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Afghan Whigs - 1965 - 11 - Omerta & The Vampire Lanois.wmv by RedOne911991. Minecraft Aquatic Adventures - Episode 9 by Denis. 1965 The Afghan Whigs Rarities Album 1965 The Afghan Whigs Album. The vocals create a gloomy feel and combining them with the jazzy instruments makes songs like 'John The Baptist' and 'Uptown Again' dark and catchy, The Afghan Whigs are just brilliant when they combine jazz/rock and very strong vocals. Instrumentaly is also where '1965' strives.

1965 is the sixth studio album by American rock band The Afghan Whigs. It was released on October 27, 1998, by Columbia Records.^[1]

Writing and recording[edit]

The album was written and recorded after Greg Dulli, the band's lead singer and rhythm guitarist, underwent treatment for clinical depression.^[2] The Afghan Whigs recorded primarily at Daniel Lanois' Kingsway Studios in New Orleans,^[3] with additional recording done at Ocean Way and Larrabee North in Los Angeles, The American Sector in New Orleans, and London Bridge in Seattle.^[4] Dulli produced the album and wrote most of its songs.^[4] For the cover, a photograph was used showing astronaut Ed White on the first American space walk as part of the Gemini 4 flight.^[5] How to open a pcb file in android.

Music and lyrics[edit]

The album incorporates jazz,^[6]R&B, and soul music influences in its mainly rock sound.^[7] The lyrics feature erotic narratives and paeans to sexuality.^[8][9] Music journalist David Stubbs writes that the album's subject matter 'reconciles lust for women with respect for women', abandoning the 'ironic self-loathing' of the band's 1993 album Gentlemen (1993) and the 'down in the dumps' lyrics of Black Love (1996).^[9]

Critical reception[edit]

Reviewing for the Los Angeles Times in November 1998, Marc Weingarten regarded songs like 'Somethin' Hot' and 'Neglekted' as 'the ugliest sort of come-ons, full of innuendo and whispered imprecations', but concluded that 'Dulli's velvety vocals and the band's sharp, punchy melodies win you over every time.'^[13]Entertainment Weekly reviewer Matt Diehl called Dulli 'one of rock’s finest lyricists: His noir vignettes read like a Jim Thompson novel, their erotic narratives expertly skewering the male psyche.'^[8] Stubbs, in NME, hailed 1965 as 'a triumph against the grain of post-grunge',^[9] while Jason Ankeny of AllMusic called it 'the gritty soul record just always out of The Afghan Whigs' reach—seamlessly integrating the R&B aspirations which have textured the band's sound since the beginning'.^[10]

Some reviewers were less receptive. Robert Christgau assigned 1965 a 'neither' () grade in Christgau's Consumer Guide: Albums of the '90s (2000), indicating an album that 'may impress once or twice with consistent craft or an arresting track or two. Then it won't.'^[17] In The New Rolling Stone Album Guide (2004), Joe Gross considered the album's upbeat tone and healthier thoughts on sexual relationships to be 'a mild letdown from the previous trilogy's relentlessness'.^[2]

Track listing[edit]

All tracks written by Greg Dulli except where noted.^[4]

1. 'Somethin' Hot' – 2:58
2. 'Crazy' – 4:04
3. 'Uptown Again' – 3:11
4. 'Sweet Son of a Bitch' – 0:23
5. '66' – 3:23
6. 'Citi Soleil' – 5:06
7. 'John the Baptist' – 5:34
8. 'The Slide Song' (Dulli, McCollum) – 3:54
9. 'Neglekted' (Dulli, McCollum) – 4:01
10. 'Omertà' (Dulli, McCollum) – 5:40
11. 'The Vampire Lanois' (Dulli, McCollum, Horrigan, Curley) – 3:21

Personnel[edit]

Credits for 1965 adapted from liner notes.^[4]

Charts[edit]

References[edit]

1. ^Musician, Issues 242-245, p. 17.
2. ^ ^abcGross, Joe (2004). 'Afghan Whigs'. In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. pp. 9–10. ISBN0-7432-0169-8. Retrieved August 6, 2012.
3. ^Hughes, Kim (November 5, 1998). 'Afghan Whigs discover their soul in N'Awlins'. NOW. Toronto: Now Communications. Retrieved 2012-08-06.
4. ^ ^abcd1965 (CD liner). The Afghan Whigs. Columbia Records. 1998. CK 69450.CS1 maint: others (link)
5. ^'Archived copy'. Archived from the original on 2010-06-17. Retrieved 2010-03-04.CS1 maint: archived copy as title (link)
6. ^Jackson, Chris (September 27, 2005). 'The Afghan Whigs - 1965 (album review)'. Sputnikmusic. Retrieved 2012-08-06.
7. ^Helms, Chris (November 1998). 'Review: 1965'. CMJ. College Media: 19.
8. ^ ^abcDiehl, Matt (November 6, 1998). '1965'. Entertainment Weekly. No. 457. New York. p. 88. Retrieved August 6, 2012.
9. ^ ^abcdStubbs, David (September 22, 1998). 'The Afghan Whigs – 1965'. NME. London. Archived from the original on August 17, 2000. Retrieved August 6, 2012.
10. ^ ^abAnkeny, Jason. '1965 – The Afghan Whigs'. AllMusic. Retrieved August 6, 2012.
11. ^Cox, Tom (October 23, 1998). 'The Afghan Whigs: 1965 (Columbia)'. The Guardian. London.
12. ^Vaziri, Aidin (October 25, 1998). 'Afghan Whigs, 1965, Columbia'. Houston Chronicle. Retrieved October 15, 2017.
13. ^ ^abWeingarten, Marc (November 21, 1998). 'Afghan Whigs, '1965,' Columbia'. Los Angeles Times. Retrieved October 15, 2017.
14. ^Fowler, Shan (1998). 'Afghan Whigs: 1965'. Pitchfork. Archived from the original on February 1, 2003. Retrieved October 15, 2017.
15. ^'The Afghan Whigs: 1965'. Q. No. 147. London. December 1998. p. 114.
16. ^Lim, Dennis (November 1998). 'The Afghan Whigs: 1965'. Spin. Vol. 14 no. 11. New York. p. 140. Retrieved August 6, 2012.
17. ^Christgau, Robert (2000). Christgau's Consumer Guide: Albums of the 90s. St. Martin's Griffin. pp. xvi, 2. ISBN0312245602.
18. ^'The Afghan Whigs - 1965'. ULTRATOP & Hung Medien / hitparade.ch. Retrieved 2012-08-06.
19. ^'1965 - The Afghan Whigs'. Billboard. Prometheus Global Media. Retrieved 2012-08-06.

External links[edit]

• 1965 at Discogs

The Afghan Whigs Facebook

» Click here to view the Puluche Album Review Rubric ©

The Afghan Whigs’ three albums leading up to this one, Congregation, Gentlemen, and Black Love, are rightly hailed as classic examples of their time and have held up as the years have progressed. While Gentlemen is rightfully lauded as a highly influential record, upon its release, 1965 felt like it was the continuation of that line and that it would send the band stratospheric. Singer Greg Dulli, always a writer with a cinematic, widescreen vision for his records (all their albums are credited as being “shot on location” in their sleeve notes), said at the time of its release he was working to a new theme. Following the deep seam of guilt on Gentlemen and revenge on Black Love, the Whigs were taking a “backseat to lust” on 1965, and from the opening sound of a match striking and the whispered words of “I’ll meet you in the bathroom…” this is a party album with a difference.

While it has a cocksure strut and a southern charm, it also covers the life of played out party people (“Uptown Again”) and shows us what can happen when the substances get too much (“Omerta”). And yet, despite all of the potential downers on display, the band sneaks all of this by you with some of the most alive, groove-filled music of their career. You will dance your behind off to the bar-room piano of “Somethin’ Hot,” and the groove of “66” suggests that OutKast were listening when they wrote “Hey Ya!.” The album pivots around “Citi Soliel” and its use of steel drums as Dulli screams, “Ooh child, I’ll meet you child, on the sunny side.” However, after that you are taken towards the darker end of town… it gets later and the party has thinned out to just two people. “Slide Song,” “John The Baptist” and the downright lascivious “Neglekted” – with its refrain of “Cos when I do what I’m gonna do to you, make sure you remember my name” – show that the people involved have just one thing on their minds. The lust has truly arrived.

The album closers “Omerta” and “The Vampire Lanois” slow things down further and show you the after effects of a long party; the morning after the morning after. You can hear the guilt creeping back in through lines like “if I have love, then I hide it, and the people that I hide it from have helped to deny that it’s not enough to show you care.” Both of these songs in particular show off the talents of the core members of the band, John Curley’s taut bass and Rick McCollum acetylene sharp guitar lines. 1965 seemed like a fitting way to end a career, although we didn’t know it at the time.

Commendations

The Afghan Whigs Gentlemen

1965 was rightly hailed as a triumph upon its release and the band went on tour taking a huge cast of supporting musicians, including the wonderful Susan Marshall on backing vocals. It’s her vocals that bring opener “Somethin’ Hot” to life. The album truly takes off at “Citi Soliel,” but it’s the twisted funk of “John The Baptist” and slinky soul of “Neglekted” that make this album stand out. An honorable nod must also go to “The Slide Song” for its beautiful crescendo.

Next Steps

1965 The Afghan Whigs Rar Free

After 1965 the band parted on the best of terms and at the peak of their career. The recent spate of Afghan Whigs gigs have been triumphant, celebratory affairs, with all three core band members more than contributing. New material has been mooted, and it’s impossible to say that it won’t be up to the same standards as the run that culminated in 1965. After 1965, Dulli formed The Twilight Singers and released five studio albums and a joint album as the Gutter Twins with Mark Lanegan. Guitarist Rick McCollum formed Moon Maan, and bassist John Curley worked in his own studio, Ultrasuede. They have been playing again as the Afghan Whigs since May 2012, and have also released three covers as free downloads: “Teenie Marie Lyons,” “See and Don’t See,” and Frank Ocean’s “Love Crimes.”

Reviewer: Mat Riches

IRC: Nick Amies

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