Lyrics & Music Jean-Michel Jarre - Téo and Téa (2007) (B000NJM4KM)

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Lyrics & Music Jean-Michel Jarre - Téo and Téa (2007)

Posted on 2010-08-03

Name:	Lyrics & Music Jean-Michel Jarre - Téo and Téa (2007)
ASIN/ISBN:	B000NJM4KM
File size:	349 Mb
File Size:	Covers - 2,7 MB
Other Info:	EAC Image (WAV+CUE); Monkey Audio APE (High) - 349 MB; Ogg Vorbis (VBR, average round 220 kbit/sec) - 98,8 MB; Advanced audio AAC (M4A) - 88,6 MB

Lyrics & Music Jean-Michel Jarre - Téo and Téa (2007)

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Jean-Michel Jarre - Téo and Téa (2007)

Electronic / Dance

349 MB of lossless

2,7 MB of covers

88,6 MB of m4as (AAC)

98,8 MB of oggs

Перевод публикации на русский язык

While back I received this album from Valeria (some might encounter her as Valeriam or japjap). Technically it isn't my disc. I just happened to be lucky receiver. I have listened to it and also tested with Tau Analyzer. Result? Passed. However, this isn't inventive Jarre's album as were the ones during his early years. It's just another instrumental album without much attempts at techno, butstill with intention to invade dancefloors.

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Wikipedia:

Jean-Michel André Jarre is a French composer, performer and music producer. He is highly regarded as one of the pioneers in the Electronic and New Age music genres, as well as the organiser of record-breaking outdoor spectacles of his music, which feature laser displays and fireworks, linking music with the surrounding environment and architecture. Jarre has sold an estimated 80 million albums and singles over his career.

His original artistic name was Jean-Michel Jarre but around 1991, he dropped the hyphen in the name.

Jarre is the son of Maurice Jarre, a famous composer of film music, and France Pejot, a member of the French resistance during the World War II. When Jean Michel was five, however, his father departed for Hollywood and Jarre would not have much contact with him from then on. But it was also at the same time that Jarre began studying classical piano, which he later abandoned. During his youth, he formed a band called Mystère IV. In the late 1960s, he started experimenting with tape loops, radios and other electronic devices, until, in 1968, he joined the Groupe de Recherche Musicale (GRM), under the direction of Pierre Schaeffer, the "father" of musique concrète, where he was introduced to synthesizers.

In the early 1970s, Jarre released his first solo single La Cage (1969), as well as his first two album projects; Deserted Palace (released on Sam Fox Productions/Dreyfus, 1973) and the soundtrack for the film Les Granges Brulées (Dreyfus, 1973). It wasn't until 1976, however, that Jarre secured a recording contract with Polydor (after the initial first release on Disques Motors) with his first major multi-million selling album, Oxygene (although it wasn't until 1977 when the album was released internationally after the initial release in France that Oxygene became world renowned). Oxygene is considered by some to be the most important and influential electronic music album ever. Contrasted with his contemporaries, such as the rather clinical, hard, futuristic sound of Kraftwerk, or the more 'cosmic' and murky Tangerine Dream, Oxygene had a lush, spacey and strongly melodic sound reminiscent of the sound of Walter Carlos on the soundtrack to A Clockwork Orange released a few years earlier, and was a big commercial success worldwide. The track Oxygene Part IV was released as a single and became one of the best-known pieces of electronic music ever. Key components of Jarre's sound included his use of the dutch organ Eminent (strings), Electroharmonix Small Stone phaser on synthetic string pads, and liberal use of echo on various sound effects generated by the VCS3 synthesizer. He also manipulated a Korg Minipops drum machine to create totally unique rhythms and drum sounds.

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Tracklisting:

1. Fresh News

2. Téo & Téa

3. Beautiful Agony

4. Touch to Remember

5. Ok, Do It Fast

6. Partners in Crime 1

7. Partners in Crime 2

8. Chatterbox

9. In the Mood for You

10. Gossip

11. Vintage

12. Melancholic Rodeo

13. Téo & Téa - 4:00 AM

Additional infos for this album are located , , and .

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allmusic (thumbs-up):

French electronic music guru Jean Michel Jarre returns to recording after a seven-year studio hiatus. Many have accused Jarre of being in a musical rut since the '90s, but as evidenced by Téo and Téa, he may be retro but he's far from tired. This album includes the bad-ass title track single that has been taking over dancefloors in Europe since the end of 2006; its four on the floor house rhythm is shaded and textured with all manner of narrated voices, programmed analog synths, polythrythms and all manner of slamming, over the top house. Its cheesy sounds blend seamlessly with the more substantive ones. Jarre collaborates with string arranger and guitarist Claude Samard who also uses all manner of digital equipment to get delays on orchestral textures and sonically enhanced analog sounds to behave. Francis Rimbert also plays keyboards, and Tim Hufekn and Anne Parillaud Jarre contributes suitable moans and other signing sounds to "Beautiful Agony." left, you're getting it. This is not meant to be some new form of classical electronic soundscape; it's designed for the Euro upscale club circuit and it works like a charm. There are any number of tracks, including the two aforementioned, that qualify for extensive remix treatment. "Touch to Remember," with its computerized sci-fi vocal samples, is more constitutionally Jarre, but there is that subtle breakbeat to bring it up to date with all the whizzing, drifting keyboards and sequenced, keyboard-programmed rhythmic loops. "Partners In Crime, Pt. 1" and "Pt. 2" are a mirrored pairing of each other, one fully orchestrated, one a kind of dub version, both with corrosive breaks. "Melancholic Rodeo," and "Téo & Téa 4: 00 A.M." close the album out on a high note with strange, shimmering backdrops, trancelike beats and angular synth lines with an 808 slipping around the backdrop of each lending that beautifully cold retro feel. The former contains a treated guitar solo that carries the track into its territory on this set and makes it indispensable; it's a multi-layered near-rock moment that is covered over in sheets of sound and rhythms that take it radically out of context. There are a pair of brief throwaways acting as segues that mar the album's surface, when the final shattering angular house remix of the title track goes out on an extended high note, there's nothing left to do but gasp in pleasure. Téo and Téa is a better recording that we had any left to expect, Europhiles will be ecstatically happy; Amerikanski's may find a kind of kitschy pleasure in most of it, but it's a winner nonetheless.

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guardian (thumbs-down):

Though he scored a worldwide hit with 1977's Oxygene, the days when Jean Michel Jarre was mentioned alongside 1970s electronic pioneers have gone. The Frenchman is more often remembered for preposterous live spectaculars ranging from using cities as a "stage" to recording in space. As Jarre's audio-visual productions have grown along with his ego, his musical output has dwindled in quality and quantity, but even so, Téo & Téa represents a spectacular nadir. Mostly rooted in poor 1980s Europop or anonymous soundtrack music, only the title track - with its one-note solos reminiscent of Faithless circa 1995 - is moderately progressive. At 58, the composer can be forgiven for thinking a computerised voice is still where it's at, but not for infantile melodies that mostly sound like a music-shop demonstration room in 1979. New wife Anne Parillaud supplies orgasmic cries to the cheesy Beautiful Agony with an intensity that suggests Jarre still has a talent for something, but creatively he has surely withered.

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Other Jean-Michel Jarre albums:

Jean-Michel Jarre - Les Chants Magnetiques {24bit Digital Remaster} (1981)

Jean-Michel Jarre - Revolutions {24bit Digital Remaster} (1988)

Jean-Michel Jarre - En attendant Cousteau {24bit Digital Remaster} (1990)

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