Please indulge me for a moment, because I have something to say (and please excuse me in advance if you know all this already, but some of the comments in the thread suggest otherwise.) Roisin entered the pop world circa 1995 as a 'next big thing' in the British press (as part of Moloko) - they were a bit weird, a bit alternative, lumped alongside BritPop despite not really being part of that genre. They were a bit 'club' music, a bit 'strange dance shit', a bit 'introverted' and despite a minor hit (and a slot on the Batman & Robin Soundtrack - quite the get in 1997, let me tell you) they failed to take flight. They were nonetheless given a second album release (probably due to the Batman & Robin soundtrack and subsequent exposure in the USA), which duly bombed. Then they were no more (commercially speaking) Except. Boris Dlugosch remixed 'Sing It Back' from this second album and they suddenly had a club hit on their hands.
Jan 25, 2010 - s.rar.html. If We're In Love (SP). Roisin Murphy - Ruby Blue [SE] (2005). Leaving The City (4:49). Download Ruby - blue torrent or any other torrent has 78828 resources,search torrent from torrent sites- TorrentAnt.com.
One that became a smash hit (their first) and resulted in a third album being greenlit. This third album incorporated a little more of an overt 'dance' influence and was a pretty big success (though I'd argue that it was much like Outkast's 'Speakerboxxx/The Love Below' in that a lot of people bought it based on a hit single. The hit single wasn't particularly reflective of the album as a whole). Their fourth album (in my opinion their greatest), Statues, came afterwards and was a critical success but not massively successful commercially in the UK. After which, Roisin had the opportunity to go solo and teamed up with critical darling Matthew Herbert as collaborator, releasing her debut Ruby Blue.
I think of it as her best solo album, though it BOMBED and had no hits. Then she was picked up by a major label (the head of EMI must have been convinced of her talent and creativity and showmanship and, most importantly, commercial appeal, because he announced her as 'the female Robbie Williams' in their annual conference) and released Overpowered. Massive budget, the most 'pop' songs she'd ever created. And a big budget was allocated for a 'Big Pop Girl' rollout. Despite the amazing videos and artwork and album and Roisin herself playing the game. The UK public simply didn't like it and the album (and singles) flopped massively (in context).
Which kind of brings us to Hairless Toys and everything else. Which sees people implying that she'd 'smash' with poppier material.
She did that once, with full label support. It didn't happen.
Roisin is basically a peer of Mariah and Celine - Robyn and Lady Gaga and M.I.A. Are her daughters, so let her bitch a little about playing the game they have, yet never having an international hit. They all know of her and have taken from her (as do all popstars with good popstars before them, so this isn't some ridiculous claim of plagiarism) and she should be allowed to talk about this without us saying that 'it's her own fault' that she didn't crossover and needs to go 'full pop' again to gain success. She's doing fine (at least 4 of this year's tracks are amongst her very best, in my opinion). In summary, when she pissed off she destroyed her career. Let that be a lesson to us all. Click to expand.Indeed before The Fame came out me and Roisin went to a fashion week party.
I had been with Gaga a few times earlier in the week. Anyway I went outside for a fag and Gaga wasn’t being let in. I had to beg the door woman saying she was gonna be massive (the door lady kept saying ‘no way, she looks fucking tragic wearing paper eyelashes’!!!!) anyway I told her Roisin was inside and she was very excited to meet her, saying she loved her. Then I remember there was some comparison picture doing the rounds on twitter.with the just dance sleave and a Roisin pic wearing a similar blue dress that got tweeted ALOT. We saw her again a few days later and she didn’t even acknowledge us. I think Roisin has been very influential at many different parts of her career. Please indulge me for a moment, because I have something to say (and please excuse me in advance if you know all this already, but some of the comments in the thread suggest otherwise.) Roisin entered the pop world circa 1995 as a 'next big thing' in the British press (as part of Moloko) - they were a bit weird, a bit alternative, lumped alongside BritPop despite not really being part of that genre.
They were a bit 'club' music, a bit 'strange dance shit', a bit 'introverted' and despite a minor hit (and a slot on the Batman & Robin Soundtrack - quite the get in 1997, let me tell you) they failed to take flight. They were nonetheless given a second album release (probably due to the Batman & Robin soundtrack and subsequent exposure in the USA), which duly bombed. Then they were no more (commercially speaking) Except. Boris Dlugosch remixed 'Sing It Back' from this second album and they suddenly had a club hit on their hands. One that became a smash hit (their first) and resulted in a third album being greenlit.
This third album incorporated a little more of an overt 'dance' influence and was a pretty big success (though I'd argue that it was much like Outkast's 'Speakerboxxx/The Love Below' in that a lot of people bought it based on a hit single. The hit single wasn't particularly reflective of the album as a whole).
Their fourth album (in my opinion their greatest), Statues, came afterwards and was a critical success but not massively successful commercially in the UK. After which, Roisin had the opportunity to go solo and teamed up with critical darling Matthew Herbert as collaborator, releasing her debut Ruby Blue. I think of it as her best solo album, though it BOMBED and had no hits. Then she was picked up by a major label (the head of EMI must have been convinced of her talent and creativity and showmanship and, most importantly, commercial appeal, because he announced her as 'the female Robbie Williams' in their annual conference) and released Overpowered. Massive budget, the most 'pop' songs she'd ever created.
And a big budget was allocated for a 'Big Pop Girl' rollout. Despite the amazing videos and artwork and album and Roisin herself playing the game. The UK public simply didn't like it and the album (and singles) flopped massively (in context).
Which kind of brings us to Hairless Toys and everything else. Which sees people implying that she'd 'smash' with poppier material. She did that once, with full label support. It didn't happen. Roisin is basically a peer of Mariah and Celine - Robyn and Lady Gaga and M.I.A. Are her daughters, so let her bitch a little about playing the game they have, yet never having an international hit. They all know of her and have taken from her (as do all popstars with good popstars before them, so this isn't some ridiculous claim of plagiarism) and she should be allowed to talk about this without us saying that 'it's her own fault' that she didn't crossover and needs to go 'full pop' again to gain success.
She's doing fine (at least 4 of this year's tracks are amongst her very best, in my opinion). In summary, when she pissed off she destroyed her career.
Let that be a lesson to us all. Then she was picked up by a major label (the head of EMI must have been convinced of her talent and creativity and showmanship and, most importantly, commercial appeal, because he announced her as 'the female Robbie Williams' in their annual conference) and released Overpowered. Massive budget, the most 'pop' songs she'd ever created.
And a big budget was allocated for a 'Big Pop Girl' rollout. Despite the amazing videos and artwork and album and Roisin herself playing the game. The UK public simply didn't like it and the album (and singles) flopped massively (in context). Click to expand.I'd say your entire post is mostly spot-on. However I'd say with EMI and Overpowered the only major promo they didn't do was TV appearances.
The noughties were a huge peak for pop music in the UK but I think Roisin was still very much pushed as an indie artist with a major label backing. She might have done a Popworld appearance and Jools Holland set, but she still didn't have much TV presence. Don't get me wrong, the formats, artwork and direction were all spot on. But it was like she was already huge (which she was to us) but they hadn't built her up first. It's no surprise it was short lived. I love Overpowered for what it is but it is very much the oddity in her discography, rather than everything else after it. I’ll give anything Roisin puts out my attention because she’s super talented.
I think Hairless Toys was a very good record. I’ve not massively used the EPs which I feel guilty about as I know she put a lot of effort in. She’s so hard to define as an artist and I think that’s probably why there’s a commercial struggle. It’s so curious because she comes off as so frivolous and transient when it comes to her output. Sort of unbothered by commercial and critical acclaim, just happy to keep creating, it seems that’s not the case. I genuinely thought she was the kind of artist that wold deliver her version of Hounds Of Love. Her voice has that emotional content and her delivery could tear your heart out.but she hasn’t evolved into that sort of artist so maybe that was a misjudge on my part.
I think her best work is yet to come in truth. A solid album expressive album with some political and social nuances would be very welcome. But whatever she wants really cause she fookin mint.
I’ll give anything Roisin puts out my attention because she’s super talented. I think Hairless Toys was a very good record. I’ve not massively used the EPs which I feel guilty about as I know she put a lot of effort in.
She’s so hard to define as an artist and I think that’s probably why there’s a commercial struggle. It’s so curious because she comes off as so frivolous and transient when it comes to her output. Sort of unbothered by commercial and critical acclaim, just happy to keep creating, it seems that’s not the case. I genuinely thought she was the kind of artist that wold deliver her version of Hounds Of Love. Her voice has that emotional content and her delivery could tear your heart out.but she hasn’t evolved into that sort of artist so maybe that was a misjudge on my part. I think her best work is yet to come in truth.
A solid album expressive album with some political and social nuances would be very welcome. But whatever she wants really cause she fookin mint.
Click to expand.Do wMany 'artists' give to people what they want, there an indecent choice of artists doing more accessible or commercial things. And, is it incompatible to want more attentions/success and continue to do more creative stufs like she like to do? This is unfair I think. Many pop stars choose facility for have more success and, very often, it is not a guarantee of quality. And that's really why I love Roisin's stuffs.
I don't like everything she did (I'm not a huge fan of Overpowered).