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Tiger Bay

February 16, 2010 | Format: MP3

$9.49
Also available in CD Format
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3:58
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4:14
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3:48
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5:42
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4:06
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4:34
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3:52
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5:47
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3:06
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5:25
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Product Details

  • Original Release Date: June 24, 1994
  • Release Date: February 16, 2010
  • Label: Warner Bros.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 52:06
  • Genres:
  • ASIN: B003A8YRM6
  • Average Customer Review: 4.3 out of 5 stars 19 customer reviews
  • Amazon Best Sellers Rank: #105,632 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Top Customer Reviews

Format: Audio CD
Of the five Saint Etienne records released in the U.S., "Tiger Bay" has to be as close to the best work this British outfit ever produced. While many fans are partial to "Fox Base Alpha" or "Good Humor," this is the CD which best combines the band's ethereal instrumental tracks with some of the most maturely crafted pop songs Cracknell/Stanley/Wiggs have created in their 10+ years together. Ironically, the band took a few years off after recording this CD and it was their final release under the American Warner Bros. label. The track list also does not feature a single song written by all three of the bandmates together. Despite this record more or less marking the end of the "early" Saint Etienne era, the individual songs have a maturity to them which suggest that this is about the best Saint Etienne could do during their first few years together. The record features perennial fan favorite "Like A Motorway," along with two of their other big British hits, "I Was Born On Christmas Day" and "Hug My Soul." Their are also some beautiful ballads written by vocalist Sarah Cracknell, including "Former Lover" and "Marble Lions" which stand alongside some of her best work as a solo artist. I think it's an essential part of any fan's Saint Etienne collection (if you have the UK edition with the bonus B-side tracks, it's a plus).
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Format: Audio CD
The tracklist of Tiger Bay has been altered into confusion and frustration along with its release in the different parts of Europe, Australia and the US. Be sure to get the original UK-version, highlighting the "St. Etienne by the bay-painting" on the cover. The right edition runs a powerful album "B-side" with "Cool Kids of Death", the merging 3 tracks "Western Wind", "Tankerville" "Western Wind" (part 2), and finally spinning off the eerie and near psycothic lullaby "Boy Scouts...". This will also ensure you getting the tracklist the Etiennes originally wanted for this album.
Etienne themselves think of this album as a bit too pompous and big-headed, refering to their lack of experience in arranging music for a 12-piece orchestra (this beeing their first album to feature live strings and horns). Au contraire, I say! Having listened to this album for six years, I firmly believe that a stronger approach to arranging the strings into this material would have lead to unrewarding censorship, and it would most definetely strip it of its lushfull and highly romantic countryside soundscape. OK, it's pompous, but nevertheless it allows you to hear Etienne aestetically blending europop, or premature techno if you will, with themes and instruments that clearly refer to the British ballroom-tradition. The evidence stands out in tracks such as "Urban Clearway", "Tankerville" and "Cool Kids of Death".
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Format: MP3 Music
What the hail happened to this band? Just when they had found a niche of their own with their 2 previous records ("Foxbase Alpha", "So Tough") they decided to become The Pet Shop Boys in their worst incarnation (1993's "Very") - a very serious faux pas that would be repeated in 2012 with "Words And Music" to a worse extent.
I don't mean that their 3rd album should have sounded exactly like their first 2: you can leave that groundbreaking achievement to bands like Boston, but the songs are not really as good as their first 2 albums, and they are in some ways, overproduced, running the risk of sounding dated past a year or two - and that is exactly what it is: a dated album with some bad songs. The only thing that saved it from being a total catastrophe were the fans who bought it by the truckload, but years later they admitted the album was uncommercial and a mistake.
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Format: Audio CD
No it's not. But it's really good! It's certainly the best Saint Etienne album to date, and there's a lot of brilliant moments to contend with to make that statement.
"Tiger Bay" sounds like the soundtrack to a movie that was never released. The band doesn't skimp with production, and the melodies are smooth, lush and adorable. Sarah Cracknell has a voice on this album so smooth, you're in love with her by the time she hits her second syllable.
"Tiger Bay" also has a minimum of soundbytes and sample "skits" which litter albums like "Foxbase Alpha" and "So Tough." It's full, clear, uninterrupted melody - much like their most recent LP, "Good Humor." The difference is, where "Good Humor" is straight-forward pop, "Tiger Bay" is sweeping, melodramatic and lush.
Sigh.
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Format: Audio CD
For Tiger Bay, which I assumed was a nod to the Hayley Mills movie from 1959, Saint Etienne retained its heartfelt ballads made ever so loving by Sarah Cracknell's echoing waifish voice, but its upbeat tracks edged closer to conventional techno without sacrificing their uniqueness that brought them to the spotlight.
Talk about best track being the first one, though. The throbbing bass in "Urban Clearway" leads to a bass keyboard pulsing like The Miami Vice Theme before being overlayed by a higher-pitched keyboard sound. Then those sweet wistful strings kick in, giving an overall image of traffic going down a six-lane, just like the opening shots of the CHIPS TV show in the 1970's. Call it a shorter dance-techno version of Saturday Night Fever's "Manhattan Skyline," which gives the same mental image.
"Hug My Soul" is not only a brilliant song, but has the same bounce as some of their Foxbase Alpha songs, only chirpier and with some lush stringwork. Sarah Cracknell's wispy girlish vocals and the chirpy synthesizers create a bubbly, romantic, fantasy atmosphere, even before she sings: "I'll be there/to run into your arms./I'll be there./Won't you hug my soul?" Aww! There's even a marimba solo in the latter part of the song. The alternate version has an even more thundering beat that kind of muffles the lush strings.
The tempo switches to the mellow and wistful "Former Lover," with the harmonica lending to the sad regret of marrying a fool while listening to wind chines and the long lost days spent with the title character. Sarah wistfully sings: "Why on Earth/didn't I wait for you?/Now look and see who's paying." She then makes up her mind to reclaim her life, which has been stifled: "Close all/of the doors, Maisie/make sure he knows I'm gone.
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