Dream Harder is the first 'sonic rock' album the waterboys made. It doesn't feel the same as the early sound and is a huge step away from the previous celtic sound, but it does have some good songs on there. 'Winter Winter' and 'Wonders of Lewis' are both good songs, but don't even think about 'Spiritual City' because the lyrics are random, the song has no thought and it says "Skeedol Adol Oh!" Dream Harder is only for the people who like it! :)
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In late 1985, Mike Scott went to Dublin for a week to stay with the brilliant fiddler and newest Waterboys member Steve Wickham. He ended up staying in Ireland for six years! During the first two-and-a-half years, Scott, Wickham, Anthony Thistlethwaite, Trevor Hutchinson and various other Waterboys and friends sporadically recorded an incredible mass of music - far more than could be fitted onto the Fisherman's Blues LP when it was finally released in 1988.
After keeping the plethora of unreleased material in the vaults for over a decade, Mike finally revisited the Fisherman's sessions at the beginning of the Millennium and released the first companion CD Too Close To Heaven in 2001. A further CD of previously unheard gems was released ... Read More:
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The Waterboys were formed as a band by Mike Scott in the early eighties and immediately started forging a sound that would develop through two albums to become the leading edge of mid-eighties Celtic rock. "This is the Sea" is the culmination of this period of the band's development, a period that was cut short by Scott's move to Ireland and the subsequent change in direction.
"The Whole of the Moon" is probably the most successful song that the band has had to date, but on this album it is simply one of many dark forays into myths and legends. The powerful simplicity of "Spirit", the damning indictment of Thatcher's Britain in "Old England", the summing up of the Cold War in "Be my enemy" ... Read More:
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The beauty of this album is that it really is a 'secret life' or 'back pages' collectible item for the loyal follower of the Waterboys -- it isn't merely a slick package put together by the marketing boys to squeeze extra cash out of fans.
It has some familiar songs rearranged in interesting ways, the best of which are 'Rags (Second Amendment)', with its moody build-up of crackling energy that explodes in a fantastic storm of guitars and drums at the end and its self-lacerating lyric that throws up stark images to haunt your daydreams, and 'Love that Kills', which was previously - perversely - released as an instrumental, denying it the full grace and majesty of Mike Scott's lyricism at its poetic best.
this just doesn't have any of the fire of early waterboys records. mike scott seems to have lost his touch living in his beautiful island retreat. sure it must be good for his soul but it leaves his music dry & passionless.
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I was slightly disappointed with this album. Don't get me wrong, it's not bad and certainly has it's moments but, being a big fan of The Waterboys music, I expected better. The albbum features a mixture of acoustic and full band tracks recorded live in Britian and Ireland during 2003-4.
The highlight for me is the fantastic version of Long Way To The Light; Steve Wickham's magnificent fiddle playing makes it very different to the original studio version. Glastonbury Song, Open and The Return Of Jimi Hendrix are all well worth a listen too.
The biggest fault, in my opinion, is the pedestrian playing of the rhythm section, Carlos Hercules and Steve Walters, on the tracks which feature a full band. It's not that they're bad musicians, but compare it to the ... Read More:
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How have I managed not to write a review for this album? It's hard to know where to start really. This (and particularly the legendary "The Whole of the Moon") was a sound of my childhood, but it's an album I keep coming back to, having acquired it - finally! - on CD not so long ago. Emerging somewhere from the fall-out of New Romanticism in the mid 1980s, this is the original, legenadary Waterboys line-up - frontman and songwriter Mike Scott, future World Party founder Karl Wallinger, and sometime Saw Doctor "Anto" Thistlethwaite - at their creative peak. By today's standards this is far too short an album, but in some ways this is a saving grace: it stops just short of Scott's "Big Music" becoming self-indulgent or too overpowering.
How have I managed not to write a review for this album? It's hard to know where to start really. This (and particularly the legendary "The Whole of the Moon") was a sound of my childhood, but it's an album I keep coming back to, having acquired it - finally! - on CD not so long ago. Emerging somewhere from the fall-out of New Romanticism in the mid 1980s, this is the original, legenadary Waterboys line-up - frontman and songwriter Mike Scott, future World Party founder Karl Wallinger, and sometime Saw Doctor "Anto" Thistlethwaite - at their creative peak. By today's standards this is far too short an album, but in some ways this is a saving grace: it stops just short of Scott's "Big Music" becoming self-indulgent or too overpowering.
Isaiah 32:2 "And a man shall be as an hiding place from the wind, and a covert from the tempest; as rivers of water in a dry place, as the shadow of a great rock in a weary land".
Religious imaginery is a constant presence in Mike Scott's songs, and this time the canvas used but this genius to paint his soundscapes is gloomy, noisy, dirty, creepy and ghostly; maybe (or maybe not) influenced by Tom Waits' "Bone Machine".
Scott uses thundering guitars, winds made of feedback, all kind of keyboards and distorted vocals. "If it's disgusting, it's useful", he might thought. Indeed, there is very little trace of the folky Waterboys (It's all gone?). And WHO cares? Isn't it boring hearing again and again the same things from a group? A musician must try different ... Read More:
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Isaiah 32:2 "And a man shall be as an hiding place from the wind, and a covert from the tempest; as rivers of water in a dry place, as the shadow of a great rock in a weary land".
Religious imaginery is a constant presence in Mike Scott's songs, and this time the canvas used but this genius to paint his soundscapes is gloomy, noisy, dirty, creepy and ghostly; maybe (or maybe not) influenced by Tom Waits' "Bone Machine".
Scott uses thundering guitars, winds made of feedback, all kind of keyboards and distorted vocals. "If it's disgusting, it's useful", he might thought. Indeed, there is very little trace of the folky Waterboys (It's all gone?). And WHO cares? Isn't it boring hearing again and again the same things from a group? A musician must try different ... Read More:
>>More Details