Forever Delayed The Greatest Hits Torrent
Greek pop singer Demis Roussos has been making his brand of sentimental pop since the '60s with the melancholy Aphrodite's Child. He left that group in the early '70s to pursue a solo career, which slowly moved away from the pop sound of the era and developed into a more traditional style as time went. This collection celebrates almost 33 years of music from Roussos, and what stands out the most is how strongly he held onto his image.
From day one Roussos comes off as a lovesick crooner who can barely get from one note to another due to fear of bursting into tears. This may seem like an exaggeration, but about ten songs into this 40-song collection it begins to really stand out. Much like contemporaries such as Tom Jones and Julio Iglesias, Roussos puts his all into his gimmick.
He is actually quite an effective singer; what really makes the album difficult to recommend is how much of this music the average listener can take. Most of these songs are very slow, sad, and depressing, something that works over ten tracks but can be rather overbearing at 40. Still, this is a great package for casual fans -- curious listeners should just beware of the intense sadness and sameness that comes with this collection.
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Dressed in glam clothing, wearing heavy eyeliner, and shouting political rhetoric, the Manic Street Preachers emerged in 1991 from their hometown of Blackwood, Wales, as self-styled 'Generation Terrorists.' Fashioning themselves after the Clash and the Sex Pistols, the Manics were on a mission, intending to restore revolution to rock & roll at a time when Britain was dominated by trancey shoegazers and faceless, trippy acid house. Their self-consciously dangerous image, leftist leanings, crunching hard rock, and outsider status made them favorites of the British music press and helped them build a rabidly dedicated following. For much of the band's early career, it was impossible to separate the rhetoric from the music and even from the members themselves -- the group's image was forever associated with lyricist/guitarist Richey James carving the words '4 Real' into his arm during an early interview.
As the British pop music climate shifted toward Brit-pop in the wake of Suede, the Manics didn't achieve fame, but they did attain notoriety. Legions of followers emerged, including many bands that formed the core of the short-lived 'new wave of new wave' movement. But as the group climbed toward stardom, the story didn't get simpler -- it got weirder. James' behavior became increasingly bizarre, culminating on the group's harrowing 1994 album The Holy Bible.
Early in 1995, James disappeared, leaving no trace of his whereabouts. The remaining trio carried on with 1996's Everything Must Go, the album that established them as superstars in England, yet that came at the expense of the arrogant, renegade gender-bending and revolutionary rhetoric that had earned them their initial fan base. It was a bizarre, unpredictable journey for a group that once proclaimed that all bands should break up after releasing one album. James Dean Bradfield (vocals, guitar), Nicky Wire (born Nick Jones; bass), Sean Moore (drums), and Flicker (rhythm guitar) formed Betty Blue in 1986. Within two years' time, Flicker had left the band and the group had changed its name to the Manic Street Preachers.
In the summer of 1988, a fellow student at Swansea University, Richey James (born Richey Edwards), who had previously been the group's driver, joined the band as rhythm guitarist. They began recording demos, eventually releasing the single 'Suicide Alley' in August. 'Suicide Alley' boasted a cover replicating that of the Clash's first album, which indicated the sound of the group at the time -- equal parts punk and hard rock. A year after the single's release, NME gave it an enthusiastic review, citing James' press release -- 'We are as far away from anything in the '80s as possible.'
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Indeed, the Manics were one of the key bands of the early '90s, and their career didn't get rolling until 1991. The New Art Riot EP appeared in the summer of 1990, followed by a pair of defining singles -- 'Motown Junk' and 'You Love Us' -- in early 1991 on Heavenly Records. The singles and the Manics' incendiary live shows, where they wrote slogans on their shirts, created a strong buzz in the music press, which only escalated that May.