Bettie Serveert's charm, as established from the get-go on their debut album, wasn't any kind of new radicalism but the members' way around well-known rock styles to unexpected effect. Everything from third album Velvet Underground and Neil Young's furious electric heights to the Wedding Present's bruised romanticism (the production especially calls to mind some of Steve Albini's work for that band) has an echo here. What makes it all connect isn't simply the considerable abilities of the group, especially guitarists Visser ...
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Bettie Serveert's charm, as established from the get-go on their debut album, wasn't any kind of new radicalism but the members' way around well-known rock styles to unexpected effect. Everything from third album Velvet Underground and Neil Young's furious electric heights to the Wedding Present's bruised romanticism (the production especially calls to mind some of Steve Albini's work for that band) has an echo here. What makes it all connect isn't simply the considerable abilities of the group, especially guitarists Visser and van Dijk, but van Dijk's strong singing and lyrics both. Combining both a low-key sass and a slightly distanced, concerned tone, her voice cuts directly through the arrangements, the most upfront thing in the mix. Comparisons aren't easy to make; early Chrissie Hynde makes a certain amount of sense, but van Dijk is no clone. As for her subject matter, small details of everyday life, especially concerns of identity and dealing with others, form the basis of her sharp, sometimes painfully close to the heart images. "Brain-Tag," with her plaintive refrain "Have I ever laid my hands on you before?" and "Healthy Sick" are two of the standouts on that level. When she stops to let the music fully take over, the transition is often perfect -- "Kid's Allright" is a good example, the instrumental breaks carrying the forceful feel of the words into the nonverbal. "Tom Boy," the surprise U.S. minor radio hit from the album, shows the quartet's mix of skills quite nicely. A mid-paced but lovely number with a descending chord riff à la T. Rex (if not as glammy otherwise) and van Dijk's multi-tracked vocals claiming the term for herself, "because only a tom boy could rise above it," make Palomine a quietly addictive number from this fine album. ~ Ned Raggett, Rovi
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Add this copy of Palomine to cart. $0.99, very good condition, Sold by Warner Books rated 4.0 out of 5 stars, ships from Girard, OH, UNITED STATES, published 1997 by Matador.
Add this copy of Palomine to cart. $4.53, fair condition, Sold by Seattle Goodwill rated 5.0 out of 5 stars, ships from Seattle, WA, UNITED STATES, published 1993 by Matador.
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Add this copy of Palomine to cart. $5.38, good condition, Sold by Movie Surplus rated 5.0 out of 5 stars, ships from Mobile, AL, UNITED STATES, published 1993 by Matador.
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Barlow/Bettie Serve; Bettie Serveert/Van. Good. Used-Good Condition. Some signs of use, but nothing that should affect playback. Includes case and original artwork and liner notes when applicable.
Add this copy of Palomine to cart. $7.49, very good condition, Sold by MUSICAL ENERGI rated 3.0 out of 5 stars, ships from Wilkes-Barre, PA, UNITED STATES, published by Matador 92285-2.
Add this copy of Palomine to cart. $10.49, good condition, Sold by Music Fiendz rated 5.0 out of 5 stars, ships from South Hackensack, NJ, UNITED STATES, published 1993 by Atlantic / Wea.
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Good. Size: 0x0x0; All orders professionally packed and shipped from the USA within 24 hours. Multilingual, friendly, and intelligent customer service!