Turn It Upside Down

構成数 : 1枚
合計収録時間 : 00:55:11
The Spin Doctors: Chris Barron (vocals, acoustic guitar); Erick Schenkman (guitar, vocals, piano); Mark White (bass); Aaron Comess (drums, percussion, clavinet, piano, Hammond organ). Additional personnel: Andrew Comess (Hammond organ); Mark Angostino (shaker); Jeremy Gross (programming). Producers: Frankie LaRocka, Peter Denenberg, The Spin Doctors. Recorded at Clinton Studios, New York, New York in March, 1994. The Spin Doctors have created a perfect time capsule for the New York City bar band scene of the late 1980s. Reminiscent of an era where '60s nostalgia flourished and groups like the Spin Doctors and Blues Traveler ruled the live scene, TURN IT UPSIDE DOWN finds the boys once again in their element. Paying homage to their origins, the cover art to TURN IT UPSIDE DOWN (and that of the first album, POCKET FULL OF KRYPTONITE) is graced by Nightingales, the Manhattan bar where the Spin Doctors carved a niche with their relaxed yet hip approach to guitar-based funk. TURN IT UPSIDE DOWN plays like a New York tour book. From its references to a Brooklyn diner in "Hungry Hamed's"--which vocalist Chris Barron informs us is "just three blocks from Bergen Street"--to the tongue-in-cheek reworking of Antony and Cleopatra in "Cleopatra's Cat," TURN IT UPSIDE DOWN reestablishes the Spin Doctors' grasp on the urban funk scene they emerged from. On first look a classic example of the sophomore slump, TURN IT UPSIDE DOWN had the unfortunate job of following the Spin Doctors' multi-platinum smash, POCKET FULL OF KRYPTONITE, and predictably bombed in comparison. Ironically, however, the Docs' second album was chock-full of exactly the kind of funky, fun material (and in some cases, as with "Big Fat Funky Booty," the actual material) that originally made the band darlings of the late-1980s Nightingale Bar-centered New York City club scene. Good-time music with an emphasis on the power of the groove, TURN IT UPSIDE DOWN is all about a bar band's sacred mission: to get people out on the dance floor and keep them there, drinking and whooping it up. If the record unfortunately signaled the band's mainstream downward spiral, at least it showcased them going out as they came in--partying the night away.