Big Bam Boom Original recording remastered, Import
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Frequently Bought Together
Customers Who Bought This Item Also Bought
|1. Dance On Your Knees|
|2. Out Of Touch|
|3. Method Of Modern Love|
|4. Bank On Your Love|
|5. Some Things Are Better Left Unsaid|
|6. Going Thru The Motions|
|7. Cold Dark And Yesterday|
|8. All American Girl|
|9. Possession Obsession|
|10. Out Of Touch|
|11. Method Of Modern Love|
|12. Possession Obsession|
|13. Dance On Your Knees|
Cutting-edge production and fresh dance beats kept the Hall & Oate hit train running full-steam ahead with this 1984 smash, a #5 LP featuring the huge hits Out of Touch; Method of Modern Love; Some Things Are Better Left Unsaid , and Possession Obsession . Includes four bonus 12" versions of three of those plus Dance on Your Knees !
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This album is the natural progression of where their sound had been going since 1980's "Voices" and through 1982's "H2O" and through to 1983's "Say It Isn't So" and "Adult Education" -- namely a big beat, pop-dance-oriented sound. To add to the "big beat" sound Arthur Baker was brought in to remix the whole thing. (For those who don't know, Arthur Baker was one of the top remixers/dance-music producers of the 1980's, working with, among others, New Order).
The singles from this ("Out of Touch", "Method of Modern Love", Possession Obsession") are pretty representative of the sound of the album as a whole. Perhaps the one downfall of this album is that, bringing in someone to remix all of the tracks did result in a bit of a sameness of the overall sound and feel of the tracks. Also, as another reviewer stated, this thing is state-of-the-art 1984. That means it definitely sounds of its time. But, in my opinion, I have always really liked every song on this one. It's hardly high art, but it is solid mid-80's pop music.
If you are a casual fan looking to go a bit deeper with H&O than a hits compilation, then this one isn't for you (get "Abandoned Luncheonette" and "Voices" instead). But, if you are a more than just casual fan wondering if you should add this to your collection, I think you will be very happy with this one. In my opinion, I don't think there is a bad song on this album. A lot of 1980's "cheese" but, then again, that was really what the 1980's were about.
I can tell you the 2004 remaster is obviously far better than the original pressing LP and cassette versions of this thing that I had in the 1980's. But, I am not sure the 2004 remaster is that much ahead of the 1996 version (which I also owned). I would recommend the 2004 remaster because it does have the original lyrics/liner notes, and some bonus tracks, including the remix of "Out of Touch" that was included on the original 1984 cassette (the 1996 version has neither).
As for the songs, if you like "Out of Touch" and "Method of Modern Love" then you will like this album.
2013 UPDATE -- I really cannot recommend the 2004 remaster anymore. Quite frankly, I think it's terrible (NOT the album proper, but the 2004 remaster). Buy the original RCA Made in Japan CD, which sounds far superior. The music on this remaster is certainly "louder" but the tradeoff is that the music is clipped -- the crash of the cymbals, the curl of the bass, all those things that make for a great listening experience, are lost in exchange for a CD that doesn't require the volume to be turned up quite as loud. The original RCA Made in Japan CD has far more detail to the music. You can probably find it pretty cheap on eBay or a local used store. Buy this for the bonus tracks; get the original RCA if you want to hear this album in all its glory.
The album features 12-inch extended versions of 'Out of Touch', 'Method of Modern Love', 'Possession Obsession' and 'Dance On Your Knees'. The only one missing is the special mix of 'Some Things Are Better Left Unsaid' which appears on the '12-Inch Collection Volume Two', which I also recommend. (Pick up Volume One while you're at it).
The album also features recent interviews in the liner notes along with the lyrics.
As an extra treat, try playing the extended version of 'Dance On Your Knees' on your DVD player and play it backwards to hear Daryl singing 'Swept Away'.
Opening this album is "Dance On Your Knees"-a track completely unlike anything Hall & Oates had ever made at this point. Its very much in keeping with the early hip-hop/break beat culture where their voices can be heard in a brilliantly Max Headroom type synthetic stutter. After a minute or two that segues directly into "Out Of Touch",this albums signature song and really the one most reminiscent here of H&O's earlier hits. Even so,the production is far more synthesizer oriented with a more echoed,contemporary guitar sound. "Method Of Modern Love" is one hit that always surprised me because neither the chorus nor the refrain are the least bit conventional melodically. That plus it's fusion of percussion,LINN drum effects and digital sampler technology is a modern type update for that time of Hall & Oates more experimental side heard occasionally during their first decade of recording. "Back On Your Love" combines both the dirtier Marc Bolan/Keith Richards blues/rock guitar attitude with an uptown Chicago soul sound...not dissimilar to G.E Smith's later work as leader of the Saturday Night Live band. "Some Things Are Better Left Unsaid" and "Cold Dark And Yesterday" both combine their trademark melodic chorus with an icy electronic synth pop/new wave production. "Going Through The Motions",with it's re-sampled doo-wop inspired falsetto opening vocals and "All American Girl" both have a contemporary electro/boogie funk attitude with full on percussion where John's closer "Possession Obsession",his only vocal hit from this album has a more minor chorded approach to an "Out Of Touch" style sound.
With the repetition of the percussive break beat remixed intros being the highlights of the 12" versions of "Out Of Touch","Method Of Modern Love" and "Possession Obsession" its the 6 minute+ presentation of "Dance On Your Knees" that shows what a daring piece of music this was for the pop dynamos that Hall & Oates were at this time. And daring this album is overall. With the engineering help of both co-producer Bob Clearmountain and remixologist Arthur Baker,this album gave the classic Hall & Oates hit period sound a makeover not only in terms instrumental but rhythmic approach as well. The direct groove of Hall & Oates prime period is replaced here with this sonically challenging array of sound the incorporates electronica and digitized early hip-hop beats. Even though he's not involved with this project,the sound they seemed to be going for here was somewhat akin to what Trevor Horn would soon be doing with both Grace Jones and Frankie Goes To Hollywood. Whereas Horn was creating a cleaner soundscape of sound in general,Hall & Oates seemed to take a more aggressive rhythmic assault here. Its the contrast between their continually lilting and crackerjack melodic song constructivism and this digitized bed sound sound that allowed this innovation of their sound to succeed creatively. And it paid off commercially too as this album continued not only their huge selling radio singles but their enduring presence on MTV. Interestingly enough,this album also marked their final album blockbuster-as well as their final studio release as a duo for RCA. Even if this represented a conclusion to their prime years creatively and commercially,so many acts could hope to come to such a conclusion with this high a level of quality.