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Dandy Warhols - The Dandy Warhols Are Sound
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| Allmusic |
| The Dandy Warhols opened their 2003 album, Welcome to the Monkey House, with a brief, snide dig at record industry greed and illogic that ran, in part: "When Michael Jackson dies, we're covering 'Blackbird.'" The line was obviously intended as a flip reference to Jacko's control of the Beatles' publishing rights -- of course, "Blackbird" is a rather fitting song to record as a eulogy, though it's doubtful that the Dandys considered that at the time. But fate had some amusingly ironic, if insignificant, tricks in store when, six years later, Jackson's unexpected death occurred mere weeks before the release of an alternate version of that same album -- a version whose initial release had been prevented by the Dandys' own industry woes, and which featured all of the same songs except for the sadly newly relevant titular ditty. The story is that the bandmembers took the tracks (which they had co-produced with Duran Duran's Nick Rhodes) to be mixed in New York by Russell Elavedo (D'Angelo, Common, the Roots), but the results were rejected by Capitol Records and shelved in favor of a new version mixed (apparently without the band's involvement) by British pop engineer Peter Wheatley (Sugababes, Girls Aloud, Sophie Ellis-Bextor), which was released to mild but vaguely disappointing success and ended up as their second to last album for the label. The differences between the two versions, as fans heard once the Elavedo mix (dubbed The Dandy Warhols Are Sound) was self-released by the band in 2009, are roughly what one would expect after comparing the two engineers' prior clientele rosters. Not that these mixes make the Dandys sound like a grittily organic hip-hop/soul outfit on the one hand, or a glistening chart-pop act on the other -- this is essentially a rock & roll album either way -- but Sound is notably more stripped-down and spacious, with fewer of the synthesizers and electronic underpinnings that gave several Monkey House tracks their noted (and arguably prescient) new wave/synth pop vibe....full text |
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| Billboard |
| The opening track of the Dandy Warhols' 2003 album, "Welcome to the Monkey House," contains the lyrics, "When Michael Jackson dies, we're covering 'Blackbird,' " referring to the Paul McCartney-penned song whose copyrights were owned by the late King of Pop. So it's fortunate-or unfortunate, depending on your view of morbid publicity-that this is the only track excluded from this alternate version of the 2003 set, mixed by Russell Elavedo (the Roots, Common, Alicia Keys). "Monkey House" was the band's experiment in '80s synth-rock, and with Elavedo's touch, the razor-sharp, reflective edges of the album's space-age cogs are smoothed and rounded, with the bright-hot electro-pop brought closer to loungey funk. New versions of tracks like "The Last High" and "I Am Sound" strip away the bulk of high-end vocal effects and synth embellishment, leaving more air for expressive interplay among the electronic, acoustic and organic elements of the arrangements. Without the robotic urgency of "Monkey House," "ARE Sound" gets the swing and psychedelia that the Warhols originally intended....full text |
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| Drownedinsound |
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The Dandy Warhols have never made it easy to approach their act as anything much more than cleverly stupid, vacant and insincere rock‘n'rollers. Songs beg, borrow and steal from superior artists. Finger-pointing at the druggie hipster youth culture the band so fully exemplifies, without a hint of self-consciousness, doesn’t do them any favors; their shameless pursuit of fame is enough to make reality show contestants blush. All of which would be forgivable if their musical accoutrements matched their audacity. And for three very good, often brilliant, albums The Dandy Warhols did just that. The transparency behind the pastiche showed on their fourth full-length, Welcome to the Monkey House. The shiny, hi-tech, over-compressed production highlighted the band’s blemishes in a way that made it impossible to overlook the fact The Dandy Warhols are inclined to take a singularly good idea and stretch it beyond any reasonable person’s attention span. With the exception of the album’s terrific singles, ‘We Used to Be Friends’ and ‘You Were the Last High’, their flavor-of-the-month foray into electronic pop resulted in largely grating and otherwise forgettable songs....full text |
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