓███▓▓░ ▀ ▄▓▄ GENRE..... Alternative ▄▓▄ ▀ ░▓▓███▓░
▀▀░███▓░▄▄░ RiP.DATE.. 2011-04-27 ░▄▄░▓███░▀▀
▀ ▄███▀░░ STOREDATE. 1997-10-07 ░░▀███▄ ▀
░░▄▄██▀▀▀ SOURCE.... CD ▀▀▀██▄▄░░
░░▄▄██▀▀▀ QUALiTY... 246 kbps / 4410kHz / Joint Stereo ▀▀▀██▄▄░░
▄ ▄███▀░░ TRACKS.... 16 / 67:52 ░░▀███▄ ▄
▄▄░███▓░▄ ░ SIZE...... 127.11 MB ░ ▄░▓███░▄▄
░▓███▓▓░ ▄ ▄▓▄ RIPPER.... EAC Secure with LAME 3.98.4 ▄▓▄ ▄ ░▓▓███▓░
▄░████▓░░▄ ░ ▀ URL....... ░▓████░▄
░▓█████▄░░ ▄ ▄ ░░▄█████▓░
▄░▓███████▄▄▄░ ░▄▄▄███████▓░▀
░▀▀ ▀▀████████████▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄████████████▀▀▀▀
▀ ▄ ░░▓█▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀████▓░░ ▄
▄░███ NR. TRACKNAME TiME ████░▄
▄ ░████ ████░ ▄
░ ▄▓████ 1 The Fortune 3:52 ████▓▄ ░
░ ▄▓████ 2 Mississippi Palisades 3:03 ████▓▄ ░
░ ▄▓████ 3 My East Is Your West 4:17 ████▓▄ ░
░ ▄▓████ 4 Stray 1:27 ████▓▄ ░
░ ▄▓████ 5 Empty Sam 4:15 ████▓▄ ░
░ ▄▓████ 6 No More Changing of the Guard 5:02 ████▓▄ ░
░ ▄▓████ 7 Island Head 6:34 ████▓▄ ░
░ ▄▓████ 8 Toledo Steel 2:09 ████▓▄ ░
░ ▄▓████ 9 Caravan 5:07 ████▓▄ ░
░ ▄▓████ 10 To Play a Slow Game 5:41 ████▓▄ ░
░ ▄▓████ 11 The Ultimate Seaside Companion 6:48 ████▓▄ ░
░ ▄▓████ 12 The Fortune II 3:51 ████▓▄ ░
░ ▄▓████ 13 Chorus of Eyes 4:11 ████▓▄ ░
░ ▄▓████ 14 Thunderland Reel 2:27 ████▓▄ ░
░ ▄▓████ 15 No More Changing of the Guard (Live) 6:04 ████▓▄ ░
░ ▄▓████ 16 The Fortune (Live) 3:04 ████▓▄ ░
░ ▄▓████ ---------------------------------------------------------████▓▄ ░
▀▄░████▓ ████░▄▀
░▓████▓▄ TOTAL TiME: 67:52 MIN ████▓░
░▓███████▄ TOTAL SIZE: 127.11 MB▄█████▓░
▀░▀████████▄ ▄█████▀░▀▀
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░▓█████▓░╟─────────────────────────────────────◄RELEASE NOTES►╢░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ After cleverly combining aggressive rock with ║▀░▓████░▀▄
▄▀░████▓░▀║ nightclub/cabaret stylings on his Shipwreck ║▀░▓████░▀▄
▄▀░████▓░▀║ album, Chris Connelly formed an entirely new ║▀░▓████░▀▄
▄▀░████▓░▀║ group, the Bells, to more thoroughly explore ║▀░▓████░▀▄
▄▀░████▓░▀║ these latter elements. Admittedly, the Bells ║▀░▓████░▀▄
▄▀░████▓░▀║ isn't so much a group as it is a series of ║▀░▓████░▀▄
▄▀░████▓░▀║ collaborators, predominantly Chris Bruce, who ║▀░▓████░▀▄
▄▀░████▓░▀║ plays a multitude of instruments on most of these ║▀░▓████░▀▄
▄▀░████▓░▀║ tracks. William Rieflin performs on some songs, ║▀░▓████░▀▄
▄▀░████▓░▀║ in a similar jack-of-all-trades mode, while Jim ║▀░▓████░▀▄
▄▀░████▓░▀║ O'Rourke plays on two numbers. The Ultimate ║▀░▓████░▀▄
▄▀░████▓░▀║ Seaside Companion finds the post-industrial ║▀░▓████░▀▄
▄▀░████▓░▀║ crooner pursuing a suave, elegant style that ║▀░▓████░▀▄
▄▀░████▓░▀║ steers clear of supper-club banality. The Bowie ║▀░▓████░▀▄
▄▀░████▓░▀║ influence is definitely strong here, but ║▀░▓████░▀▄
▄▀░████▓░▀║ musically the connection is closer to late-'60s ║▀░▓████░▀▄
▄▀░████▓░▀║ Gene Pitney or Scott Walker's more understated ║▀░▓████░▀▄
▄▀░████▓░▀║ early numbers. All percussion is done strictly by ║▀░▓████░▀▄
▄▀░████▓░▀║ programming -- quite a feat given that it really ║▀░▓████░▀▄
▄▀░████▓░▀║ does sound live. Connelly mostly plays acoustic ║▀░▓████░▀▄
▄▀░████▓░▀║ guitar and some harmonica. The songs are ║▀░▓████░▀▄
▄▀░████▓░▀║ generally simple at base, but his lovely vocals ║▀░▓████░▀▄
▄▀░████▓░▀║ and involved lyrics are well served by the ║▀░▓████░▀▄
▄▀░████▓░▀║ careful arrangements his fellow musicians give ║▀░▓████░▀▄
▄▀░████▓░▀║ him. Keyboard-programmed string orchestrations ║▀░▓████░▀▄
▄▀░████▓░▀║ are prominent; Bruce creates some fantastic ones ║▀░▓████░▀▄
▄▀░████▓░▀║ for "My East Is Your West," while "Island Head" ║▀░▓████░▀▄
▄▀░████▓░▀║ relies more on muted horns and Pet Sounds-like ║▀░▓████░▀▄
▄▀░████▓░▀║ keyboard pulses. Connelly himself adds a little ║▀░▓████░▀▄
▄▀░████▓░▀║ of that Brian Wilson/Van Dyke Parks feeling with ║▀░▓████░▀▄
▄▀░████▓░▀║ some banjo on "Toledo Steel," one of the two ║▀░▓████░▀▄
▄▀░████▓░▀║ collaborations with O'Rourke. Rieflin creates two ║▀░▓████░▀▄
▄▀░████▓░▀║ especially wonderful tunes for Connelly: "Stray" ║▀░▓████░▀▄
▄▀░████▓░▀║ finds him backing the singer solely on piano, ║▀░▓████░▀▄
▄▀░████▓░▀║ while "No More Changing of the Guard" features ║▀░▓████░▀▄
▄▀░████▓░▀║ Connelly singing in a half-whisper over beautiful ║▀░▓████░▀▄
▄▀░████▓░▀║ church organ by Rieflin -- a dramatic and ║▀░▓████░▀▄
▄▀░████▓░▀║ striking combination. Fans of Connelly's more ║▀░▓████░▀▄
▄▀░████▓░▀║ aggressive material will be disappointed here, ║▀░▓████░▀▄
▄▀░████▓░▀║ but those who appreciate his work in general will ║▀░▓████░▀▄
▄▀░████▓░▀║ enjoy yet another fine album from him. ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
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▀░▓███████▄▄║ ║▄▄███████▓░▀
▀░▓███████▄▄║ -- Gandhi ║▄▄███████▓░▀
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°²ÛÛÛÛÛ²°ÇÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄRELEASE NOTES¶°²ÛÛÛÛÛ²°
°²ÛÛÛÛ²°°º º°°²ÛÛÛÛ²°
Üß°ÛÛÛÛ²°ßº After cleverly combining aggressive rock with ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº nightclub/cabaret stylings on his Shipwreck ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº album, Chris Connelly formed an entirely new ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº group, the Bells, to more thoroughly explore ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº these latter elements. Admittedly, the Bells ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº isn't so much a group as it is a series of ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº collaborators, predominantly Chris Bruce, who ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº plays a multitude of instruments on most of these ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº tracks. William Rieflin performs on some songs, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº in a similar jack-of-all-trades mode, while Jim ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº O'Rourke plays on two numbers. The Ultimate ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Seaside Companion finds the post-industrial ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº crooner pursuing a suave, elegant style that ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº steers clear of supper-club banality. The Bowie ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº influence is definitely strong here, but ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº musically the connection is closer to late-'60s ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Gene Pitney or Scott Walker's more understated ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº early numbers. All percussion is done strictly by ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº programming -- quite a feat given that it really ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº does sound live. Connelly mostly plays acoustic ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº guitar and some harmonica. The songs are ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº generally simple at base, but his lovely vocals ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº and involved lyrics are well served by the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº careful arrangements his fellow musicians give ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº him. Keyboard-programmed string orchestrations ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº are prominent; Bruce creates some fantastic ones ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº for "My East Is Your West," while "Island Head" ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº relies more on muted horns and Pet Sounds-like ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº keyboard pulses. Connelly himself adds a little ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº of that Brian Wilson/Van Dyke Parks feeling with ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº some banjo on "Toledo Steel," one of the two ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº collaborations with O'Rourke. Rieflin creates two ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº especially wonderful tunes for Connelly: "Stray" ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº finds him backing the singer solely on piano, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº while "No More Changing of the Guard" features ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Connelly singing in a half-whisper over beautiful ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº church organ by Rieflin -- a dramatic and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº striking combination. Fans of Connelly's more ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº aggressive material will be disappointed here, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº but those who appreciate his work in general will ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº enjoy yet another fine album from him. ºß°²ÛÛÛÛ°ßÜ
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