'64-'95 [Deluxe Edition][Expanded Packaging]

0 of 0 people found the following review helpful:

Incredibly Pretentious Music - For Jelly Fans ONLY, 2007-03-06
I came to this disc by a recommendation of someone whom I respect, but I was absolutely floored how bad this music was. First of all, the samples and dubs seem incongruous, moving from one extreme mood to another as each cut proceeded. This is music that's undefinable, shifting from rock to ambient, to something in between. I'm sorry. I just don't get this music. But given the enthusiasm of the reviews gathered here, it's clear that there are people who enjoy this music and are hearing something profound in it that I am not. Or maybe I haven't chosen the right Lemon Jelly disc to which to listen. But this one really burned me. I mean, in one hundred years, will anyone be listening to this group? That may seem like an unfair standard, but if artists would just _try_ harder and write better music (certainly music better than this) the world would be a lot better off.

4 of 4 people found the following review helpful:

So long as your not expecting more of the same, superb fun.., 2005-04-14
The duo behind 'Lemon Jelly' (which consists of "Nick Franglen" "Fred Deakin"....have through, a couple of remarkably fun and accessible downtempo albums, become something of an underground word of mouth sensation. But the worry for artists that make such electronically oddball albums, is that unless something is added to the formula with each album, the record buying public will eventually lose interest and move on. So for their 3rd album, the duo have not only given the music a tougher edge, but they have also only used samples from the period 1964 - 1995 (hence the album title 64-95). But will their blend of purely sampled created music succeed a third time around?? (well, you've seen my rating, so you know the answer, but lets br /pretend, for the sake of this review, you haven't eh???). br / br /The duo have obviously sat down, and decided upon what the particular strengths/weaknesses of their music are, and worked hard to broaden the sound with less emphasis on purely quirky downtempo driven tracks, as a fair portion of the ten tracks here, are certainly more energised, than before, with elements of crunchy rock and experimental sonic beats having fleshed out the sound more, and there even seems to be the occasional nods to (un)conventional dance music with tracks such as "The Shouty Track" bearing nods to Chemical bros styled dance-rock fusions. With it's enticing loops and hypnotic hooks, and vaguely aggressive shouts, It?s sumptuous, sleek and stylish?.and although nothing really like the previous albums, shows the duo are willing to not pigeon-hole their ideas. br / br /The majority of songs sound as if they've started with a solid idea (or indeed sample), and built the track from the ground up, with a plethora of extremely well chosen samples and loops of sorts, which generally work towards some form of energetic rhythm, that the previous albums lacked to some degree. And it's clear that with having had two albums experience to draw from, the duo have arguably refined their considerable talents here, with the displaced samples, working to stretch the imagination of each track, rather than being a mindless procession of goofy samples, that become tiresome rather quickly. br / br /But lets not forget the reason why we all like Lemon Jelly so much....and that's because they make sublimely tongue-in-cheek gleefully oddball electronica that although meticulously devised and arranged, doesn't take itself too seriously, so it tracks like "Only Time" and "Make Things Right", that still reference the quirky concepts of previous albums are here for those that still yearn for the duo's previous work, and although there are parts throughout the album, that clearly are, a step in a (slightly) new direction, In parts, its not hard to hear that this is still unmistakably Lemon Jelly. Although it is also clear the most, that the duo are obviously eager to evolve their trademark of songs built purely around samples with tracks that although possibly alienating fans of playful classics tracks such as "Nice Weather for Ducks", will almost certainly gain new listeners with the beefed up sound, that steps over the laid back grooves of the last two records, for "Come Down on Me's" brash beats and electric guitars, that although may not work quite so well in a chilled environment like the first two albums, will certainly attract the attention of those that considered the previous albums, far too finicky forgettable. br / br /"Make Thing Right" feels like it's a nod to the early 90's, when Trip-Hop was a musical forced to be reckoned with. Samples of acoustic guitars, coupled with languished, shuffling slow drumbeats feature, and has a lush, romantic and completely feel-good streak running through it. And is probably the sort of clipped pastoral acoustic that most, middle of the road Trip-Hop acts, wish they could do half as competently as it has been done here. Even "Stay With you" exhibits a leaning towards being a hybrid of Disco Electronica, as it has the sort of catchy melancholic minor-key guitar elements, that was used so often in '70s pop, and has a slight air of glammed up stomp about it, that made those sorts of tracks, such unquestionable floor fillers. br / br /Your enjoyment of this album, will possibly to some degree, depend on how accepting you are willing to be with this album, because those that are expecting (or indeed hoping) for a retread of the previous albums, will be, by and large....disappointed, as the relaxed mood of before has been expanded to include a wider genre, including: smooth breaks dance electronica. Two examples, that are now introduced into the fold. And musically as well, the wide selections of samples, have expanded their already-eclectic sonic palette to include more obvious hints of disco, house and rock, which may upset some, but it's becomes clear after listening to a couple of tracks, that this is less quirky and eccentric than before, and seems to be a conscious attempt, that give their music some longevity. (which critics of previous work have cited). And it's has given the music not only some diversity, but a little more depth. Personally speaking, I think this is probably their most fully realised album yet, and the various hopping between quiet / loud(ish) songs, fights off any monotony, and so long as you know what to expect when you listen to this album, there's a great deal to gleam here from Electronica's most witty act.

3 of 5 people found the following review helpful:

Unbelievably dull, 2005-03-15
What in the world happened to Lemon Jelly? Their last album emLost Horizons/em was easily one of my favorite, and most-listened-to albums of the past couple of years, but something dreadful happened in between. emHorizons/em was full of intrigue, wit, melody, and was an utter joy to listen to over and over. em64-95/em feels like luke-warm Chemical Brothers, with flat beats and mind-numbingly repetitive arrangements. It's a huge step backward.

8 of 9 people found the following review helpful:

64-95 reasons you should buy their last album, instead., 2005-02-16
Much to my chagrin, I would have to agree with some of the other reviewers, even though I sadly chose to ignore them and buy it anyway. Lemon Jelly's last record "Lost Horizon," was truly-- ugh, here comes THAT word-- genius. But it's not at all an exaggeration, and I really can't recommend that record highly enough. Nevertheless, I don't know if they either set the bar too high for themselves, or just kinda phoned this one in, or what. But either way, simply put, it's just a boring record. Sorry Jellyheads. With the possible exception of one interesting track called "Slow Train," which at least is somewhere in the same remote vicinity of what made their last album so sonically unique... the rest of it just sounds like it could have come from any one of dozens of other DJ's spinning dance trax without any real inspiration. And after listening over and over to his unbelievable "Has Been" record of late last year, even the inclusion of William Shatner's voice on a couple of tunes can't save this dud. So if you bought "Lost Horizon" and loved it - do yourself a favor and skip "64-95." Hate me now, thank me later. And if you didn't buy "Lost Horizon," then for God's sake, one-click purchase it IMMEDIATELY and still skip "64-95." Happy listening.

1 of 3 people found the following review helpful:

One of the best albums I've heard in a while., 2005-02-08
And quite possibly my favourite of Lemon Jelly's albums to date. Everything in this album is mixed beautifully, and has a certain special aspect to it that just makes me tingle with both excitement and joy. br / br /Something I feel that needs to be pointed out, is that there really isn't a single track on this album one can't enjoy, from the trance-inducing "A Man Like Me" to the oddly heart-warming sound of "Stay With Me". It really is that good. And of course, how can anyone in their right mind resist listening to the final track "Go" without smiling? Kudos to William Shatner on that; his vocals are absolutely superb!