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Ritual De Lo Habitual
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Descriptions du produit
Descriptions du produit
1 - Stop
2 - No One's Leaving
3 - Ain't No Right
4 - Obvious
5 - Been Caught Stealing
6 - Three Days
7 - Then she did
8 - Of Course
9 - Classic Girl
Ritual De Lo Habitual est de loin le meilleur album de Jane's Addiction rempli de morceaux à la fois choquants, accrocheurs et expérimentaux. Les singles "Stop" et "Been Caught Stealing" en sont de bons exemples. "No One's Leaving" est un titre teinté de funk et très chargé en guitares. On retiendra également "Ain't No Right" et "Obvious". "Three Days" et "Then She Did..." sont trop longs mais l'album se termine en apothéose avec "Of Course" et "Classic Girl". Ritual De Lo Habitual est l'album le plus représentatif de l'excellent funk/punk rock de Jane's Addiction. --Genevieve Williams
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Vivement recommendé mais pour les initiés avant tout tant les compos ,totalement débridés, risquent de dérouter les novices.
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now, then. there's been a lot of talk in these reviews about Three Days and Then She Did, and I feel compelled to share some knowledge with my fellow Amazon customers.
Three Days is not just a song about a heroin-fueled weekend with two girls. it's a memorial of sorts to a girl that Perry loved, a girl who was a budding artist, who ODed before achieving her promise. yes, some of the lyrics are about one lost weekend, but it also commemorates everything about his lost friend ("we miss you, my dear Xiola..."). this theme was carried forth into Then She Did (the original title was Then She Died) and Perry addresses his dead friend in the last stanza, asking her to say hello to his own dead mother when she gets to heaven: "will you say hello to my ma, will you pay a visit to her, she was an artist just as you were, I'd have introduced you to her..."
that's pretty powerful stuff. this album was clearly not intended to please rock critics and semi-literate music dilettantes with short attention spans. the two songs I've discussed are songs with a purpose, a message to convey, and emotions to share with the world. and they are epic works of musicianship. Three Days is like four distinct songs weaved together into one amazing masterpiece. it always carries enough power to justify its length, and it never gets dull.
none of what I've said here is intended to convert people who don't like the songs. nor should it affect your opinion. I do believe a song should stand on its own merits without a five-minute explanation. the songs clearly stand on their own and have power and meaning, without justification. but maybe, for the people who already love the songs, love the album, and actually get what the band was trying to do, these bits of information will add to your appreciation of the work and show you some more of the depths of their achievement.
What's most impressive about "Ritual de lo Habitual" is that its nine tracks are basically split into two different, if equally great, albums. The album starts out with five hard-driving rock songs with a psychedelic feel, equal measures explosive, trippy, and funky. "No One's Leaving" and "Been Caught Stealing" are the obvious standouts among this first batch of songs, but each one displays the band's own mix of manic, frenetic energy; intricate songwriting; and astounding technical skill. These songs have the sound of a group of guys who truly enjoy what they're doing, a commodity that's becoming increasingly rare in today's mainstream climate.
It's after "Been Caught Stealing" that the band throws a series of changeups, showing a commitment to diversity and experimentation that truly separates the artists from the hacks. The last four songs on this album are typically slower and quieter than their predecessors, but by no means lacking in power or craftsmanship. You've got to respect a band that would follow up a string of hard rock songs with the mountainous epic "Three Days," the slow-burning "Then She Did..." and "Classic Girl," and the captivating, Eastern-tinged "Of Course."
Unfortunately, history hasn't been quite as kind to this album as it was to the likes of "Ten" or "Nevermind." I don't think it gets the recognition it deserves as one of alternative's defining moments, but discerning fans should be able to appreciate its greatness pretty quickly. "Ritual de lo Habitual" gets my highest recommendation.
Ritual de lo Habitual is their best album, a hallucinatory epic that conjures images of neon-lit bordellos and crash pads, of needle fever, of the search for redemption through whatever means necessary. Like so many other great albums by great bands—including The Wall, the White Album, Who’s Next—Ritual was conceived and crafted in a difficult period for the band, with them right on the verge of implosion…yet from this tension was gleaned the best playing and compositions these individual players had come up with yet (and since). But enough ramblings; on with the music:
Ritual begins with a subversive Spanish "we love your children" prelude, an appropriate lull before the kickstart roar of 'Stop,' all heavy chords and culture-allusion-lyrics molding a breathtaking climax. 'No One’s Leaving' shreds into the stop-gap void that follows. Coming off a tad pretentious, this song is not one of Jane’s best by any means, but the rumbling bass roll and Cliff-Notes Nietzsche musings of 'Ain’t No Right' immediately rectifies the situation. “Ain’t no wrong now, ain’t no right,” Perry announces, “there’s only pleasure and pain”—the theme song of the Lost City if there ever was one; a dark negation of the Beach Boys ideal and comparable to the shimmering 'Hotel California' muse from a previous generation. 'Obvious' is a drifting shout-out to all those backstabbers and parasites the band undoubtedly encountered in their long tenure through the Cali club circuit: “I’ve worked my fingers to the bone and I won’t let you stop me goin’ up”—ironic, considering the band’s future, but effective nonetheless. Then the stutter of 'Been Caught Stealin’' reminds us that life shouldn’t always be taken serious, and to jokingly prove it stitch criminal mischief into the Top 40. Thus ends the fast and furious side of Ritual. Artiness and introspection follow, the self-indulgent genius that listeners will either passionately love or ardently despise, depending on perspective and individual experience.
'Three Days' is Perry Farrell’s masterpiece, a song he will probably never top…but what a way to go out. Composed in five sections, this epic about a Ménage a Trios begins slow and strings-laced, an acoustic prologue of hints and insinuations; before you know it Perkin’s low-thunder rhythms are glinting with the lightning grace of Navarro’s skillful chops. Thrash hammering takes over in the second half, sundering the beauty of before. The last breakdown, complete with inarticulate hurrahs and searing solos, winds the song into a sweaty, glorious finale. From this sound and fury chimes in a lone acoustic guitar, soon accompanied by orchestrated sweeps; in this, 'Then She Did,' Perry gets personal about departed lovers with blue veins and a mother who used to take him out “strolling through the garbage.” The eastern-tinged 'Of Course' gives us a mournful violin and wink-wink lyrics about childhood games: “one must eat the other”—then reverses the sexual intent with Ritual’s beautiful farewell 'Classic Girl.' “You know for us, these are the days,” Perry sings, reminding the youth of a fractured dream not to dwell to hard on life’s heartaches; that time slips away all too quickly. Grasp the glimmer while you can.