• Saint Etienne Turnpike Rar File Download

1. Nothing Can Stop Us

In the early 90s, two twentysomethings from the suburbs of London (Bob Stanley and Pete Wiggs) and one from the fringes of Windsor (Sarah Cracknell) set their sights on fulfilling pop music’s potential. They were fired up by the inclusive rush of rave culture, and the way that genres could now bubble together, thanks to cheap music technology. From day one, this involved blending club bass lines and indiepop with samples from 60s records, old reggae tunes, mid-century British films, decimalisation training records and French football commentary. (This essentially describes their debut album, Fox Base Alpha.)

No matter the associates or variables involved, a Saint Etienne album is always going to end up sounding just like a Saint Etienne album, even if it's a little different from what came before it. On Tales from Turnpike House, the group gets two productions from Xenomania (Girls Aloud, Sugababes), several vocal arrangements from Tony Rivers (the Castaways, Harmony Grass) and son, some. If you have trouble downloading Saint Etienne - So Tough (1993) - eu quero comprar o ocio blogspot.rar hosted on mediafire.com 74.9 MB, saint etienne.zip hosted on mediafire.com 60.32 KB, saint etienne - tales from turnpike house - 01 - side streets.mp3 hosted on 4shared.com 4.13 MB, Saint Etienne - Only Love Can.

Nothing Can Stop Us soars from a flute, bass and drums passage taken from a 1967 Dusty Springfield album track, I Can’t Wait to See My Baby’s Face. They speed it up and turn it into a refreshing, shining statement about how powerful love can make you feel. This was also the first Saint Etienne song to feature singer Cracknell: before that, a carousel of vocalists meant each song was its own creature. The lyrics also provide a great opening pronouncement for the band as they were to be. “Just the touch of your hand and I know we can make it / I’ve never felt so good, I’ve never felt so strong.” (Kylie Minogue covered the track in 1993, as part of an all-too-brief recording and writing session with the band; it became the B-side to Confide in Me, her first hit since working with Stock, Aitken, Waterman.)

2. Filthy

Despite Cracknell’s central role in Saint Etienne, the group’s non-Cracknell output shouldn’t be overlooked. Only Love Can Break Your Heart is a majestic, radical reworking of Neil Young’s slow, lovelorn song, sung by Moira Lambert. Its B-side, however, is a proper lost classic. Filthy pivots on a swampy guitar sample from 1973 track House of the Rising Funk by short-lived LA band Afrique. Teenage rapper Q-Tee gives a brilliant, playfully husky performance, every word full of innocence and delight. She recorded again for Saint Etienne two years later, on Calico, an album track for their second album, So Tough. She also rejoined the band last October at Heaven in London. Filthy was the encore.

3. Girl VIII (Richard X remix)

Saint Etienne Turnpike Rar File Download

One of Saint Etienne’s most glorious moments, here ramped up in a fabulous Richard X remix from 2009. The mood is all wide vistas and heat, its soundscape uber-Balearic, its lyrics gloriously nostalgic but revelling in the effervescent present. “I’ll write to you now from somewhere you won’t find me,” Cracknell sings breathily, “a different place / a different time.” The middle eight takes the song on a cinematic road trip of glamorous and everyday locations: “Primrose Hill/ Staten Island/ Chalk Farm/ Massif Central/ Gospel Oak/ São Paolo/ Boston Manor/ Costa Rica …” The city Saint Etienne loved is instantly mythical, magical and aspirational, and they would return to this theme throughout their career. This section also starts with Cracknell announcing a date: 4 June 1989, which was the day of the Tiananmen Square massacre, but perhaps significant for other reasons. The mystery, in this musical setting, never stops pulling you in.

4. Hobart Paving

Saint Etienne have always been keen on writing widescreen, glistening ballads: they’re like evocative storyboards or snapshots of forgotten films, splintered relationships, distantly remembered emotions. Hobart Paving begins with a woman driving “a silvery sports car/ Around the empty streets last night”, before throwing in the quietly devastating line: “I haven’t seen the kids for some time.” Instantly, you’re trying to join the tear-stained dots, piecing the melancholic scenes and details together. Strange, beautiful similes add to the atmosphere, as rain falls “like Elvis tears” and our protagonist moves “just like a harpsichord”. Then the “don’t forget to catch me” refrain comes along, delicately finishing you off. (Hobart Paving, by the way, is a civil engineering firm in Sussex.)

5. I Was Born on Christmas Day (feat Tim Burgess)

Play this at the height of summer and you’ll still enjoy its glitter. Saint Etienne threw everything at the Christmas hit template for their Xmas 93 EP: a deliciously drunken disco beat, singing melodicas and a duetting partner for Cracknell – the Charlatans’ Tim Burgess. The lyrics fizz like champagne, often not making complete sense, but Bob Stanley once explained that they were lines from letters being sent between an imagined girl and boy: “One of the characters is working at Euro Disney to get some money for presents and his girlfriend is in England, pining for his return.” Soon enough, Cracknell’s girl is “getting groovy after Halloween/ mid-November, got back on the scene”, and by December, her heart is “full of spring”.

6. Like a Motorway

Saint Etienne have a knack for unearthing and reinventing lost songs. Take their brilliant version of Who Do You Think You Are?, which began life as a one-hit wonder for the long-forgotten Candlewick Green, who won Opportunity Knocks in 1973. But this, from 1994’s Tiger Bay, is Saint Etienne’s masterpiece. The melody is that of the traditional folk song Silver Dagger, most famously sung by Joan Baez, which tells the story of a mother who won’t let her daughter marry. The pulsing motorik rhythms and the modern-world simile of its title (life was “like a motorway”, for this girl, “dull, grey and long till you came along”) make it perfect for the post-industrial, post-rave generation.

7. Heart Failed (in the Back of a Taxi)

Saint Etienne had their biggest hit in July 2000 – as featured artists on Paul van Dyk’s club-trance banger Tell Me Why. Their fifth album, The Sound of Water, had been released only a few weeks before and its first single was a very different offering. Recorded in To Rococo Rot’s studio in Berlin, it sounds noir-y and coolly European, although its lyrics are starkly British. The song begins with a cynical comment on the Labour government, which had recently celebrated three years in charge (“took a trip down Granita Way/ Had to go on the first of May/ Didn’t have much to celebrate”). Then comes along a football club sold to a plc (“sod the fans and their families”), while a “picturehouse built in ’23” is “pulled … down for your cash money”. The video is a beautiful montage of airports, escalators and skyscrapers, featuring Cracknell behind the wheel of a silvery sports car. The mood is distant, removed and beautiful.

8. Finisterre

As well as being the name of this song and the 2002 album that hosted it, Finisterre was also Saint Etienne’s first film, which centred on London. You feel the rush of a city’s streets in this track, the verses narrated by Sarah Churchill of early 00’s pop duo Cosmetique. “Sometimes I walk home through a network of car parks just because I can”, she says, her cut-glass vocals sounding innocent yet strong. “I love the feeling of being lost/ To find new spaces, new routes, new areas.” The utopian pull of architecture magnetises her, too, as she dreams of “the notion of the perfect city … a straight run from Beau Brummell to Bauhaus”. A pop manifesto of sorts rears its head in this track: a belief in the glimmer of Donovan over the earnestness of Dylan and that “music in the long run can straighten out most things”, as well as an irritation at “too many bands that act lame/ Sound tame”.

9. Tonight

The first decade of the 21stcentury was relatively quiet for Saint Etienne, 2005’s Tales of Turnpike House being followed by a succession of glossy repackages and reissues. Then in 2012 came Words and Music, a touching, long-playing meditation on getting older and how pop music can mean so much to us. Tonight is a pulsing, moving celebration of the power of the live show, about the adolescent rush of getting ready (“check my makeup and check my watch again/ I can hardly wait”) and the full beam of being there. The chorus’s lyrics sum up how transporting and powerful pop music can be: “Tonight when the lights are going down/ I will surrender to the sound/ And look at all the kids around/ Tonight the sound is breaking like a wave/ Wish it could always feel this way.”

10. Dive

Saint Etienne’s latest album, Home Counties, is much bigger and bolder than its title suggests. Ideas include David Bowie as an office worker in Crawley, on Whyteleafe, the case of the Enfield poltergeist, on Heather, and even hints of cutting politics, on Sweet Arcadia (“We took your land and we made it our land”). On Dive, though, they’re all about the beat, dazzle and funk. You feel the river into which they’re jumping in the chorus via the cascading synthesisers, the samba-like rhythms and the vivacious elastic-band bass line. It’s a song that makes you want to dance, sing and celebrate, like the best of Saint Etienne’s music has always done.