The Way of Curve 1990/2004

Editorial Reviews

All Music Guide - Andy Kellman
Curve thrived on contradictions. They were at their sexiest when they were at their ugliest; they were at their most cathartic when they were at their most claustrophobic; they were at their sleekest when they were at their most layered. Curve were also, in a roundabout and involuntary way, considerate: had they been more concerned with melodies and a little less so with textures, Garbage wouldn't have been necessary -- in turn, that later band's members would have less money in the bank. Curve's blurred textures, created in part by guitars subjected to a battery of effects, led to frequent classification as shoegaze, but their sound -- reliant on pounding/driving/pulsing ...
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Editorial Reviews

All Music Guide - Andy Kellman
Curve thrived on contradictions. They were at their sexiest when they were at their ugliest; they were at their most cathartic when they were at their most claustrophobic; they were at their sleekest when they were at their most layered. Curve were also, in a roundabout and involuntary way, considerate: had they been more concerned with melodies and a little less so with textures, Garbage wouldn't have been necessary -- in turn, that later band's members would have less money in the bank. Curve's blurred textures, created in part by guitars subjected to a battery of effects, led to frequent classification as shoegaze, but their sound -- reliant on pounding/driving/pulsing rhythms generated by both machines and humans -- put you in a chokehold, not a daze. There were steady torrents of vroom and oomph, and Toni Halliday's confrontational lyrics and vocals were more likely to pierce through the din than melt into the background. They were certainly dark and yet were hardly goth; they were set up like a rock band but were essentially a dance band. The Way of Curve is the most representative of the band not for its set of wise selections, but for the fact that it's as difficult to classify as the band itself. It lands somewhere between a beginning and an end, not quite a proper beginner's guide while falling short of being a gap plugger for those seeking all the elusive B-sides. The first disc, covering the band's first A-side through its most recent recordings, does include many of the best moments, but a few essential tracks are neglected in favor of too much later, lesser material. Right around the major-label comeback single, 1997's "Chinese Burn," it became evident that the musical climate had finally caught up with them. "Pink Girl With the Blues," a low-key, independent-label comeback single from 1996, is one of the most significant inclusions, since many longtime fans have gone years without ever hearing it. Storming and seething, it rightfully belongs on this first disc, pitting Throbbing Gristle/Moroder-like percolations against a kinetic, snarling flurry of guitars. The second disc rifles through B-sides and obscurities, beginning with "On the Wheel." That song is Curve's own "Erotic City" -- meaning it's a B-side that many justifiably regard as the band's apex -- and you don't have to actually see The Doom Generation to know that the scene in which the song is used must be the best one in any Gregg Araki-directed film. There are negligible choices made with the remainder of this second disc as well, the greatest miscue being the favoring of the Aphex Twin mix of "Falling Free" over the far superior original. Even with these flaws, The Way of Curve provides plenty for any form of fan.
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Product Details

  • Release Date: 6/15/2004
  • Label: Bmg Int'l
  • UPC: 828766136128
  • Catalog Number: 661361

Tracks

Disc 1
  1. 1 Ten Little Girls (4:28)
  2. 2 Coast Is Clear (3:59)
  3. 3 Clipped (3:51)
  4. 4 Die Like a Dog (4:39)
  5. 5 Horror Head (3:41)
  6. 6 Fait Accompli (4:12)
  7. 7 Missing Link (4:31)
  8. 8 Superblaster (3:58)
  9. 9 Pink Girl With the Blues (4:52)
  10. 10 Recovery (4:31)
  11. 11 Chinese Burn (4:49)
  12. 12 Coming Up Roses (4:34)
  13. 13 Hell Above Water (4:04)
  14. 14 Want More Need Less (4:34)
  15. 15 Perish (5:13)
  16. 16 Nice and Easy (3:27)
Disc 2
  1. 1 On the Wheel (6:02)
  2. 2 Triumph (4:49)
  3. 3 Arms Out (4:46)
  4. 4 Sigh (3:49)
  5. 5 Mission from God (4:07)
  6. 6 Today Is Not the Day (3:38)
  7. 7 Low and Behold (4:14)
  8. 8 Nothing Without Me (3:11)
  9. 9 What a Waste - Ian Dury (4:58)
  10. 10 Falling Free (7:40)
  11. 11 Chinese Burn (7:24)
  12. 12 Coming Up Roses (6:14)
  13. 13 I Feel Love (4:35)
  14. 14 In Disguise (4:10)
  15. 15 Sinner (5:09)
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Album Credits

Performance Credits
Curve Primary Artist
Ian Dury Voices
Mary Cassidy Background Vocals
Claudia Fontaine Background Vocals
Dean Garcia Bass, Guitar, Keyboards
Toni Halliday Electric Guitar, Voices
Sally Herbert Violin
Alex Mitchell Guitar
Monti Drums
Alan Moulder Guitar
Steve Osborne Guitar, Keyboards, Noise
Kevin Shields Guitar
Debbie Smith Guitar
Geno Lenardo Guitar
JC-001 Rap
Chris Starling Guitar
Technical Credits
Donna Summer Composer
Curve Producer, Engineer
Ian Dury Composer
Giorgio Moroder Composer
Aphex Twin Producer
Pete Bellotte Composer
Flood Producer, Engineer
Dean Garcia Composer, Engineer, drum programming
Ben Grosse Producer
Toni Halliday Composer
Steve Osborne Producer, Engineer
Kevin Shields Producer
Ingo Vauk Engineer
Kevin Metcalfe Remastering
Ben Hillier Engineer
Lunatic Calm Producer
JC-001 Composer
Dick Meenhey Engineer
Phill Savidge Liner Notes
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