Galaxie 500 Albums (3)
What The Critics Say
What turned out to be the final Galaxie 500 album was also arguably the band's most accomplished. Not that the earlier records lacked either charm or ability, but right from the charging, chugging start of "Fourth of July," the amazing single and leadoff song from This Is Our Music (even including a cheeky Velvet Underground reference from "Candy Says"), the trio here sounds like they could take on anyone. Kramer's production and the use of reverb from past releases all once again contribute to Galaxie 500's magic, while the individual members continue to sound fantastic. Somehow, though, everyone aims higher, Wareham's singing among his finest and his guitar going for the truly epic more than once, Krukowski and Yang even more perfectly in sync than before, often being very bold without losing their intrinsic warmth. From a generally different approach, Galaxie 500 here easily equaled the heights of their U.K. shoegaze contemporaries and often trumped them -- "Summertime" in particular is a stunner -- while making a lot of contemporary American indie rock seem fairly dull and workaday. The choice of cover version this time out is astonishing -- Yoko Ono's "Listen, the Snow Is Falling," with Yang singing beautifully over, initially, Wareham's echoed guitar strums, and Krukowski's barely-there percussion cascade. The switch to a full-band arrangement, far from destroying the song's spell, makes it even more intense and gripping a listen. The subtle touches throughout the album add immeasurably to its magic -- the soft ringing bells shimmering through "Hearing Voices," quiet synth on "Spook," and Kramer's self-described "cheap flute" on "Way up High." It all concludes with "King of Spain, Part Two," a reworking of the flip side to "Tugboat" -- while it wasn't a planned finale, as an unexpectedly right bookend to a career, it ends both Galaxie 500 and This Is Our Music on a perfect note. Later CD versions include a cover of the Velvet Underground's "Here She Comes Now," originally the B-side from "Fourth of July." ~ Ned Raggett, All Music Guide
What The Critics Say
Having already made a fine account of themselves on Today, the three members of Galaxie 500 got even better with On Fire, recording another lovely classic of late '80s rock. As with all the band's work, Kramer once again handles the production, the perfect person to bring out Galaxie 500's particular approach. The combination of his continued use of reverb and the sudden, dramatic shifts in the music -- never exploding, just delivering enough of a change -- makes for fine results. Consider "Snowstorm," with Krukowski's soft-then-strong drums and Wareham's liquid solo and how they're placed in the mix, leading without dominating. Yang's vocals became more prominent and her bass work more quietly narcotic than before, while Krukowski adds more heft to his playing without running roughshod over everything, even at the band's loudest. Wareham in contrast more or less continues along, his glazed, haunting voice simply a joy to hear, while adding subtle touches in the arrangements -- acoustic guitar is often prominent -- to contrast his beautifully frazzled soloing. Leadoff track "Blue Thunder" is the most well-known song and deservedly so, another instance of the trio's ability to combine subtle uplift with blissed-out melancholia, building to an inspiring ending. There's more overt variety throughout On Fire, from the more direct loner-in-the-crowd sentiments and musical punch of "Strange" to the Yang-sung "Another Day," a chance for her to shine individually before Wareham joins in at the end. Again, a cover makes a nod to past inspirations, with George Harrison being the songwriter of choice; his "Isn't It a Pity" closes out the album wonderfully, Kramer adding vocals and "cheap organ." Inspired guest appearance -- Ralph Carney, Tom Waits' horn player of choice, adding some great tenor sax to the increasing volume and drive of "Decomposing Trees." Later CD pressings included the bonus tracks from the Blue Thunder EP. ~ Ned Raggett, All Music Guide
What The Critics Say
Galaxie 500's debut doesn't merely live up to the sweet promise of the band's debut single "Tugboat," Today's final song, but almost without trying becomes its own gently powerful touchstone. While the influences are clear -- third album Velvet Underground, early non-dance New Order, psychedelic haze and fuzz thanks to the reverb Kramer piled on as producer -- the resulting brew easily stands on its own. By never feeling the need to conventionally rock out, the Krukowski/Yang rhythm section comes up with its own brand of intensity. Sometimes the two are persistently skipping along without Krukowski having to bash the hell out of the drums (the downright delightful "Oblivious" is a good example), other times they simply play it soft and slow. Meanwhile, Wareham's low-key chiming and slightly lost, forlorn singing, at places wry and whimsical, often achingly sad, forms the perfect counterpoint to the songs' paces, feeling like a gauzy dream. When he comes up with his own brand of electric guitar heroics, it's very much in the Lou Reed and such descendants vein of less being more, setting the moods via strumming and understated but strong soloing. One particular Descendant gets honored with a cover version: Jonathan Richman, whose "Don't Let Our Youth Go to Waste" is turned into a deceptively calm epic, with marvelous playing by all three members. It's easier to lose oneself in the flow of the sound rather than worry about any deep meaning, making the stronger images that come to the fore all that more entertaining, like "watching all the people fall to pieces" in "Parking Lot." "Tugboat" itself, meanwhile, remains as wonderful as ever, a cascading confession of love at the expense of everything else, somehow mournful and triumphant all at once. Later CD versions included the "Tugboat" B-side, "King of Spain." ~ Ned Raggett, All Music Guide
