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Love Bomb

3.5 von 5 Sternen 4 Kundenrezensionen

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Audio-CD, 1. Januar 2009
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The Tubes-Shop bei Amazon.de


Wird oft zusammen gekauft

  • Love Bomb
  • +
  • Outside Inside
  • +
  • The Completion Backward Principle
Gesamtpreis: EUR 50,20
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Titelverzeichnis

Disk: 1

  1. Piece By Piece
  2. Stella
  3. Come As You Are
  4. One Good Reason
  5. Bora Bora 2000 / Love Bomb
  6. Night People
  7. Say Hey
  8. Eyes
  9. Muscle Girls
  10. Theme From A Wooly Place
  11. For A Song
  12. Say Hey [Part 2]
  13. Feel It
  14. Night People (Reprise)


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Format: Audio CD
Obwohl die meisten Songs von "Love Bomb" sofort The Tubes zugeordnet werden können, unterscheidet sich dieses Album vom Stil her -was wiederum typisch für The Tubes ist- von ihren Vorgängern. Wie es sich für gute Musik gehört, springt sie nicht sofort als Ohrwurm ins Ohr, um dann wenig später wieder komplett herauszufallen, weil man sich daran nach einer kurzen Weile totgehört hat. Es dauert vielmehr ein bißchen, bis sich diese Musik ins Ohr gegraben hat - dann aber so tief, daß sie nicht mehr wirklich entfernbar ist. Bei mir steht sie jedenfalls schon seit mehr als 20 Jahren im Regal (zuerst als LP und ca. 10 Jahre später als CD) und wird regelmäßig gehört. Also bloß nicht nach dem ersten Hören wegstellen!

Die einzelnen Songs sind wie gewohnt stark unterschiedlich, von fast schon Mainstream-Pop-Musik ("Feel it") bis zu Experimentellem ("Bora Bora", "Eyes") ist alles dabei. Typische Tubes-Songs sind selten geradlinig sprich langweilig und vorhersagbar, sondern schlagen in Form von Rhythmenwechseln, Tonartwechseln, unerwartete Zwischeneinlagen etc. ziemliche Haken. Ein typisches Beispiel hierfür ist "Stella". Mit "Come as you are" gibt's wieder eine Ballade, die zwar ganz ordentlich ist, aber natürlich nicht an den ultimativen Klassiker "Don't want to wait anymore" auf "The completion backward principle" herankommt. Mit "One good reason" ist wie gewohnt auch wieder ein richtiger Hau-drauf-Kracher an Bord.

Insgesamt läßt dieses Album für den Tubes-Fan nichts zu wünschen übrig, ist aber wie gesagt stellenweise keine leichte Kost und vor allem keine 08/15-Hintergrundbeschallung.
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...aber dann hörte sich die Scheibe über Kopfhörer genauso schlecht an. Im Vergleich zur BGO-Version (ASIN: B0000074L7, gibt's auch hier) klingt das Album dumpf, matschig und verzerrt. Das "Love Bomb" kein audiophiler Leckerbissen ist war mir klar, aber dieses "remasterte" Re-Issue ist sein Geld nicht wert.

Aber es gibt auch Positives: Das Booklet ist schön, und es gibt Liner Notes. Außerdem noch 2 (sinnlose) Bonustracks.
Die Musik ist okay. Natürlich kommt sie nicht an "TCBP" oder "Outside Inside" ran, aber die ersten 4 Songs können fast mithalten. "One Good Reason" haut mich immer noch vom Hocker. Aber gerade dieser Titel klingt auf der CherryRed Ausgabe besonders mies.

2 Sterne - Die Musik hätte einen mehr verdient.

Ich werde sie wohl zurückschicken - und meine BGO-Ausgabe ganz sicher aufbewahren.
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Ich hatte diese Aufnahme 1985 als Schallplatte gehört und war sowohl von der Musik als auch vom Sound begeistert.
Dann habe ich die CD von BGO-Records (1993) gekauft und war nicht so begeistert. Die klingt stark komprimiert und zu höhenlastig. Und nun das: Hier ist man in die andere Richtung gegangen und dabei blieb die Brillianz und das Druckvolle in der Musik völlig auf der Strecke. Einzig das Stereo-Panorama wurde deutlich breiter. Deshalb meine Bitte: Nehmt die digitalen Bänder von 1985, setzt Euch ins Flugzeug nach Portland (Maine) und gebt die Bänder zu Bob Ludwig !!! Ähh... und die Bonus-Tracks könnt ihr weglassen, dann wird es auch billiger.
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Super Album, abwechslungsreicher Rock-Pop vom Feinsten.
Evtl.erstmal gewohnheitsbedürftig,also nicht gleich in den Müll damit.
Wer The Tubes kennt weiss : da kommt abgedrehter Super Sound.
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Amazon.com: 4.4 von 5 Sternen 59 Rezensionen
6 von 6 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Love Bomb, Transcendent Flop 28. Juli 2014
Von L. Giachetti - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
To begin my review of Love Bomb, please permit me an analogy: Imagine that, at a make-or-break point in their career, Mick Jagger had grown fed up with the direction the Rolling Stones were taking and decided to take his songs, his voice, and his front-man status and pour himself completely into a solo career. Imagine further that the Stones' record company went along with him, giving his project full backing while the rest of the Stones continued on with a new album in his absence, largely unsupported. Imagine that Jagger's album was a huge, expensive commercial failure, meaning Mick had little choice but to return to the Stones, now mostly finished with their new album, to which he contributed little save a couple vocals and his picture on the cover. Imagine the record company then decided it had spent its money on Mick and didn't care to spend it again on his old band, and that that album, too, tanked. Imagine the band was dropped, bankrupted, disbanded, and that Mick spent years bitterly deriding the album, essentially blaming it for the Stone's demise. Now imagine that that album was one of the coolest, strangest, most groundbreaking albums of its era.

Such is the case with Love Bomb. Sadly, its commercial failings and the story leading to them have long overshadowed this utterly remarkable work.

*

Love Bomb would be, even under the best of circumstances, a hard album to promote, for its strength lies not in its individual tracks but rather in the uninterrupted flow of music that comprises side two (tracks six- fourteen). Largely the brain-child of producer Todd Rundgren, this is music that is almost exclusively more creative than it is commercial, and The Tubes, then in their mid-30s (too old for MTV) and essentially a one-hit wonder (1983's "She's a Beauty") were not able to surmount these obstacles, and Love Bomb flopped, hard.

But man, what a wonderful flop it is!

Now it should be known right away that Love Bomb is not flawless by any stretch, and it does take a while to get going. Indeed, most of side one is generally forgettable. It begins with the decent but generic "Piece by Piece" - the single which met with a modicum of success - then segues into "Stella," a Streetcar Named Desire-inspired rocker that has a nice chorus but boasts lyrics that fail to match the earnestness of lead singer Fee Waybill's vocals. Next is "Come as You Are," a piece that manages to be both disturbing ("But you belong to me if you belong to anyone/ And when I call you you must come") and dull. "One Good Reason" sounds like Van Halen's awful "Jump" if Eddie and the boys had taken heavy doses of valium before recording. The best track on side one is "Bora Bora 2000/ Love Bomb" if only because it is so unapologetically cheesy ("Ten, nine, eight, seven/ All good lovers go to heaven") as to be fun.

However, side two, which is essentially one continuous piece of music, more than makes up for the lackluster start. "Night People" gets things rolling with a wonderfully creepy synth line that transitions, after a typically echoey 80's drum fill, into a nicely danceable rock and roll chorus. When synth player Michael Cotton sings "Night people, the night is still young," he seems to be offering an optimistic invitation to what's next, an all-out, uninterrupted dance fest, albeit a strange and creative one. "Say Hey" is an infectious mish-mash of samples and snippets of disembodied conversation over a groove that just crackles with energy. "Eyes" (sung by guitarist Roger Steen) is easily the catchiest - and perhaps best - song on the whole album, and the one that should probably have been the lead single. The bass line that starts it is phenomenal, and the xylophone that comes in soon after takes it to a whole new level. Though the lyrics are slight - "All my life, she's my girl/ In my dreams, she's my world" - this could have been one hell of a big hit, perhaps accompanied by a zany video starring celebrities like John Candy and Christie Brinkley (neither of them were too old for MTV). "Muscle Girls" is more sound-collage than song, but the energy continues unabated, and keyboardist Vince Welnick's scat singing gives it a wacky, unhinged quality. "Theme from a Wooly Place" - a combination of "Theme from a Summer Place" and "Wooly Bully" - somehow works even though it shouldn't, serving as an effectively peculiar palette cleanser for the subsequent "For a Song," and the transition between the two might be the album's single best moment. On "For a Song," Todd Rundgren ingeniously incorporates samples after each line of the chorus (largely unheard of at the time), giving this appealing but otherwise unremarkable tune an unusual resonance and depth. Another palette cleanser, the high-voltage "Say Hey, Part Two" follows, then gives way to the quietly extraordinary (though still danceable) "Feel It." The haunting Fairlight notes at this song's beginning are introspective and even sad, the first hints that the night is no longer young and that the party may soon be ending, but there is tremendous beauty in this sadness, a counterpoint to the manic energy that precedes it, and guitarist Bill Spooner's vocals rise (or fall) to the occasion. "Night People (Reprise)" ends the album - and the party - quietly, with a beat that fades gradually into the sound of a heartbeat and a murmured invocation to "Dream of an endless night."

Sadly, that is what this album (except in cult circles) was consigned to.

*

My dad got this album from my cool aunt and uncle in the summer of 1986 (the year after it was released) and played the hell out of it while repainting our house. I was nine and loved it. This love stayed with me, although 24 years would pass before I'd hear the album again. I bought it for my dad for Christmas and then, later, asked to borrow it, mostly out of a sense of curiosity to see if my nine-year-old tastes would be justified.

I played it for my wife (side two first, of course) while we were driving through Chicago on an early-summer night. Initially, she giggled at the total 80s-ness of it all, but by end of "Night People," her laughter had stopped, and soon she was remarking how awesome it was.

A band mate of mine had a similar reaction, even insisting that we play side two through our PA before we took the stage at a party.

In 2011, I met The Tubes (the current touring incarnation, anyway, minus Bill Spooner and the now-deceased Vince Welnick) at a meet-and-greet after a concert, wearing, sheepishly, my ill-fitting Love Bomb T-shirt I'd bought on Ebay. I said to Roger Steen, whom I met first, "Sorry about this shirt," but to my surprise he said, "That's Fee. The rest of us all love that album."

I realized in these moments that it doesn't matter how many copies Love Bomb sold, or whether Fee Waybill or Capitol Records or the reviewers liked it. I like it (as do many others) and that's really all that matters.
3 von 3 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen An overlooked, unloved, five-star classic 25. Februar 2014
Von Mike C. - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
I purchased this CD elsewhere, but am writing this to get you off the fence if you're considering buying Love Bomb.

Just Buy It.

Love Bomb is long out-of-print, but there are plenty of used CDs out there so it's easily obtainable. Others have written about their record label dropping them after this album was released; the tour afterward that left the band in debt; the breakup of The Tubes soon afterward; lead singer Fee Waybill has pretty much disowned this album; etc. For this review, I prefer to focus on the music.

This is a big slice of '80s that, in retrospect and like so much of The Tubes' output, was ahead of its time. Today, it sounds both retro and recent at the same time. Production-wise, it's top-notch; music-wise, it picks up where Outside/Inside left off, and then about three songs in goes into serious attention-deficit disorder mode...and I mean that as a compliment :)

Fee sings on the first three songs, and then Bill Spooner does "One Good Reason" and "Love Bomb". About the latter: Back in the day, I never paid much attention to the lyrics, but upon closer inspection notice that it's replete with references to Dr. Strangelove, "duck and cover", and all sorts of cold-war imagery. Serious back then, kitschy and actually pretty cool today.

Starting with "Night People", things get seriously weird and seriously fun! From this point on, it's all one continuous piece of music. Michael Cotten sings "Night People"; Roger Steen sings "Eyes"; Vince Welnick (R.I.P.) jabbers gibberish during "Muscle Girls"; Fee Waybill returns with "For a Song"; Bill Spooner sings "Feel It". The whole thing is a great big fun chaotic mess, united only by a steady drum rhythm (machine-made, augmented by Prairie Prince's fills).

There are samples, before samples were A Thing. There's some sorta-kinda-rapping in "Say Hey". Many hardcore Tubes fans will complain that this doesn't sound like early Tubes (I'm about as hardcore as it gets w/r/t The Tubes, and sometimes this sentiment pops into my head listening to Love Bomb).

But seriously, why should that get in the way of you enjoying this album just for its own sake?This is about a band trying new things, from a band who always tried new things. Love Bomb signaled the end of the original Tubes lineup, but it's a great souvenir from a great time that still sounds great today.

Just Buy It.
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5.0 von 5 Sternen harmonized wonderfully run rampant 18. August 2015
Von Roosevelt Roy - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
More of a Todd Rundgren album than a The Tubes album, 'Love Bomb' also resembles Abbey Road's side two suite. A concept album (of sorts) 'Love Bomb' gestures towards the story of a failing relationship, due to the inability of the narrator to feel honestly. Mega-synthed, harmonized wonderfully run rampant, this is a twin work to Todd Rundgren's 'Healing' album. Not full of outrageous silliness, like so many Tubes album, this one's meant to be listened to all the way through. A fine world, and vastly underrated.

One of the few Tubes albums that definitely did not pass me by in its' day, I was waiting patiently for it and what an underrated all-round masterwork it is! Quite possibly the greatest pop album ever made. I don't get some of the reviews, saying it's outdated or that by then The Tubes weren't pushing boundaries or lacked direction. As much as I like the previous albums, but how exactly were the two David Foster produced 'Completion Backward Principle' (1981) and 'Outside Inside' (1983) pushing boundaries? For sure, there are more amazing melodies on here than on those two albums combined, while the sampling is wonderfully creative and, unlike some mid-1980's Fairlight-gone-mad albums, reasonably subtle. It's true that their trademark bizarro comedy takes a further backseat, but if anything it's in favour of the tunes. Todd Rundgren as a producer can be a tricky proposition, but on "Love Bomb" his tricks are on the money and the gamble pays off.
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4.0 von 5 Sternen Bang Zoom To The Moon 28. September 2013
Von Tim Brough - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
By the time of "Love Bomb," tensions in The Tubes was at a boiling point. Fee Waybill was on the brink of launching his solo career, while the rest of the band wanted to get "Love Bomb" out there. For whatever reason, Capitol Records decided to put their muscle behind Fee's "Read My Lips" while "Love Bomb" slid under the radar. Even worse, Fee's album was a commercial dud. It turned into a lose-lose situation, effectively breaking up the band and Waybill with a solo stint that excited exactly no-one. Even worse, "Love Bomb" was easily as good as "Outside/Inside," the previous Tubes album.

The band had re-enlisted Todd Rundgren to produce again, as he also helmed one of the Tubes' most artistically satisfying albums, "Remote Control." As is typical with any Rundgren production, his hand weighs heavy on the proceedings here. But the Tubes had some great material up their collective sleeve, including the terrific first single "Piece By Piece." Todd even helped make an ahead of its time computerized video. But again, with no label support, it vanished with barely a trace. You can still find the vid on YouTube, and it's worth a look-see.

The real genius was to be found on what was originally the album's side two. A twenty minute collage of mini-tunes strung together as a medley, it should have been a critically acclaimed masterwork. It shows just how musically adept the Tubes in their prime truly were, even with the sideshow style of their burlesque concert act. Mixing found sound, narratives, and "Theme From A Summer Place" mashed up with "Wooly Bully" (keeping in mind that mash-ups weren't this commonplace as now) into another ahead of its time number (there weren't any other rock bands that I can recall at the time using samples), it holds "Love Bomb" up all by itself.

Still, Capitol bet on Waybill's solo career over this, and when you compare the two, it's frustrating. One one hand, you had the Tubes and Todd Rundgren working an arty album, and Fee recording with David Foster, most of Toto, and an up and coming songwriter named Richard Marx. Don't get me wrong, "Read My Lips" is as good as any 80's pop album from the period, but "Love Bomb" should have been salvaged from the scrap pile. Given a decent remaster from the folks at BGO Records but not adding any additional liner notes, this is a must for Tubes fans and probably Todd fans, too.
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5.0 von 5 Sternen One Piece (by piece) 29. Oktober 2010
Von Amazon Customer - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
This is one of my favorite albums of all time. I feel a kinship with several of the other reviewers in that of all the hundreds of albums in my collection, I can always return to Love Bomb and smile. It is never old or tired, no matter how often I listen to it. Many albums are great but you have to reach for the skip button here and there, not with Love Bomb. Put it in, press play, enjoy. It is of one piece. The only thing that stands out singularly is Piece by Piece. I love the song but it is the one track that stands apart a little (the token single). It is the first track on side 1 though, so no matter. If I am listening to Love Bomb and something interrupts me I become annoyed, that is the nature of the immersion it creates. It is wacky (say hey, muscle girls, bora bora 2000), pop (piece by piece, eyes), spatial (for a song, night people), driving (one good reason), funky (stella) and most importantly, rich and fluid. Some credit for the wonderful flow must go to Todd Rundgren, the immense wall of vocal harmony and subtle little sonic snicks throughout the album make listening on headphones a new experience. Too bad Spooner and Waybill could not get along, they are both complementary and fabulous. Add to that the equally wonderful and complimentary keys, bass, gtrs and Prairie Prince, perhaps the best drummer of the era. How embarrassing it must be for them (Spooner/Waybill?) to know that they blew up one of the most amazing bands _during_ the release of their best work. And for what... "read my lips"?, please.

P.S. This album is a little out of line with Tubes tradition, so I can see how it may seem different for Remote Control fans, yet I am surprised when real Tubes fans don't enjoy it. I am not surprised, however, when people who don't even like the Tubes, as a rule, love it.
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