This is some nice tight supperclub trio jazz! This is the kind of song that you actually WANT to get stuck in your head, it will actually make your day better. I've spent the last year trying to find something by these guys, and thankfully Sony UK put out a two cd set of three albums "plus singles and previously unreleased material." Not the best liner notes, but arranger Keith Mansfield should be a familiar name to KPM/Sound Gallery types. I'm not a sampler, but if you can't do something with the nice, long drum intro, you probably don't have your heart in it, either.

I'm glad that I get the opportunity to be the first to recommend a Bunnymen track, especially since their early work, which I feel is far stronger than anything after "Porcupine," is unknown, primarily Stateside, to many.

"Heaven Up Here" is a car losing it's wheels at full speed while cornering on a high mountain pass. Will Sargeant's opening chick-chick-chicking on guitar gives way to a straight bassdrop, headlong into Pete DeFreitas' insistent pounding on drums, while Ian McColluch's yelps sound utterly desperate, claustrophobic, pleading and angry simultaneously. There's a pause in the careening during the bridge, just long enough for Ian to remind us that "We're all groovy, groovy people...we're okay, we're okay," before it all plunges straight down the cliffside, banging, exploding, scraping and finally, ending succinctly.

I don't ever recall hearing back then, and rarely today, such a beautifully cacophonic melding of swirling psychedelia and assaultive punk/pop. The guitars are cascades of shimmering shards of sound. Les Pattinson's coy, but effective bassline floats beneath the furious energy DeFreitas unleashes on his drumkit. "Mac the Mouth" may be the frontman, but I think this gem is DeFreitas' piece all the way.

After 20+ years of living with this album, and this song in particular, the pump, pump, pump of the bass drum still sends shivers up my spine. Don't overlook this album as a whole either!

I recomend this song for a 'lower mood', aswell as the album this song appears on, called: 'the Seeds of Love'.

This is one of the supreme examples of the ballad genre that Cilla Black excelled in during the 1960s. An exquisite song of love gone wrong, the track demonstrates the full depth, quality and range of Cilla's extraordinary voice - from the delicate soft tones to the full powered belt. A huge hit for Cilla in 1965, reaching #5 in the UK Top 40.

Picture yourself in a boat on a river.

Actually, in this case it happens to be the middle of the ocean. Just drifting any direction. No land in sight, nothing else on the water, not even any clouds. No distractions. Just you, the boat, and the water.

Oh, and Julie -- she's there -- with her open blouse, gazing up into the empty sky.

What's so powerful about Eno's "Julie With..." (and this is perhaps representative of his entire career) is that he gives you an experience in perfect detail, as if reading a book.

Even if you discount the lyrics, which, although not exactly Shakespearian, are clear and unambiguous, there is no escaping the image that Eno is presenting.

Casting aside any overanalysis, what we're left with is an outstanding bit of relaxing, but emotionally evocative chillout music. Completely beatles, the instrumentation is typical Eno: pad synthesizers, minimoog and guitar with heavy chorus. Not something you'd throw on at an afterparty, but great for a sunset in solitude.