Glorious review in swedish
http://dagensskiva.com/index.asp?datum=2006-2-2
Sorry (PSB maxi-mix) reviewed
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Pertan
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Sjòn
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GalataPSB
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Re: Sorry (PSB maxi-mix) reviewed
Mmmmmm!
Hmmmmm!
Really?
Wowwwwwwwww!
I cant believe!
Damn it!!
Fcking great!
Super!
Who wants to translate it???
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Pertan
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Butters
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Madge Shop Boys (9/10)
Depending on which format you buy of the second single from Madonna's "Confessions on a Dance Floor" you can look forward to remixed versions of the title track by names such as Paul Oakenfold, Green Velvet and Lu Conten himself. But those you have to discover by yourselves.
This is about the the rendez-vous between Madonna and Pet Shop Boys.
Ola Andersson-music (the reviewer, my comment).
I could go on forever about how I was the first to discover Pet Shop Boys. How long before anyone else I understood the brilliance of their music. How the original versions of "West End Girls", "Opportunities" and "One More Chance" rotaded on my record player long before Parlophone even had heard about them.
Yes. I could do that. That would be complete bullshit, but I could do that.
The truth is the rest of Sweden's "Tracks"-listeners realised West End Girls' greatness about six months before I did. I liked it. A lot. But maybe not that insanely much that I voted for it to death. To me it was with "Love Comes Quickly" it startad, later the same year.
But it would take almost another six months before I got fanatic for real. With Disco. The artificial (timpanis) in"Paninaro" practicaly blew everything I thought I knew about music away. The inferon in "Suburbia" sounded like a theme from a riot. "Love Comes Quickly" was heavier than ever before. And the marathon-long mix of "West End Girls", with re-applied lyrics and sounds from the origial version, offered new details for every listen.
Thus it feels so very right, 20 years later, that Neil and Chris' rework of "Sorry" starts with the bouncing percussions of the Disco-version of West End Girls, to continue with echoes of the songs synth bass and pads. That Pet Shop Boys finally was asked to remix Madonna feels almost natural. The connection was always there.
Both Madonna and Pet Shop Boys started their successful careers in New York, fysically as well as musically. For both artists it was the dream of success that brought them there. Both Madonna and Pet Shop Boys reached the heights of their respective careers 20 years ago and has since updated their trash music status to a level closer to the respect and acknowledgement of the "fine rooms". Pet Shop Boys was ranked the fourth most successful artist on the Billboard Dance/Club Play-charts in a summary of the years 1974-2003, after Madonna, Janet Jackson and Donna Summer. Madonna on the other hand ranks number four on IFPI:s list of the artist who sold the most albums through all time, beaten only by The Beatles, Michael Jackson and Elvis Presley.
Pet Shop Boys wrote "Heart" with Madonna in mind, but due to an attack of inferiority complex they never asked her to record it. Instead they payed her hommage in "DJ Culture". Madonna is supposed to have uttered: "Pet Shop Boys! I f*** love 'em" during the recording of "Confession on a Dance Floor", while the producer Stuart Price admits that the "West End Girls"-sounding "Jump" on that same album is a pure tribute to Chris Lowe.
And here we are. Madonna and Pet Shop Boys in one remix.
Several times before when Pet Shop Boys have remixed other artists such as Blur, David Bowie and Rammstein, the result have been so-so. Not this time. Price's already driving beats have been rushed some more in a way surely familiar to everyone who have seen Pet Shop Boys live, in the last six-seven years. That the bass-line in the ever more intense "whip-dance", not seldom is forced in to the "ua-ua-ua-ua" of Bon Jovi's "Living on a Prayer" thus feels quite appropriate. It is probably the heaviest produktion Neil and Chris ever put on a record, whit some snow flake-bouncing "ploingk"-noises let loose in the middle of it all.
But its heaviness aside, it is not in these parts the heart of the remix really lies. I don't know whether or not it was pure chance that it was Sorry that Pet Shop Boys were asked to remix. What I do know is that at least Neil didn't miss the irony. It becomes very obvious about 20 seconds into the song when the "West End Girls"-introt brutally is thrown to the side.
A massive explosion fades out and leaves room for a church organ and some reverbing voices. The gregorian choir slowly enters while Madonnea is thrown on to the dance floor.
"It's a Sin".
"Please don't say 'I'm sorry' / please don't say 'forgive me'" is read by a stone cold robotisised voice, with no human warmth and compassion. Nei's deep scars from the guilt heavy upbringing in catholic school, a them recurring throughout the duo's career. The religion as a judging and absolute right and an immovable barrier over a a bubbling sea of supressed emotions.
In the light of this, the lines that Neil added to the remix, is the obvious bridge between the dancefloor of 2006 and the dark chambers of shame of a previous life. Two simple lines that are repeated over and over. When the "It's a Sin"-atmosphere of the intro appears once more, just before tha final, most frenetic dancefloor-riot explodes through the grey walls, half way through, pieces of music with almost 20 years between them meet.
I'm sorry. So sorry.
Neil kneeling, appealing to the finger-pointing authority
Mea culpa.
Mea culpa.
Mea maxima culpa.
Depending on which format you buy of the second single from Madonna's "Confessions on a Dance Floor" you can look forward to remixed versions of the title track by names such as Paul Oakenfold, Green Velvet and Lu Conten himself. But those you have to discover by yourselves.
This is about the the rendez-vous between Madonna and Pet Shop Boys.
Ola Andersson-music (the reviewer, my comment).
I could go on forever about how I was the first to discover Pet Shop Boys. How long before anyone else I understood the brilliance of their music. How the original versions of "West End Girls", "Opportunities" and "One More Chance" rotaded on my record player long before Parlophone even had heard about them.
Yes. I could do that. That would be complete bullshit, but I could do that.
The truth is the rest of Sweden's "Tracks"-listeners realised West End Girls' greatness about six months before I did. I liked it. A lot. But maybe not that insanely much that I voted for it to death. To me it was with "Love Comes Quickly" it startad, later the same year.
But it would take almost another six months before I got fanatic for real. With Disco. The artificial (timpanis) in"Paninaro" practicaly blew everything I thought I knew about music away. The inferon in "Suburbia" sounded like a theme from a riot. "Love Comes Quickly" was heavier than ever before. And the marathon-long mix of "West End Girls", with re-applied lyrics and sounds from the origial version, offered new details for every listen.
Thus it feels so very right, 20 years later, that Neil and Chris' rework of "Sorry" starts with the bouncing percussions of the Disco-version of West End Girls, to continue with echoes of the songs synth bass and pads. That Pet Shop Boys finally was asked to remix Madonna feels almost natural. The connection was always there.
Both Madonna and Pet Shop Boys started their successful careers in New York, fysically as well as musically. For both artists it was the dream of success that brought them there. Both Madonna and Pet Shop Boys reached the heights of their respective careers 20 years ago and has since updated their trash music status to a level closer to the respect and acknowledgement of the "fine rooms". Pet Shop Boys was ranked the fourth most successful artist on the Billboard Dance/Club Play-charts in a summary of the years 1974-2003, after Madonna, Janet Jackson and Donna Summer. Madonna on the other hand ranks number four on IFPI:s list of the artist who sold the most albums through all time, beaten only by The Beatles, Michael Jackson and Elvis Presley.
Pet Shop Boys wrote "Heart" with Madonna in mind, but due to an attack of inferiority complex they never asked her to record it. Instead they payed her hommage in "DJ Culture". Madonna is supposed to have uttered: "Pet Shop Boys! I f*** love 'em" during the recording of "Confession on a Dance Floor", while the producer Stuart Price admits that the "West End Girls"-sounding "Jump" on that same album is a pure tribute to Chris Lowe.
And here we are. Madonna and Pet Shop Boys in one remix.
Several times before when Pet Shop Boys have remixed other artists such as Blur, David Bowie and Rammstein, the result have been so-so. Not this time. Price's already driving beats have been rushed some more in a way surely familiar to everyone who have seen Pet Shop Boys live, in the last six-seven years. That the bass-line in the ever more intense "whip-dance", not seldom is forced in to the "ua-ua-ua-ua" of Bon Jovi's "Living on a Prayer" thus feels quite appropriate. It is probably the heaviest produktion Neil and Chris ever put on a record, whit some snow flake-bouncing "ploingk"-noises let loose in the middle of it all.
But its heaviness aside, it is not in these parts the heart of the remix really lies. I don't know whether or not it was pure chance that it was Sorry that Pet Shop Boys were asked to remix. What I do know is that at least Neil didn't miss the irony. It becomes very obvious about 20 seconds into the song when the "West End Girls"-introt brutally is thrown to the side.
A massive explosion fades out and leaves room for a church organ and some reverbing voices. The gregorian choir slowly enters while Madonnea is thrown on to the dance floor.
"It's a Sin".
"Please don't say 'I'm sorry' / please don't say 'forgive me'" is read by a stone cold robotisised voice, with no human warmth and compassion. Nei's deep scars from the guilt heavy upbringing in catholic school, a them recurring throughout the duo's career. The religion as a judging and absolute right and an immovable barrier over a a bubbling sea of supressed emotions.
In the light of this, the lines that Neil added to the remix, is the obvious bridge between the dancefloor of 2006 and the dark chambers of shame of a previous life. Two simple lines that are repeated over and over. When the "It's a Sin"-atmosphere of the intro appears once more, just before tha final, most frenetic dancefloor-riot explodes through the grey walls, half way through, pieces of music with almost 20 years between them meet.
I'm sorry. So sorry.
Neil kneeling, appealing to the finger-pointing authority
Mea culpa.
Mea culpa.
Mea maxima culpa.
Last edited by Butters on Thu 02 Feb 2006, 10:32 pm, edited 1 time in total.
Just tax the stupid people!
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virtual1
- Posts: 181
- Joined: Wed 04 Aug 2004, 9:47 pm
Madge Shop Boys
Depending on which format of Madonnas other single from “Confessions on a dance Floor” you buy, you can look forward towards remix versions of the title track from names like Paul Oakenfold, Green Velvet and Lu Conten alone. But those you'll have to discover on your own hand.
This is about the meeting between Madonna and Pet Shop Boys.
Ola Andersson-music. In cubic.
I can type far and long about how I was first on track with Pet Shop Boy's. How far earlier than all other I understood the brilliance in the duo's musics. How the original versions of as well “West End Girls”, “Opportunities” and “One More Chance” spun hot before Parlophone even heard about them.
Yes. I can do that. This is admittedly complete bullshit, but I can do it.
The truth is of course that Sweden's other Tracks-listeners realized the grandness in “West End Girls” some just over half-year before me. I liked the. A lot of. But perhaps not insanely a lot that I voted my brains out for it. For myself was it with “Love Comes Quickly” it begun, later same year.
But it would take almost yet another half-year before I became completely fanatic. With “disco”. The artificial sounds in “Paninaro” literally spoken blasted away all I believed that I knew about music. The Inferno in “Suburbia” sounded like a theme to a riot. “Love Comes Quickly” heavier than ever. And the marathon long mix of “West End Girls”, with resampled lines of text and sounds from the original version, invited on new details each listen.
Therefore it feels, almost 20 years later, so correct that Neils and Chris remake of “Sorry” begins with the bouncing percussion sounds just from the “disco”-version of “West End Girls”, in order to borrow echoes from the named synth bass and atmospheric keyboard. That Pet Shop Boys has finally been invited to remix Madonna feels almost equally self-evidently. The points of contact has of course always existed there.
Both Madonna and Pet Shop Boys began their successful musical careers in New york, as well physical as dance musical. For both the artists were somewhere the dream about succeeding that pursued them there. Both Madonna and Pet Shop Boys had their heights on their careers for just over 20 years since and both have since then been raised from their garbage music status considerably closer to the delicate rooms' estimate and esteem. Pet Shop Boys was voted 2003 as the fourth most successful artist in Billboards dance/club Play-charts in a summary of the years 1974-2003, after Madonna, Janet Jackson and Donna Summer. Madonna on her side ends up on same location in IFPI: s summary of those artists whic albums sold the most over time, after only The Beatles, Michael Jackson and Elvis Presley.
Pet Shop Boy's wrote “Heart” with Madonna in mind, but an attack of inferiority complexes did that they never asked if she wanted to do it. Instead they honoured her a line of text in “DJ Culture”. Madonna have established that “Pet Shop Boys! I f*** love 'em” during the production of “Confession on a dance Floor”, while the producer Stuart Price admitted that “West End Girls”-remiscenting “Jump” from same album is a pure tribute to Chris Lowe.
And we're here. Madonna and Pet Shop Boy's during a remix.
Several times earlier when Pet Shop Boys remixed other artists, as Blur, David Bowie and Rammstein, the results have become fairly exciting. Not so this time. Price, already from the start, driven beat has been maxed up to a way that doubtlessly is familiar for all those that've seen Pet Shop Boy's live the last six-seven years. That the bass line in the even more taunted whip dance is seldom not forced in to the "ua-ua-ua-ua"-beats from Bon Jovis “Living on a Prayer” feels therefore exactly as it should. It's probably the heaviest production Neil and Chris ever released on a record, with some small snowflake bouncing ploingk-sound unbridled in the middle of everything.
But it's weight to despair, is the not in these pieces that the heart in this remix actually exists. If it was a coincidence or not that it was just “Sorry” that Pet Shop Boy's were invited to remix, I don't know. What I know is that at least Neil wasn't late to see the irony in that choice. That becomes so hugely clear approximately 20 seconds in the tune, when the “West End Girls” intro is brutally thrown aside.
A massive explosion leaves room for a church organ and echoing votes. The gregorian choir moves slowly in with immersed heads before Madonna is thrown out in the middle of the dance-floor.
“It ' s a sin”.
“Please don' t say I'm sorry”/ please don't say 'forgive me'” is being massed forward with emotionally deprived robotisized voices robbed from all humanitary warmth and mercifullness. Neils deep scars from the guilt built up from the growth in a Catholic school, a theme that has recurred during the duos whole career. The religion as a condemnating and am absolute court string and an immovable barrier over a boiling sea of underdepressed feelings.
In the light of this, it's the added voices that Neil complemented the remix with also tends to be the self-evident bridge between the average dance-floor 2006 and the the dark shame rooms a life earlier. Two simple lines of text that are repeated about and about again. When the “It ' s a sin” - atmospheres from the introduction dive up once more, exactly before the last, most frenetic dance floorrevolution explodes through the gray walls, just over halfway in meets two pieces of music with almost 20 years between themselves.
In ' m sorry. So sorry.
A Neil on knee persuading to the finger pointing spirit.
Mea culpa.
Mea culpa.
Mea maxima culpa.
-------------------------------------
Translated by Mats
Depending on which format of Madonnas other single from “Confessions on a dance Floor” you buy, you can look forward towards remix versions of the title track from names like Paul Oakenfold, Green Velvet and Lu Conten alone. But those you'll have to discover on your own hand.
This is about the meeting between Madonna and Pet Shop Boys.
Ola Andersson-music. In cubic.
I can type far and long about how I was first on track with Pet Shop Boy's. How far earlier than all other I understood the brilliance in the duo's musics. How the original versions of as well “West End Girls”, “Opportunities” and “One More Chance” spun hot before Parlophone even heard about them.
Yes. I can do that. This is admittedly complete bullshit, but I can do it.
The truth is of course that Sweden's other Tracks-listeners realized the grandness in “West End Girls” some just over half-year before me. I liked the. A lot of. But perhaps not insanely a lot that I voted my brains out for it. For myself was it with “Love Comes Quickly” it begun, later same year.
But it would take almost yet another half-year before I became completely fanatic. With “disco”. The artificial sounds in “Paninaro” literally spoken blasted away all I believed that I knew about music. The Inferno in “Suburbia” sounded like a theme to a riot. “Love Comes Quickly” heavier than ever. And the marathon long mix of “West End Girls”, with resampled lines of text and sounds from the original version, invited on new details each listen.
Therefore it feels, almost 20 years later, so correct that Neils and Chris remake of “Sorry” begins with the bouncing percussion sounds just from the “disco”-version of “West End Girls”, in order to borrow echoes from the named synth bass and atmospheric keyboard. That Pet Shop Boys has finally been invited to remix Madonna feels almost equally self-evidently. The points of contact has of course always existed there.
Both Madonna and Pet Shop Boys began their successful musical careers in New york, as well physical as dance musical. For both the artists were somewhere the dream about succeeding that pursued them there. Both Madonna and Pet Shop Boys had their heights on their careers for just over 20 years since and both have since then been raised from their garbage music status considerably closer to the delicate rooms' estimate and esteem. Pet Shop Boys was voted 2003 as the fourth most successful artist in Billboards dance/club Play-charts in a summary of the years 1974-2003, after Madonna, Janet Jackson and Donna Summer. Madonna on her side ends up on same location in IFPI: s summary of those artists whic albums sold the most over time, after only The Beatles, Michael Jackson and Elvis Presley.
Pet Shop Boy's wrote “Heart” with Madonna in mind, but an attack of inferiority complexes did that they never asked if she wanted to do it. Instead they honoured her a line of text in “DJ Culture”. Madonna have established that “Pet Shop Boys! I f*** love 'em” during the production of “Confession on a dance Floor”, while the producer Stuart Price admitted that “West End Girls”-remiscenting “Jump” from same album is a pure tribute to Chris Lowe.
And we're here. Madonna and Pet Shop Boy's during a remix.
Several times earlier when Pet Shop Boys remixed other artists, as Blur, David Bowie and Rammstein, the results have become fairly exciting. Not so this time. Price, already from the start, driven beat has been maxed up to a way that doubtlessly is familiar for all those that've seen Pet Shop Boy's live the last six-seven years. That the bass line in the even more taunted whip dance is seldom not forced in to the "ua-ua-ua-ua"-beats from Bon Jovis “Living on a Prayer” feels therefore exactly as it should. It's probably the heaviest production Neil and Chris ever released on a record, with some small snowflake bouncing ploingk-sound unbridled in the middle of everything.
But it's weight to despair, is the not in these pieces that the heart in this remix actually exists. If it was a coincidence or not that it was just “Sorry” that Pet Shop Boy's were invited to remix, I don't know. What I know is that at least Neil wasn't late to see the irony in that choice. That becomes so hugely clear approximately 20 seconds in the tune, when the “West End Girls” intro is brutally thrown aside.
A massive explosion leaves room for a church organ and echoing votes. The gregorian choir moves slowly in with immersed heads before Madonna is thrown out in the middle of the dance-floor.
“It ' s a sin”.
“Please don' t say I'm sorry”/ please don't say 'forgive me'” is being massed forward with emotionally deprived robotisized voices robbed from all humanitary warmth and mercifullness. Neils deep scars from the guilt built up from the growth in a Catholic school, a theme that has recurred during the duos whole career. The religion as a condemnating and am absolute court string and an immovable barrier over a boiling sea of underdepressed feelings.
In the light of this, it's the added voices that Neil complemented the remix with also tends to be the self-evident bridge between the average dance-floor 2006 and the the dark shame rooms a life earlier. Two simple lines of text that are repeated about and about again. When the “It ' s a sin” - atmospheres from the introduction dive up once more, exactly before the last, most frenetic dance floorrevolution explodes through the gray walls, just over halfway in meets two pieces of music with almost 20 years between themselves.
In ' m sorry. So sorry.
A Neil on knee persuading to the finger pointing spirit.
Mea culpa.
Mea culpa.
Mea maxima culpa.
-------------------------------------
Translated by Mats
Because you dance to disco, and you don't like rock...
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fluffmoln
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