- Audio CD (10 Sept. 2012)
- Deluxe Edition edition
- Number of Discs: 2
- Format: Double CD, Deluxe Edition
- Label: EDSEL
- ASIN: B008OP271I
- Other Editions: Audio CD | Audio Cassette | Vinyl
- Average Customer Review: 2 customer reviews
- Amazon Bestsellers Rank: 156,078 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
Stray [Deluxe Edition] Double CD, Deluxe Edition
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Frequently bought together
Customers who bought this item also bought
2. The Crying Scene
3. Get Outta London
4. Over My Head
5. Good Morning Britain
6. How It Is
7. The Gentle Kind
8. Notting Hill Blues
9. Song For A Friend
2. True Colours
3. Consolation Prize [live]
4. Do I Love You?
5. Good Morning Britain [7 mix]
6. Good Morning Britain [Laylow Posse Hypno-Mix/Kitsch n Sync mix]
7. Good Morning Britain [Laylow Posse Hypnomental/instrumental mix]
8. Good Morning Britain [Laylow Posse Hypno-edit/vocal remix]
9. Good Morning Britain [Mendelsohn Single mix]
10. Good Morning Britain [Morning Acid mix]
About the Artist
Five years after singing about The Clash, Roddy Frame found himself singing with Mick Jones on Good Morning Britain , a Top 20 hit and the centrepiece of the fourth Aztec Camera album, released in June 1990. This reissue contains all the different mixes of the Big Audio Dynamite-influenced song, along with the single The Crying Scene and the non-album singles sides, including a duet with Edwyn Collins of his Orange Juice song Consolation Prize , recorded live at Glasgow Barrowlands. The annotation is by Terry Staunton.
Top customer reviews
The Crying Scene is a really enjoyable indie-rock song, with guitars in the fore, only a hint of synthesisers and a touch of self deprecation “You only get one hit, that's the beauty of it/What's the good in crying?”; not the greatest song Roddy has ever written, but it's certainly extremely listenable. Get Outta London, with its powerful rock character, thumping drums and rich, deep bass line, isn't exactly the most loving tribute paid to the UK's capital city, but as an ex-resident of the city that can often seem impersonal and uncaring, I can certainly empathise with the sentiments behind it. The gorgeous smoky, jazz torch song that is Over My Head is exquisitely delivered; so much so, it's difficult to believe that just three years earlier the same man gave us Everybody Is A Number One. Good Morning Britain, a highly politicised rock song, featuring The Clash's Mick Jones, is a bold, admirable number whose lyrics could only really be disliked by the kind of people who believe that patriotism equates to a blind belief in a country's greatness. Needless to say, I am not one of those people and, without going too deep into the politics, I believe Frame's social commentary here, written in a pre-Good Friday agreement United Kingdom, is fair and steeped in a desire for an end to division and conflict as well as a need for equality and respect for all citizens of our home nations; it's an excellent song and, even better, has a rather catchy chorus. It is interesting to think about the content of this song and analyse just how much has changed over the past twenty-seven years. Have things changed enough? That is for the individual to decide.
Aztec Camera do their best Rolling Stones impression on How It Is but, although superficially enjoyable musically with some brutal, hard-hitting “right on” lyrics, is still, for me, one of the weaker tracks on the album. The Gentle Kind, is a nice pop song with a shuffling beat and pleasant melody, but fails to get out of first gear too often whereas Notting Hill Blues, weighing in at nearly seven minutes long, manages to convey a greater emotional punch and also features a wonderful Roddy Frame guitar solo. Final track, Song For A Friend, is an acoustic guitar and vocals only track and, whilst it doesn't quite hit the heights of Down The Dip or Killermont Street, is a beautiful song, honestly delivered, and it finishes the album gracefully. Perhaps one of the notable factors about Stray is that, whilst perhaps Roddy has written stronger songs on other albums, Aztec Camera's fourth release is devoid of anything that isn't, at least, easy to listen to or enjoyable. There is no overproduction muddying the waters, no hideously dated synthesiser sounds honking over the pop tracks and nothing that appears to have been written with either Frame or the record company looking for a massive hit (despite its commercial appeal, I think the lyrics disqualifies Good Morning Britain as a cynical crowd-pleaser). As much as I think Love is a superb album in places, Stray is the anti-Love; it feels like we've got the Roddy Frame that we knew from High Land, Hard Rain back and I can now understand why so many people loved Stray at the time and why so many fans continue to enthuse about it many years later.
Thoughts about the bonus disc:
The 2012 Rhino re-issue of Stray comes in a hardback booklet-type sleeve, has glossy pages with full lyrics, photos, artwork and an essay about the album by journalist Terry Staunton. The bonus tracks start off well, with the 'B'-side material being of fairly decent quality. Consolation is the kind of Frame composition you can understand not meriting inclusion on a studio album, whereas the cover of Cyndi Lauper's True Colours is, whilst not exactly earth-shattering, is really very pleasant and the jaunty Orange Juice song Consolation Prize is performed live with Edwyn Collins himself at Glasgow Barrowlands in August, 1990. Also excellent is Roddy's performance of Do I Love You, which was originally from the 1990 Red Hot & Blue compilation, an album where contemporary artists recorded their renditions of Cole Porter songs, with all proceeds going to AIDS charities. Unfortunately, after this decent selection of 'B'-sides, we then get six versions of Good Morning Britain which, to be candid, you would have to be a masochist to sit through all of them. For the sake of hearing everything on the album, I've done just that and, although I still think it's a great song, I also believe I could go without hearing it again for a long, long time. The Good Morning Britain-fest on the bonus disc is, easily, the worst thing about this whole re-issue which, given the quality of the original album, really is a let-down.
Roddy Frame deserved to be bigger and whilst this produced a couple of minor hit singles the beauty of some of the tracks largely went unnoticed by the public. My only disappointment with this one of the reissue series is that the bonus tracks on the second disc are dominated by 6 different mixes of Good Morning Britain and not being such a fan of remixes I probably played it once and I guess I won't give it another spin. That point alone prevented me from giving it a five star thumbs up.
Most helpful customer reviews on Amazon.com
how does this record get no reviews, no nothing. "stray," the song, is one of the most monumentally pensive, reflective, lush, romantic, uplifting, saddening time-taking pop masterpieces ever commited to tape. It is beautifully produced, with lustrous deep tones in the bass . . . the rockers, with help from the clash's mick jones ("London" is a burner), plus edwyn collins and paul carrack, well, people, this thing seems like it's out there for a measly 95 cents. It furthers my conviction that music history -- in pop and jazz -- can never be definitevely written, only argued, because great songs like "Stray" will never receive their recognition in any anthology, but will be carried along by the knowing throughout their lives, because it has touched them and stayed with them in a place and a time with meaning -- this --- roddy's music has always been the melancholy behind and below the surface of punk rock. I remember spending time with him and the young gang on their first trip to america, and roddy was tripping all the time, it seemed, and they went west and we stayed east, of course, and watched them go, and when they returned, at, where was it in new york? the ritz? for the final show, and he is clearly tripping on stage and the crowd is a little restless because punks wanted hard and fast, of course, but roddy was born from the trappings of the sounds of young scotland not safety pins and bad teeth and this meant more purity in fun and beauty and taste for pop and melody, but also a strong connection, as it turned out, to soul, and suddenly, then, the crowd and band were hushed and roddy gave us elvis costello's shipbuilding alone, from something else to that because that's where he was in his head at the time, and we were quiet and watched him go to that space and feel that pain inside the lyric and melody, and we knew he was a wonder and some of us, all these years later, as we wind into our 40s and, God willing, beyond, still find him, usually alone, and curl up and share. this album, then, is very very good, but not all that, but I would say the song "stray" itself will hold anyone -- as lou reed said -- whoever had a heart.
"Stray" has all the witty, sweet lyrics and charm from the earlier albums but it seems to me that this is a bit more mature.
Not mature just because of the jazz influences fluttering about and the cabaret piano but also from the endearing and poetic lyrics and vocals.
Like stated in the title of this review there are three different styles of music represented here. Some seperately "Stray", "over My Head" and "Song For A Friend" are sultry jazz piano pieces. "The Crying Scene" and "Notting Hill Blues" are pure pop and "The Crying Scene", "Get Outta London" and "How It Is" are rockin' fun.
There something for the music-lover here and it's done with a lot of heart and soul like only Roddy Frame can.
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