27. Jan. 2008, 20:49
Found on the internet:
Just a review found on the internet:
ColorZoo’s album 7” Tales From Black Pig Farm soundtracks a comic revenge poem about a heartbroken farmer, inter-species brain transplants and accidental cannibalism with eight tracks that veer between electro-funk, Kate Bush-style warbling and childlike instrumentals. It’s presented in a hermetically sealed paper envelope and comes with a pull-out card featuring the poem in full and a bit of artwork. Pretentious, obviously, but the whole package is bizarrely evocative. It’s like revisiting the TV you watched as a kid with the sick sense of humour you’ve developed since. Those that like their music straight up and down-to-earth (Northeners, then) should avoid, but anyone who likes the idea of owning a psychotic episode of Jackanory should enquirie further. Enjoy.
tracklisting of Make you Smile from Colorzoo
1. Make You Smile 3:42
2. Air Traffic Control 2:13
3. Safari 0:10
4. Early Bird 2:12
5. Mr. Herb Picker 0:29
6. Carousel 1:52
7. I want to live on Black Pig Farm 0:48
8. Daisy Burger 0:57
9. The End 2:50
10. Excerpt from The Yard Went On Forever 0:48
11. Insane In The Pigbrane 1:37
1 of 1 people found the following review helpful:
One of the best albums I've ever heard, 15 Dec 2002
By "scrubnib" - See all my reviews
I'd never heard of them, but I'm so glad I got introduced to Funky Monkey's unique chillout style. These are the sorts of tunes you can't get enough of- you can't listen to Lonely Suite or the female solo in The Great Gig in the Sky without feeling incredibly chilled and 100% happier..
The whole album's good, especially the way it follows the story included with the CD. Buy it. Comment | Permalink | Was this review helpful to you? (Report this)
2 of 3 people found the following review helpful:
The best contemporary funk available, 13 Jan 2001
By A Customer
Funky Monkey is a band who sound exactly like their name. Not only do they produce the funkiest contemporary grooves around, they also throw in a rare cheeky sample or two, just to brighten things up a bit. Superfox is a literally blistering collection of tunes. Sweeping Orchestral rhythms, Vegas Love's electric piano and the riffs of Peter Banks' guitar combine, along with the occasional voice of Denise Johnson (who worked with Primal Scream on "Screamadelica" and "Give Out But Don't Give Up") to make an album which will leave lovers of funk with their mouths agape. Funky Monkey have progressed from their earlier album "Come Together People of Funk". Superfox is much less repetitive and is, at times, exquisite - just listen to the opening notes on "Reunion". If you are looking for a modern album, which combines great tunes, great sounding instruments and a great soul voice with the best funk around then you had better buy Superfox.
By George (Netherlands) - See all my reviews
Get to my group triphop or Funky Monkey on last.fm!
I consider Funky Monkey as one of the most underestimated bands of all time. Their music is simply great and unique!
Join us in Tomorrow
What it says on the box, 4 Mar 2004
By A Customer
A funky monkey indeed - very light and bright and breezy dance music. Don;t really know much about this group but this album is like a greatest hits package with tracks from each of their previous albums plus some singles and previously unreleased items, including a gorgeous track (Tomorrow's Girl) with vocals by Sarah Cracknell of St Etienne which are to die for.
The musical factor which tends to make me most homesick for 1967 is that of the gargantuan, opulently compressed orchestra. There’s been a lot of reminiscing on radio of late with the 40th anniversaries of Radios 1 and 2 and the concurrent demise of pirate radio, but it’s the hugeness, the cavernous echoes, which speak to me most dearly – think of George Martin’s original “Theme One” (described by a veteran BBC producer at the time, and not altogether disapprovingly, as “William Walton gone mad”) or David Sinclair Whitaker’s 16 rpm reworking of “The Last Time” (later the foundation of “Bitter Sweet Symphony”) or Mark Wirtz’s piccolo trumpets, harpsichords and Home Service strings on “Excerpt From A Teenage Opera.” And that’s without mentioning Wally Stott and Peter Knight’s work on the first Scott Walker album, let alone “A Day In The Life.” Of their time, yet simultaneously behind and ahead of it, this music still speaks to me of promises – some fulfilled, others trampled over in the progress of time.
“Peaceman” inspires similar feelings in me; if Radio Caroline had still been a going concern in 1998/9, I could well imagine their using this as a station ID, or an anthem. Funky Monkey – which seems essentially to have been producer and sometime Saint Etienne collaborator Gerard Johnson - were one of a thousand Big Beat hopefuls of the period; their records were diverting (extra chutzpah points for including the original, undiluted Oliver Nelson Six Million Dollar Man theme on their debut, Come Together People Of Funk) if not especially radical, and apart from the unsatisfactory compilation Join Us In Tomorrow, with a considerably inferior six-minute mix of “Peaceman,” their work has vanished from the racks.
No, “Peaceman” must be heard in its original, slowly unfolding, ten-minute, ten-second version. It begins with a Bach prelude played on a string synth which is steadily engulfed by the sound of riots and police sirens; a police radio voiceover (“Big shanks, good shanks”?) is turned into the foundation of the track as the beats systematically make their entrance; first one rhythm, then a grittier overlay, followed by electric piano and bass. Comparisons with Primal Scream’s “Come Together” would not be farfetched, except “Peaceman” is faster and slightly brighter.
An intriguing harmonic sequence is developed by the electric piano (using the initially cited Bach melodic sequence as a springboard) and the bass over the now danceable rhythm, until, at 4:45, the sunrise of synthesised strings, playing a gorgeously painful major/minor melody, casts its yellow shadow over the proceedings. A rhythm breakdown follows until the melody re-enters, reinforced, at 6:47, followed at 7:22 by Denise Johnson’s voice (hence the Primal Scream connection) singing, or intoning, “Come together, people of funk.” I think of Number 6, freed and back in London, on the verge of tears as he surveys the Houses of Parliament and the South Bank, with “Peaceman”’s swelling melody in my ears and mind. Listening to it is like standing on top of Parliament Hill Fields as the clouds steadily begin to clear, the Highgate church spire behind me, the city ahead of me…it is lump in the throat time. Finally the music fades away to leave the electric pianist (billed on the credits as “Vegas Love”) improvising on the chord sequence (cf. Anne Dudley’s piano at the end of the album version of Art of Noise’s “Beat Box”) before drifting into another song altogether and then swiftly ending with a final flourish. A masterpiece which deserves salvation from wherever you can find it.
Text from Marcello Carlin at 17:17 on 01-Oct-2007
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