(1 users) 
Cover NOT yet available in
Join up for 4K upload/download access
Your Rating (Click a star below)
Track List
01) Lose Control
02) Goldfinger
03) Girl From Mars 
04) I'd Give You Anything
05) Gone the Dream
06) Kung Fu
07) Oh Yeah
08) Let It Flow
09) Innocent Smile
10) Angel Interceptor
11) Lost in You
12) Darkside Lightside / Sick Party
01) Lose Control
02) Goldfinger
03) Girl From Mars
04) I'd Give You Anything
05) Gone the Dream
06) Kung Fu
07) Oh Yeah
08) Let It Flow
09) Innocent Smile
10) Angel Interceptor
11) Lost in You
12) Darkside Lightside / Sick Party
3:37
4:31
3:30
4:31
3:29
2:17
4:45
4:42
5:51
4:04
4:19
16:47
Data Complete 80%
Total Rating
Total Rating
(2 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1996
Alternative Rock
Reflective
Rock/Pop
---
Medium
Album
0 copies
Album Description
Available in:
1977 es primer álbum oficial de la banda, lanzado el 6 de mayo de 1996 a través del sello discográfico Infectious Records.
Producido por Owen Morris (el mismo que había trabajado con Oasis en Definitely Maybe y (What’s the Story) Morning Glory?) que tenía fama de dar un sonido muy directo y “explosivo” a las guitarras, y en Ash se nota muchísimo. En el participó toda la formación original: Tim Wheeler (voz y guitarra), Mark Hamilton (bajo) y Rick McMurray (batería).
El álbum es un cóctel explosivo de punk-pop, melodías luminosas y actitud adolescente. Se notaba que habían crecido con Nirvana y los Ramones, pero con un pie en la inmediatez melódica de Buzzcocks y Teenage Fanclub. Riffs rápidos, letras juveniles y esa sensación de que todo pasa a velocidad de vértigo.
Entre las canciones del disco destaca "Girl From Mars" el himno que les abrió puertas en la MTV y radios internacionales, "Kung Fu" un descaro total, casi una broma, que se convirtió en clásico en directo y "Goldfinger" melodía redonda y uno de los grandes singles noventeros en Reino Unido.
Llegó directo al número 1 en las listas británicas y fue recibido como una bocanada de aire fresco en pleno auge del britpop, aunque sonaban más cercanos al punk melódico americano. La crítica los etiquetó como los “niños prodigio del rock” porque tenían apenas 19 años y les abrió la puerta a festivales grandes y giras mundiales.
El título hace referencia tanto al año de nacimiento de Wheeler y Hamilton como al estreno de Star Wars, dejando clara su vena friki-pop desde el inicio.
Como curiosidad friki el disco arranca con el sonido de una nave de Star Wars y acaba con el ruido de un vómito, un gesto gamberro que encapsula perfectamente el espíritu del grupo: mitad cultura pop, mitad humor adolescente.
User Album Review
If ever a band was the sound of fruity alcopops, Ash might well have been it on 1977.
There are albums that define generations, and then there are those that will forever soundtrack a flash rather than a lingering resonance heard across the years. Ash’s debut LP, named in honour of the year Star Wars hit cinema screens and "opened" by the scream of a TIE Fighter (unless you had a CD copy with two hidden tracks at the beginning – this writer did), falls face-first into the latter category, sauce from last night’s takeaway still sticky on its chin and with a less-than-faint whiff of booze about it.
1977 is perhaps best remembered by those who shared in its sentiments – written by a trio of teenagers, for an audience of the same, it preoccupied itself with chugging alcohol, chasing after girls and messing about with martial arts. Frontman Tim Wheeler was just 19 at the time of its release and, like most 19-year-olds, was likely enjoying legal drinking age status; but his songs recall a time just previous to chucking away the fake ID, where park benches were bar stools and a bottle of flavoured wine drink was the choice of the get-drunk-quick teen on their way to a parents-away party.
For this writer, who sold a games console to pick up this record (amongst others, in a since-closed-down-local-indie-shop binge), singles like Angel Interceptor, Girl From Mars and Kung Fu will forever soundtrack foggy memories of spilling out of houses that weren’t home, at a time when bed should have been reached some hours earlier. And this writer is certain he’s not alone in feeling that way.
But listening today, almost 16 years after its release, 1977 isn’t all pop-punk knock-abouts in the vein of its mini-LP predecessor Trailer (one of its tracks, Jack Names the Planets, is one of the pre-Lose Control hidden gems). Goldfinger has stood up to the test of time mightily well, roaring into life with a maturity that wouldn’t fully compose itself until Ash’s third album, 2001’s Free All Angels. Here, bespectacled drummer Rick McMurray sounds as if he’s pounding mountains while lanky bassist Mark Hamilton’s pulling off Jedi mind tracks with his four-string; at the time of writing, the toes can’t help but tap along to something of a Britpop-period classic.
Hamilton’s sole solo composition, Innocent Smile, is amongst the simpler arrangements, in debt to stateside grunge bands and replete with delinquent lyrics – but its raw energy remains as infectious in 2012 as it’s ever been. Best-known cut Oh Yeah helped shift its share of albums, peaking at 6 on the singles chart in the June of 1996, and Wheeler’s imperfect vocal makes its tale of teenage infatuation all the more believable. He’d become a better singer, but has never quite conveyed emotion as perfectly as he did so here. And to the ears of a 16-year-old, his words were gospel: this was the way to rule.
And rule Ash certainly did: every single from 1977, 95's Girl From Mars onwards, went top 20, and their between-LPs effort A Life Less Ordinary (from the film of the same name) was also a top 10 hit. Their stock may have fallen in recent years, but to listeners of a certain vintage Ash will forever be summer holidays and half-inched hooch, stained into the grey like a spilled alcopop.
External Album Reviews
None...
User Comments
Available in:
1977 es primer álbum oficial de la banda, lanzado el 6 de mayo de 1996 a través del sello discográfico Infectious Records.
Producido por Owen Morris (el mismo que había trabajado con Oasis en Definitely Maybe y (What’s the Story) Morning Glory?) que tenía fama de dar un sonido muy directo y “explosivo” a las guitarras, y en Ash se nota muchísimo. En el participó toda la formación original: Tim Wheeler (voz y guitarra), Mark Hamilton (bajo) y Rick McMurray (batería).
El álbum es un cóctel explosivo de punk-pop, melodías luminosas y actitud adolescente. Se notaba que habían crecido con Nirvana y los Ramones, pero con un pie en la inmediatez melódica de Buzzcocks y Teenage Fanclub. Riffs rápidos, letras juveniles y esa sensación de que todo pasa a velocidad de vértigo.
Entre las canciones del disco destaca "Girl From Mars" el himno que les abrió puertas en la MTV y radios internacionales, "Kung Fu" un descaro total, casi una broma, que se convirtió en clásico en directo y "Goldfinger" melodía redonda y uno de los grandes singles noventeros en Reino Unido.
Llegó directo al número 1 en las listas británicas y fue recibido como una bocanada de aire fresco en pleno auge del britpop, aunque sonaban más cercanos al punk melódico americano. La crítica los etiquetó como los “niños prodigio del rock” porque tenían apenas 19 años y les abrió la puerta a festivales grandes y giras mundiales.
El título hace referencia tanto al año de nacimiento de Wheeler y Hamilton como al estreno de Star Wars, dejando clara su vena friki-pop desde el inicio.
Como curiosidad friki el disco arranca con el sonido de una nave de Star Wars y acaba con el ruido de un vómito, un gesto gamberro que encapsula perfectamente el espíritu del grupo: mitad cultura pop, mitad humor adolescente.
User Album Review
If ever a band was the sound of fruity alcopops, Ash might well have been it on 1977.
There are albums that define generations, and then there are those that will forever soundtrack a flash rather than a lingering resonance heard across the years. Ash’s debut LP, named in honour of the year Star Wars hit cinema screens and "opened" by the scream of a TIE Fighter (unless you had a CD copy with two hidden tracks at the beginning – this writer did), falls face-first into the latter category, sauce from last night’s takeaway still sticky on its chin and with a less-than-faint whiff of booze about it.
1977 is perhaps best remembered by those who shared in its sentiments – written by a trio of teenagers, for an audience of the same, it preoccupied itself with chugging alcohol, chasing after girls and messing about with martial arts. Frontman Tim Wheeler was just 19 at the time of its release and, like most 19-year-olds, was likely enjoying legal drinking age status; but his songs recall a time just previous to chucking away the fake ID, where park benches were bar stools and a bottle of flavoured wine drink was the choice of the get-drunk-quick teen on their way to a parents-away party.
For this writer, who sold a games console to pick up this record (amongst others, in a since-closed-down-local-indie-shop binge), singles like Angel Interceptor, Girl From Mars and Kung Fu will forever soundtrack foggy memories of spilling out of houses that weren’t home, at a time when bed should have been reached some hours earlier. And this writer is certain he’s not alone in feeling that way.
But listening today, almost 16 years after its release, 1977 isn’t all pop-punk knock-abouts in the vein of its mini-LP predecessor Trailer (one of its tracks, Jack Names the Planets, is one of the pre-Lose Control hidden gems). Goldfinger has stood up to the test of time mightily well, roaring into life with a maturity that wouldn’t fully compose itself until Ash’s third album, 2001’s Free All Angels. Here, bespectacled drummer Rick McMurray sounds as if he’s pounding mountains while lanky bassist Mark Hamilton’s pulling off Jedi mind tracks with his four-string; at the time of writing, the toes can’t help but tap along to something of a Britpop-period classic.
Hamilton’s sole solo composition, Innocent Smile, is amongst the simpler arrangements, in debt to stateside grunge bands and replete with delinquent lyrics – but its raw energy remains as infectious in 2012 as it’s ever been. Best-known cut Oh Yeah helped shift its share of albums, peaking at 6 on the singles chart in the June of 1996, and Wheeler’s imperfect vocal makes its tale of teenage infatuation all the more believable. He’d become a better singer, but has never quite conveyed emotion as perfectly as he did so here. And to the ears of a 16-year-old, his words were gospel: this was the way to rule.
And rule Ash certainly did: every single from 1977, 95's Girl From Mars onwards, went top 20, and their between-LPs effort A Life Less Ordinary (from the film of the same name) was also a top 10 hit. Their stock may have fallen in recent years, but to listeners of a certain vintage Ash will forever be summer holidays and half-inched hooch, stained into the grey like a spilled alcopop.
External Album Reviews
None...
User Comments
No comments yet...
Status
unlockedRank: External Links
