Artist.......: The Breakup Society
Album........: Nobody Likes A Winner
Label........: Get Hip
Genre........: Indie
Catnr........: n/a
source.......: CDDA
rip.date.....: nov-15-2007
str.date.....: 000-00-0000
quality......: VBR/44.1Hz/Joint-Stereo
Url..........: n/a
track title time
01. Nobody Likes A Winner 02:26
02. The World Will Change Our Love 02:59
03. How Failure Saved Me From Myself 05:12
04. Strictly Biological Heart 03:32
05. 13th Angry Man 03:48
06. This Little Tragedy 03:18
07. Another Candlelit Night 03:10
08. By A Thread 02:57
09. No One Wants To Be Remembered 02:03
10. Lower Expectations 03:18
11. The Day Before The First Day Of The Rest Of 03:21
My Life
12. I DidnÆt Mean To Wreck Your Day 03:22
13. Forget The Past 02:56
14. This DoesnÆt Matter 03:00
Runtime 45:22 min
Size 70,2 MB
Release Notes:
Last time out, Spin magazine said James at 35 was
ôso realö you could ôsmell the rec room paneling,ö
while Harp praised The Breakup SocietyÆs first Get
Hip release as ôa modern-day breakup/kiss-off
classic in every sense of the term,ö arriving at ôa
thematically serendipitous spot halfway between
Elvis CostelloÆs This YearÆs Model and the dBÆs
Stand For deciBels.ö But where that albumÆs concept
demanded a narrowly focused collection of power-pop
anthems with several songs strung together as
over-caffeinated suites, when it came time to work
on the followup, Nobody Likes A Winner, a plan was
hatched to shake things up a bit without abandoning
the power-pop appeal of James completely. Hence the
chamber strings on two tracks, Mariachi trumpet on
ôForget The Past,ö the over-the- top Wall of Echo
engulfing the Orbison-esque ôThis Little Tragedy,ö
the jazz-guy-shooting-up-outside-the-honky-tonk
piano in the instrumental break of ôLower
Expectationsö and the understated majesty of the
albumÆs most studio-centric departure, the oddly
Beatlesque ôHow Failure Saved Me From Myself.ö
ThereÆs no shortage of rockers either. ô13th Angry
Man,ö the title track and ôNo One Wants To Be
Rememberedàö stake their claim as recklessly as
anything on that first record, while ôThe World
Will Change Our Loveö is easily their most
contagious imitation of the Troggs to date (until
the bridge, at least). While this one may be less
conceptual than James, there is a unifying theme,
of sorts, connecting any number of the albumÆs most
inspired cuts, from that bit in the opening title
track about ôNobody wants the most popular kid in
class to go too farö through the plainly twisted
reassurance of ôHow Failure Saved Me From Myselfö
to ôBy A Thread,ö in which an old man checks the
papers every day in the hopes that the bullies who
made his childhood such a living hell back in the
Æ60s have finally died.
Recorded, like the first one, in the desert heat of
Mesa, Arizona, with Bob Hoag outdoing himself on
production, The Breakup SocietyÆs second album also
features guest appearances by two of rockÆs most
underrated heroes ù Scott McCaughey of Young Fresh
Fellows, Minus 5 and R.E.M. fame (singing lead on
ôBy A Threadö and adding keys, guitar and harmonies
to several cuts) and Ward Dotson of Pontiac
Brothers/Liquor Giants/Gun Club fame on harmonies.
Having rocked the Get Hip showcase at 2007Æs SXSW
music conference, playing songs from both Get Hip
releases and some new material, the band is in
discussions with directors for at least two videos.
Matt Dilmore, whose surreal new video for Black
Moth Super RainbowÆs ôSun Lipsö earned high praise
from Pitchfork, is scheduled to shoot ôThis Little
Tragedyö inside a haunted house, while D.C.-based
rockumentarian Mark Finkelpearl has signed on for
ôLower Expectations.ö Also on the way, an
online-only single called ôA Song For George,ö the
sordid tale of Eric Clapton moving in on Patti
Boyd, the hottest wife in Æ60s rock, and poor
George Harrison, the friend who brought him in to
play guitar on the White Album, letting it slide
like it was no big deal because itÆs what the
Maharishi would have wanted.