Basement Jaxx Album Covers

Basement Jaxx Album Covers

The name of the album is taken from Basement Jaxx’s regular club event held at a small bar in Brixton. “We’ve been doing the Rooty nights for a year,’ says Felix Buxton. ‘It’s not geared to one specific vibe. Musically, we made it so that it wasn’t just for cokeheads who wanted pounding beats all night. That gave us musical freedom.” As the title for the album, it was explained by the duo as “raw” and “soulful,” “It’s to the root, to the essence. It’s about being happy about things that don’t fit in. About things that are a bit different. That’s why the album’s got an albino gorilla on the cover.” That’s Basement Jaxx and their Rooty pub crew: sticking to the carpet but reaching for the stars.
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Basement Jaxx Album Covers

Remedy holds a rating of 88 out of 100 on review aggregator website Metacritic, indicating “universal acclaim”. AllMusic’s John Bush called the album “one of the most assured, propulsive full lengths the dance world has seen since Daft Punk’s Homework.” Marc Weingarten of Entertainment Weekly described Remedy as a “blissful joy ride”, while Ted Kessler of NME called it “probably as good a dance album as anyone from these Isles has produced this decade.” The Austin Chronicle’s Marc Savlov called the album “a top beat assemblage to rival any release this year”. Alternative Press wrote: “Somewhere on this album, Basement Jaxx have created a song that you’re going to love, no matter what sort of music you listen to the mere existence of Remedy shows hope for modern music’s future.” Melody Maker wrote that the album “repeatedly, and durably, synthesises those notoriously unstable dance music elements; the dizzying dancefloor rush and the complex, long-lasting emotional hit”, calling it “deft and obviously heartfelt” and “truly great.” Thomas Bangalter of Daft Punk proclaimed the album as “better than .”
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Basement Jaxx Album Covers

Upon expressing admiration for the Basement Jaxx’s debut album Remedy, Janet Jackson contacted the duo to collaborate. Jackson was offered to record the Jaxx’s single “Get Me Off” for the album, though declined. “She told us she loved our stuff”, recalls Buxton, “but she thought we were Zero 7. We wished her every success in hooking up with a British dance duo eventually and said, ‘Cheerio, Celine.'”
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Basement Jaxx Album Covers

This is the cover art for the album The Singles by the artist Basement Jaxx. The cover art copyright is believed to belong to the label, XL, or the graphic artist(s).
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Basement Jaxx Album Covers

It’s only fitting for Basement Jaxx to kick down the doors of the music world with an album cover as loud as their debut release. When they dropped Remedy, the world stopped for just one second. It was the funky bass slaps of “Red Alert,” the bouncy goofiness of “Same Old Show,” and the vocoder drive of “Yo-Yo.” Remedy taught us that you don’t have to be serious to be taken seriously.
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Basement Jaxx Album Covers

Run 4 Cover Lyrics Urgh, urgh, urgh, urgh Look at him Look at him That geezer That geezer What geezer? That geezer You see him, he’s so dusty He’s a M-I-N-G-E-R, minger, minger, minger, minger Run 4 cover Run 4 cover Run 4 cover When you see dem minging boys you better Run 4 cover Run 4 cover Run 4 cover When you see dem minging boys you better Slut, slut, get outta my way Get back to the back of the queue ‘cos your butters and blow Can’t have my number so leave me alone ‘Cos you’re wasted, wasted, wasted Need a face lift Pushing them pushing them mans to the side Pushing them pushing them mans to the side (repeat chorus) 10 time say La la la la la la la la la la So you think you may have a chance one day But no way no way ‘Cos you’re not my type and I don’t like you, right So go away just go away Wow just seen me a guy That’s so perfect Knows how to work it He’s got that charm He took my arm Whispered in my ear things I long to hear But urgh, urgh, me must be tipsy How could me think that boy was sexy Turns out turns out he was the minger I was so shocked nearly turned into Thriller ah In such a rage Me had to tell that minger to move from me face But he never listen Still onna me case Onna me case in de place in de place (repeat chorus) Follow, follow, follow, everywhere that me went Though me try hide, boy pick up me scent Run 4 cover a so me try But this boy was too quick too too sly Appearing shouting in my earring Nearly lost my hearing From his breath oh my oh my It nearly choked me to death His breath ‘cos it was so stank And I cannot deny it, had to tell him It stank I’m sorry Frank but we will never be So can you please stop pestering ME! (repeat chorus) Galling galloing long about your business ‘Cos we don’t wanna know ‘cos you’re ugly like so You’re too galling galloing long You’re too galling galloing long You’re too galling galloing long about your business ‘Cos we don’t wanna know ‘cos you’re ugly like so More on Genius Ice Cube Discusses Dr. Dre’s Musical Wisdom In New Clip From ‘The Defiant Ones’ “Run 4 Cover” Track Info Crazy Itch Radio Basement Jaxx 1. Intro 2. Hush Boy 3. Zoomalude 4. Take Me Back to Your House 5. Hey U 6. On the Train 7. Run 4 Cover 8. Skillalude 9. Smoke Bubbles 10. Lights Go Down 11. Intro (Reprise) 12. Everybody 13. Keep Keep On 14. U R on My Mind
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Basement Jaxx Album Covers

When Basement Jaxx first rose to stardom, the duo was unsatisfied with the state of dance music, describing it as “linear” and “close-minded”. “Most dance music is very shiny and so robotic,” Ratcliffe told Rolling Stone. “There’s just not much feeling. If we made a record like that, we’d be just like everybody else.” Consequently, the title Remedy was chosen as “an antidote” to the “poisons” they saw within dance music. “A lot of it seems quite superficial,” Ratcliffe said.
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Basement Jaxx Album Covers

It’s not sexual in any real sense, but instead a statement on the power of people and innate humanity, an essential factor within the Basement Jaxx universe. The Remedy cover pits human among, not against, human, and the songs within unite the world under one sound. —John Ochoa
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How do you follow up iconic album art like Demon Days? You could make another great album cover, or you could make another four like the Gorillaz did. The iTunes edition of Plastic Beach features four different covers, all showing the featured island in the day, evening, twilight and night. As with everything Gorillaz, there is more than meets the eye, and the album has a complementary Journey to Plastic Beach video, which explains the creation of the plastic paradise. —Chase Welcher
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In retrospect, statements like Destroy Rock & Roll on electronica-era album covers feel like that stupid brand of audacity that’s easy to lampoon in films like All Gone Pete Tong. The album cover is pretty great, though. A less-informed person in the modern age would assume it to be Banksy. Maybe that’s a statement on Banksy; maybe it’s a statement on pop. Maybe it’s a statement on how cheesy some underground things look through a mainstream filter. All I know is that “Drop the Pressure” feels like Galantis’ “Peanut Butter Jelly,” so musically, the album still holds up to this day. —Marcus Dowling
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This cover art was designed by Bendik Kaltenborn, best known for his illustrations in The New Yorker magazine. I love the aesthetic that Kaltenborn goes for in this work; all of his illustrations have a colorful, vintage look to them. His portraits are uniquely characteristic, and the typefaces he uses are fun and change often, even within the same sentence. He said Terje wanted “something that played with the idea of a cheesy ‘70s album cover” for It’s Album Time, he delivered wonderfully on that request. The cover features a suave rendition of Terje in a blue leisure suit, sitting at his piano with a handful of tropical drinks. The album art seems like something straight out of your parents’ record collection. All it needs is that familiar, musty old-record smell. —Chase Welcher
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Rooty has been well received by critics. John Bush of AllMusic gave it 5 out of 5 stars, calling it “so raw you can’t believe they spent over an hour per track, so perfect you’re glad they stopped noodling about long before most producers would, and so poppy they should get picked up by commercial radio in America as well as the rest of the world”. David Browne of Entertainment Weekly gave it an A– grade and called the album “where heart and feet meet and lovingly coexist”. Robert Christgau of Village Voice gave it the same grade, writing “no catchier collection of jingles has come to my attention since Steve Miller made his mint off jet airliners”. Billboard said the album “revels in exploiting rhythms that shouldn’t work—but definitely do”. PopMatters’s Andy Hermann was mixed, calling the album “either a brilliantly innovative record, or an unlistenable mess, depending on your point of view”.

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