Amazon.co.uk allows you to pay for your items in your local currency. Restrictions apply. Learn More. |
Frequently Bought Together
Product details
|
Listen to Samples and Buy MP3s
Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or
view the MP3 Album.
|
Suggested Tags from Similar Products(What's this?)Be the first one to add a relevant tag (keyword that's strongly related to this product)
|
Customer Reviews
Most Helpful Customer Reviews
20 of 20 people found the following review helpful
Format:Audio CD
It will be difficult to get the balance of this review right. For dyed in the wool Roche-ophiles it will be largely irrelevant, as they will have bought this CD already and, for those who don't know who they are, they are unlikely to drift towards this by chance. I think I'll err on the side of education.
The Roches are a trio of sisters from New York. They (as a duo, Maggie and Terre) first appeared on my musical radar by means of an appearance on a Paul Simon LP (There Goes Rhymin' Simon - Was a Sunny Day). They produced an LP of their own as a duo (Seductive Reasoning), and then recruited third sister Suzzy for their first trio LP - "The Roches". If you don't have any Roches CDs, "The Roches" is the one to get. The energy of the first group recording meshes well with the Robert Fripp production and guitar embellishments (yes really!).
After recording together through the 80s and most of the 90s the sisters split up to pursue solo projects. There was much talk of a more bitter division and there was support for that in that Suzzy and Maggie recorded together but Terre only produced one solo effort.
Anyway they are now back together and it has been worth the wait. Whilst the solo CDs were great, it is wonderful to have all three siblings back together again. There is greater variety in the recording, greater depth to the harmonies (lovely to have Maggies deep voice in contrast to Terre's soprano) and much greater strength in the song writing, and a return to what Robert Christgau called "Lotsa Laffs"
The feel of the CD is closer to the very early recordings. Gone are the 80s synths with the ladies providing almost all the instrumentation - it is a change for the better, in my opinion.
Another change from previous CDs is that the songs now include some cover versions. Fans needn't panic as the covers provide some of the quirkiest, most Roche-like, songs.
There is a song on the CD written and performed by Suzzy's daughter, Lucy Wainwright Roche (no prizes for guessing who the father (and step brother?) is. The song and performance aren't up to the standard of the rest of the CD but it fits in well with the family ethos of most of the Roches' output.
In summary, this is a fine (and welcome) return to form. Possibly the best Roche's CD since "The Roches", especially when you consider the overall quality of "Moonswept".
The Roches are a trio of sisters from New York. They (as a duo, Maggie and Terre) first appeared on my musical radar by means of an appearance on a Paul Simon LP (There Goes Rhymin' Simon - Was a Sunny Day). They produced an LP of their own as a duo (Seductive Reasoning), and then recruited third sister Suzzy for their first trio LP - "The Roches". If you don't have any Roches CDs, "The Roches" is the one to get. The energy of the first group recording meshes well with the Robert Fripp production and guitar embellishments (yes really!).
After recording together through the 80s and most of the 90s the sisters split up to pursue solo projects. There was much talk of a more bitter division and there was support for that in that Suzzy and Maggie recorded together but Terre only produced one solo effort.
Anyway they are now back together and it has been worth the wait. Whilst the solo CDs were great, it is wonderful to have all three siblings back together again. There is greater variety in the recording, greater depth to the harmonies (lovely to have Maggies deep voice in contrast to Terre's soprano) and much greater strength in the song writing, and a return to what Robert Christgau called "Lotsa Laffs"
The feel of the CD is closer to the very early recordings. Gone are the 80s synths with the ladies providing almost all the instrumentation - it is a change for the better, in my opinion.
Another change from previous CDs is that the songs now include some cover versions. Fans needn't panic as the covers provide some of the quirkiest, most Roche-like, songs.
There is a song on the CD written and performed by Suzzy's daughter, Lucy Wainwright Roche (no prizes for guessing who the father (and step brother?) is. The song and performance aren't up to the standard of the rest of the CD but it fits in well with the family ethos of most of the Roches' output.
In summary, this is a fine (and welcome) return to form. Possibly the best Roche's CD since "The Roches", especially when you consider the overall quality of "Moonswept".
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
25 reviews
23 of 23 people found the following review helpful
Maggie and Terre and Suzzy - together again!
20 Mar 2007
Format:Audio CD
The Roches' first album as a trio in over a decade (baby sis Terre having gone mysteriously AWOL following 1995's Can We Go Home Now) is a triumph. Though all three sisters continued to make beautiful music in solo albums, projects with other musicians, and in particular Suzzy and Maggie's "Zero Church" and "Why the Long Face" albums, for those of us who have loved the Roches since their 1978 eponymous debut album, they all smelled like side projects. "Nice", we'd think, "but when's Terre coming back?"
Well, Terre is back; and maybe it's just that I really, really missed those shimmering three-part harmonies for all those years, but this may well be the girls' best album since the late '70s. Time has frosted Maggie's hair, but apparently left no mark on the sisters' voices. Their crystalline vocals soar above their trademark ringing guitar work (gone the electric keyboards of the '80s albums), and it's like the past three decades never happened. And there is scarcely a song here (mostly penned by Suzzy and Terre) that isn't a gem.
But while Moonswept is a very good album, it's not a perfect album. For me, the cover of the Ames Brothers' "The Naughty Lady of Shady Lane" (one of the first songs the sisters ever sang together, and a long-time staple of their live shows) is a throw-away. If they were going to pull one out of the vaults, I'd have preferred "The Clothesline Saga". And while Suzzy's daughter, Lucy has a lovely voice, and her song ("Long Before") is a pretty one, this isn't her album and I could have done without this number. Maggie only contributed to the writing of two of the songs here, leaving the album a bit heavy on novelty songs, from the utterly delightful "Huh" (three minutes of nervous stammering set to music), to "Naughty Lady", to NYC songwriter Paranoid Larry's "No Shoes" and "Jesus Shaves" (both of which start out fun, only to wear out their welcome just a bit by the end). Moonswept would have benefited from a "One Season" or "This Feminine Position".
But I quibble. Moonswept is an eagerly awaited return to form for long-time Roches fans. In a better world, one could hope that this album might finally earn Maggie and Terre and Suzzy some of the mass recognition they have so richly deserved for so very, very long.
Well, Terre is back; and maybe it's just that I really, really missed those shimmering three-part harmonies for all those years, but this may well be the girls' best album since the late '70s. Time has frosted Maggie's hair, but apparently left no mark on the sisters' voices. Their crystalline vocals soar above their trademark ringing guitar work (gone the electric keyboards of the '80s albums), and it's like the past three decades never happened. And there is scarcely a song here (mostly penned by Suzzy and Terre) that isn't a gem.
But while Moonswept is a very good album, it's not a perfect album. For me, the cover of the Ames Brothers' "The Naughty Lady of Shady Lane" (one of the first songs the sisters ever sang together, and a long-time staple of their live shows) is a throw-away. If they were going to pull one out of the vaults, I'd have preferred "The Clothesline Saga". And while Suzzy's daughter, Lucy has a lovely voice, and her song ("Long Before") is a pretty one, this isn't her album and I could have done without this number. Maggie only contributed to the writing of two of the songs here, leaving the album a bit heavy on novelty songs, from the utterly delightful "Huh" (three minutes of nervous stammering set to music), to "Naughty Lady", to NYC songwriter Paranoid Larry's "No Shoes" and "Jesus Shaves" (both of which start out fun, only to wear out their welcome just a bit by the end). Moonswept would have benefited from a "One Season" or "This Feminine Position".
But I quibble. Moonswept is an eagerly awaited return to form for long-time Roches fans. In a better world, one could hope that this album might finally earn Maggie and Terre and Suzzy some of the mass recognition they have so richly deserved for so very, very long.
17 of 17 people found the following review helpful
No...You Can't Go Home Now!
9 Jun 2007
Format:Audio CD
From the opening verse of "Us Little Kids" there is no doubt the sisters Roche have returned in fine form. Despite a long sabbatical in which each of the individual sister pursued musical projects that didn't quite add up the sum of their work together, we now have the real thing. All three Roche sisters who stoop to conquer with their resplendent choir girl harmonies and all of their endearing quirkiness.
The Roches were always the delightfully out sync with the prevailing musical zeitgeist. In the late Seventies when New York was a crossroads of punk rock, funk, garage band retro, and musical experiments that fused multimedia performance art with electronic music, the Roches won our hearts with their crystalline harmonies and the tongue in cheek sassy feminism of songs like "The Married Man" and "Pretty and High."
In hindsight it's hard to imagine neo-folkies like the Roches sharing the same bill at CBGB's with the Ramones, Lydia Lunch's 8 Eyed Spy, the Fleshtones or Arto Lindsey and John Lurie's edgy "fake jazz" project the Lounge Lizards. You would have had to been there in 1980 for any of it to make any sense, but the Roches managed to charm the bottle throwing slam dancing fans who went to CBGBs to see the Contortions and ended up falling under the spell of the sisters Roche. The Roche's name had enough avant-garde cachet to attract a musical icon like Robert Fripp to produce their debut album.
After a 12 year silence, long after most fans thought they ever would reunite, the Roches have returned, not with a throwaway album as an excuse for a reunion tour, but arguably the best album they've ever made.
"Moonswept" consolidates all of their musical strengths and sheds some inconsistency of their middle and late year albums.
The overly self-conscious precociousness of the Roches' early work has faded, to their advantage.
One can only seem overly clever and mature before one's years while one is still young. The Roches are doing us a service by losing their precocious edge, as even Suzzy the eternal kid sister of the Roches finally turned 50 last September.
The Roches have crossed the meridian of mid-life with all of their youthful exuberance intact, and pulled off their nearly impossible act of aging in a graceful manner.
Who would have thought the Roches could summons the magic of their seductive charms so far beyond the bloom of untarnished youthful beauty?
The elegant wordplay of their lyrics and the exquisite mind blowing vocal pyrotechnics that have become the Roches musical trademark have survived intact as if they placed their exquisite talents in a time capsule in 1995 after they completed their appropriately titled farewell albumm "Can We Go Home Now?"
The answer to their question is, "No you can't go home now, because the fun has just begun.
The Roches were always the delightfully out sync with the prevailing musical zeitgeist. In the late Seventies when New York was a crossroads of punk rock, funk, garage band retro, and musical experiments that fused multimedia performance art with electronic music, the Roches won our hearts with their crystalline harmonies and the tongue in cheek sassy feminism of songs like "The Married Man" and "Pretty and High."
In hindsight it's hard to imagine neo-folkies like the Roches sharing the same bill at CBGB's with the Ramones, Lydia Lunch's 8 Eyed Spy, the Fleshtones or Arto Lindsey and John Lurie's edgy "fake jazz" project the Lounge Lizards. You would have had to been there in 1980 for any of it to make any sense, but the Roches managed to charm the bottle throwing slam dancing fans who went to CBGBs to see the Contortions and ended up falling under the spell of the sisters Roche. The Roche's name had enough avant-garde cachet to attract a musical icon like Robert Fripp to produce their debut album.
After a 12 year silence, long after most fans thought they ever would reunite, the Roches have returned, not with a throwaway album as an excuse for a reunion tour, but arguably the best album they've ever made.
"Moonswept" consolidates all of their musical strengths and sheds some inconsistency of their middle and late year albums.
The overly self-conscious precociousness of the Roches' early work has faded, to their advantage.
One can only seem overly clever and mature before one's years while one is still young. The Roches are doing us a service by losing their precocious edge, as even Suzzy the eternal kid sister of the Roches finally turned 50 last September.
The Roches have crossed the meridian of mid-life with all of their youthful exuberance intact, and pulled off their nearly impossible act of aging in a graceful manner.
Who would have thought the Roches could summons the magic of their seductive charms so far beyond the bloom of untarnished youthful beauty?
The elegant wordplay of their lyrics and the exquisite mind blowing vocal pyrotechnics that have become the Roches musical trademark have survived intact as if they placed their exquisite talents in a time capsule in 1995 after they completed their appropriately titled farewell albumm "Can We Go Home Now?"
The answer to their question is, "No you can't go home now, because the fun has just begun.
11 of 12 people found the following review helpful
Ignore the Amazon review
18 Jun 2007
Format:Audio CD
The Roches' songs have always preached the Christian gospel of love and forgiveness in a very secular guise, and Moonswept is their most beguiling and poetic recording to date. They've mostly ditched the sometimes-impenetrable quirkiness and focussed on heartfelt songs of being alive and human: Jesus Shaves is not, as the Amazon review would have it, about Jesus, but an allegory of the Christ within all of us; the unsung, unrealised heroes who simply get on with their mysterious lives as best they can (do I need to add I'm no Christian but am in awe of this sentiment?). Some of this music is so exquisite it makes me cry, particularly the eerie Family Of Bones and the regretful yet ultimately proud Instead I Chose. Overall, it's a late-period masterpiece of delicacy and purity, something only experienced artists can create. Sometimes great truths can only be heard when whispered, and the Roche sisters are masters.
Were these reviews helpful?
Let us know
Customer Discussions
|
This product's forum
Active discussions in related forums
Search Customer Discussions
|
Related forums
|
What Other Items Do Customers Buy After Viewing This Item?
Listmania!
Look for similar items by subject
Feedback
- Would you like to update product info or give feedback on images?
|
