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	\| Barry Adamson \| Unofficial website of Magazine et al. \| ShotByBothSides.com \|
		Barry Adamson's work as a bassist for Magazine and Nick Cave's Bad Seeds gave little indication of the complex, cinematic works he has composed as a solo artist.
		His first full-length album, 1989's Moss Side Story (he had released one previous EP in 1988), was a tour de force blending post-punk, industrial, spy guitar, and various classic movie composer quotes into a seamless 54-minute soundtrack to an ominous film noir that didn't exist.
		Adamson also continued to compose quasi-cinematic recordings for imaginary films like 1996's Oedipus Shmoedipus, although none has matched the sustained excitement of Moss Side Story.
	shotbybothsides.com /bar_adam.htm (183 words)

	Barry Adamson - Wikipedia, the free encyclopedia
		Barry Adamson (June 1, 1958) is a British rock musician who has worked with Magazine, Nick Cave And The Bad Seeds, Pan Sonic, and has worked on film soundtracks for David Lynch.
		Born in Moss Side, Manchester, Adamson was weaned on comic books from an early age.
		Adamson left school and shifted into graphic design but quit shortly after, favouring to venture into the exploding Punk Rock scene of the late '70s, joining the now legendary and influential band Magazine, playing bass guitar.
	en.wikipedia.org /wiki/Barry_Adamson (328 words)

	Barry Adamson: The Murky World Of... (Mute)
		Uncovering Adamson influences, from John Barry to Ennio Morricone to Lalo Schifrin, the album set a precedent for inventive forms and thinking through echoes of cinema past.
		Barry's personal investigations continued with 1992's Mercury Prize nominated 'Soul Murder', an album which would later be pillaged by Trent Reznor for music for the Natural Born Killers soundtrack.
		Last year also saw Barry performing live with a full band for the first time in over ten years as well as scoring the music for the BBC television drama series City Central.
	www.mutelibtech.com /mute/adamson/murky.htm (508 words)

	Barry Adamson (Dorfdisco Berlin)
		Seeing Barry Adamson, as the front man was a new experience as I remember his talent, hiding behind the infamous and charismatic Nick Cave, when Barry was a shy yet musically talented member of the Bad Seeds.
		Barry was always the man behind the buttons, pushing them for Anita Lane back in 1992 for These Boots are made for Walking or for cult and independent films that he bestowed his sexy songs upon.
		So fixing my gaze on Barry behind a microphone wrapped around his thighs, talking, screeching his sentiments while extending his arms, begging for participation and understanding, tripping over leads and nodding his head at his musicians who were trying to please him first before pleasing the audience, was a delight.
	www.dorfdisco.de /rev/2002/barryeng.phtml (753 words)

	PCP : Barry Adamson
		It was Barry Adamson’s artistic output from a distressing period of several hip surgeries, rendering him confined to a wheelchair for months.
		So this idea of Adamson as a wandering Cain, trail blazing the ground that cannot be tilled, like his biblical predecessor did with founding the city of Enoch, the Adamson character is now the king of nothing.
		Adamson recalls while taking a break from the album on vacation, he woke up one morning to a melody he thought was on the radio.
	www.popculturepress.com /barry_a.html (1505 words)

	The Observer \| Review \| Barry Adamson: Bad seed made good
		But Barry Adamson is reflecting on his time as bassist in Nick Cave's Bad Seeds a full 15 years ago, before 'the soundtrack thing saved my life'.
		This time Adamson has injected a heavy dose of funk into his widescreen, jazz-tinged muse, as typified by the aptly titled 'Cinematic Soul' and the deliciously self-deprecating boudoir beats of the single, 'Black Amour'.
		Although Adamson's solo work has always purveyed a darkly comic, self-referential and narrative take on issues of class, race, urban stress and psychological trauma, much of this has been his way of dealing with lifelong physical pain and grief.
	observer.guardian.co.uk /review/story/0,,772468,00.html (1376 words)

	Guardian Unlimited Arts \| \| Barry Adamson: The King of Nothing Hill
		The landscape Adamson's music inhabits is familiar from countless movies and their soundtracks - by 1960s icons John Barry and Bernard Herrmann, soul heroes Curtis Mayfield and Isaac Hayes, barflies Tom Waits and John Lurie.
		Many current instrumental music writers claim cinema as an influence; what sets Adamson apart from this crowd is his playfulness, the way he relentlessly undercuts any hint of cool with a deliciously self-deprecating sense of humour.
		Throughout its history, cinema has been the most escapist of art forms, and throughout his career Adamson has seemed to be escaping his life: physical pains, the deaths of his parents and sister, the mixed-race background that left him feeling alienated from fl and white communities simultaneously.
	arts.guardian.co.uk /fridayreview/story/0,12102,782387,00.html (691 words)

	Mute.com: Barry Adamson
		Whispering Streets Barry Adamson released 'Whispering Streets' on Mute on the 4th of November 2002.
		A love of cinematic scores and the advent of the punk explosion in the mid '70s inexorably leads Adamson headlong into a career in music.
		Barry Adamson released a cover version of the Nancy Sinatra hit, 'These Boots Are Made For Walking', with Anita Lane.
	www.mute.com /artists/publicArtistLoad.do?id=1357 (180 words)

	Barry Adamson
		This is Noir jazz ballad turf, carried by Adamson's basso vocals, spouting lyrical conflicts between angels and devils, rife with supplication and peppered with iniquity.
		Likewise, "Jazz Devil" is an archetypal Adamson travelogue through the seamier side of life, distantly abetted by Hammond Organ, Fender Rhodes and a host of other instruments.
		While Adamson's earlier albums dealt with similar elements, they did so in a clinical "wide shot" style; here, Adamson is in close-up, and his heightened emotional connection to the music gives it far greater scope.
	www.splendidezine.com /reviews/jul-13-98/barry.html (253 words)

	Mute Tonträger: Barry Adamson (Site not responding. Last check: 2007-10-18)
		In den folgenden Jahren verfolgte Adamson seine ganz eigenen musikalischen Visionen, veröffentlichte zahlreiche Alben und wirkte u.a.
		Adamsons musikalischer Output glänzt durch Vielschichtigkeit, oppulente Instrumentierungen und experimentelle, dennoch nie kopflastige Kompositionen.
		Barry Adamson ist der Großmeister des Cinematic Sounds.
	www.mute.de /artists/adamson.shtml (1662 words)

	Barry Adamson - The King Of Nothing Hill - Review
		Barry Adamson has been involved with interesting and influencial music for a good portion of his life.
		One of his first gigs was playing bass for the post punk band Magazine from 1978 to the early 80s, then he went on to become one of the founding members of Nick Cave's Bad Seeds.
		Adamson isn't above mixing wacca-chika guitars with soaring strings and following it up with haunting instrumentals, and unlike some odd hybrids on former releases, this disc pulls most of it off quite well.
	www.almostcool.org /mr/a/a47mu.html (415 words)

	Documentary Evidence - Barry Adamson (Site not responding. Last check: 2007-10-18)
		Barry Adamson's latest album comes with a title bearing his hallmark sense of humour, and is perhaps his most accomplished and complete work to date.
		Draped regally in a red, fl and gold digipak robe, Adamson is here cast as the king of an absent kingdom, although the photo on the inside of the sleeve seems to be more Isaac Hayes than anything else.
		Adamson's own 'Trojan Extended Pleasure' remix (credited to The Pimp Floyd) kicks out the soul groove in favour of a dub-style makeover, seeing elements faded in and out sharply, echoes and all manner of King Tubby hommages riding over a thick and filthy reggae beat.
	myweb.tiscali.co.uk /docevnominal/adamson5.htm (1063 words)

	Barry Adamson: The King of Nothing Hill: Pitchfork Review (Site not responding. Last check: 2007-10-18)
		This vomit-coaxing misstep is hardly enough derail Adamson's soul train, though, as he rapidly branches out, aggressively covering all kinds of ground, from surf electronica ("The Crime Scene") to vamping jazz noir with an insistent swing to it ("Les Matin de Noire").
		Lyrically, Adamson sticks primarily to topics you might expect to ooze from music like this, from his first-person hitman narrative on the relentlessly upbeat "Whispering Streets" to the comical Barry White-throated "Satisfaction Jackson" persona he adopts on "Black Amour".
		Adamson produced it himself, and his skill at the board is remarkable; every sound fits exactly where it should and even the most bombastic moments don't feel overbearing.
	www.pitchforkmedia.com /record-reviews/a/adamson_barry/king-of-nothing-hill.shtml (704 words)

	Barry Adamson: The King of Nothing Hill (2002): Reviews
		Adamson lives in a dream and his music is a delicious trip through time.
		Adamson's not abandoned the scary swing tunes that made David Lynch a fan...
		Adamson is certainly adept at replicating the sights and sounds of the Bond and Blaxploitation films that inspired him in his youth.
	www.metacritic.com /music/artists/adamsonbarry/kingofnothinghill (530 words)

	Splendid Magazine reviews Barry Adamson: The King of Nothing Hill
		Of course, Adamson's life isn't anywhere near as glamorous as the film noir fantasies his music so brilliantly evokes -- we're talking about a guy who's gone four years between albums due to a series of hip replacement surgeries -- but it's fun to pretend, and Adamson's music is a pretender's dream come true.
		Adamson's ten year-old son even joins in the fun late in the song, and his guest appearance is the silliest, warmest thing Adamson has ever done.
		But for sixty-two glorious minutes, Barry Adamson can add a little danger, a little glamor and a little seamy excess to your humdrum existence.
	www.splendidmagazine.com /review.html?reviewid=3238396970393494 (749 words)

	The National Peace Corps Association: Barry S. Adamson
		Barry Adamson served in Sierra Leone from 1973 -1975 as a science education specialist.
		Barry remains involved in volunteer activities in the Cincinnati area, including the Cincinnati Association for the Blind, and the Cincinnati Area Returned Volunteers.
		Barry began his service on the NPCA Board in 2001.
	www.rpcv.org /pages/sitepage.cfm?id=953 (94 words)

	Ink Nineteen: Barry Adamson
		The sixth full-length solo outing from former Magazine/Bad Seed bassist Barry Adamson is one of the most musically stylish ruminations on the duality of man that you're likely to hear this year.
		Serving as the album's ringmaster, Adamson's voice morphs in and out of a variety of characters, some lost and desperate for salvation, and some gleefully cooing from the depths of hell.
		Be warned, long-time Adamson fans, that this record is a departure from Barry's previous soundtrack / Film Noir sounding albums of that past.
	www.ink19.com /issues_F/98_08/wet_ink/music_ab/001_barry_adamson_nf.html (178 words)

	earpollution : features : barry adamson [page 2] - 09.09.2002
		Barry: Yes it is. I took a loop from an Archie Shepp tune.
		Barry: Yeah, they're operating from someplace else altogether.
		Barry: Those are the sort of moments to go for.
	www.earpollution.com /v2/vol4/features/interviews/adamson/adamson2.html (1621 words)

	Nick Cave and the Bad Seeds - Wikipedia, the free encyclopedia
		It was originally formed in 1984 by two former members of the Australian band The Birthday Party: Nick Cave (singer, songwriter) and Mick Harvey (drums).
		They were joined by Einstürzende Neubauten member Blixa Bargeld (guitar), Hugo Race (guitar), and former Magazine member Barry Adamson (bass, piano).
		June 1985–July 1986: Nick Cave, Mick Harvey, Blixa Bargeld, Barry Adamson, and Thomas Wydler.
	en.wikipedia.org /wiki/Nick_Cave_and_the_Bad_Seeds (487 words)

	Barry Adamson Album Reviews
		Even though it took Adamson nearly four years to come up with his sophomore album, the result is much lighter and scattershot.
		Apart from this, Adamson has also been credited with influencing some of the ‘darker’ trip-hop bands out there (Portishead and Tricky, to name the most popular examples), which is quite credible when you hear the rock/dance synergy of “Suspicion,” a combination of spy movie-lushness and Madchester-vibe.
		Of course, it’s still firmly rooted in the soundtrack-tradition, as horn arrangements and use of organ are at least as important as the dance vibes, but you can actually shake your booty to most of this stuff.
	www.guypetersreviews.com /barryadamson.php (1080 words)

	Documentary Evidence - Barry Adamson (Site not responding. Last check: 2007-10-18)
		Barry Adamson's development from Magazine and The Bad Seeds bassist into a fully-fledged solo artist is a remarkable transition in itself; to see him move from the straightjacket of post-punk and The Bad Seed's brand of blues-informed rock into an all-round soundsmith is somehow even more incredible.
		Adamson is first and foremost a excellent musician, as shown most clearly by his basswork on Play, a live album recorded in Australia when Howard Devoto's post-Buzzcocks Magazine toured there.
		Critically lauded by Portishead in the NME upon the release of their own noir-ish Dummy, Adamson is a shadowy musical force and much more deserving of acclaim.
	myweb.tiscali.co.uk /docevnominal/adamson1.htm (272 words)

	Barry Adamson: Moss Side Story: Pitchfork Review (Site not responding. Last check: 2007-10-18)
		Cinema-song, Barry Adamson, might have been best known for playing as a member of Nick Cave's Bad Seeds.
		Like a soundtrack to a David Lynch film that was never made, this record cruises through the dark and fiery depths of the mind of a visionary, allowing you to try on the fabric of reality before telling you it doesn't come in your size.
		With Adamson's film scores-- Germany's 1991 classic Delusion, 1992's Gas Food Lodging, and most recently (it was bound to happen), David Lynch's Lost Highway-- resurging in popularity, millions of little goth kids and soundtrack aficionados are going to want this in their collection.
	www.pitchforkmedia.com /record-reviews/a/adamson_barry/moss-side-story.shtml (235 words)

	Windswept - The Writers
		Barry Adamson began his career playing bass in Magazine and later played with the influential Nick Cave as one of the Bad Seeds, eventually leaving to pursue solo work.
		The Murky World of Barry Adamson captures the darkly luring music that is trademark Adamson, so well established with the albums The Negro Inside Me, Delusion and Soul World.
		The albums Oedipus Schmoedipus and As Above, So Below, both on Mute, are like soundtracks to a road trip headed to the smoke filled underworld of Barry Adamson.
	www.windsweptpacific.com /thewriters/b_adamson.asp (118 words)

	The City of Absurdity: Barry Adamson Interview
		It's wonderful.' He said (Adamson does a stirling impression of Lynch's character Gordon from Twin Peaks) `Right up your alley, right?' I said `Yeah.' A lot of the ideas I try to get to, and the world I try to create - we're very similar, but on a greater level.
		The August issue of England's "The Wire" magazine features an Invisible Jukebox column with Barry Adamson, who's done some music for Lynch's "Lost Highway." For those unfamiliar with him, he was bassist with postpunk group Magazine and a founding member of Nick Cave's The Bad Seeds.
		Adamson: "I've just done some work with David Lynch and he was very clear about what he wanted from the emotion of the scene, so he'd direct me in certain ways.
	www.thecityofabsurdity.com /lhadam.html (595 words)

	MySpace.com - Barry Adamson - LONDON, UK - Alternative / Experimental - www.myspace.com/barryadamson
		Barry Adamson's Latest Blog Entry [Subscribe to this Blog]
		Barry Adamson - LIVE this November (view more)
		Thanks for adding me Barry, glad to have found your music.....great sounds.
	www.myspace.com /barryadamson (511 words)

	Barry Adamson- Oedipus Schmoedipus - @forums (Site not responding. Last check: 2007-10-18)
		Barry Adamson has a more recent album than this "King of Nothing Hill" which spawned the single "Black Amour".
		Barry was asked by David Lynch to do some music for his "Lost Highway" resulting in Mr.
		There's something for everyone here, upbeat pieces like "Something Wicked this way comes" which was featured in LH's party scene before Pullman meets the Mystery Man. There's even an absurd narrative about a prince who comes across a lovely princess on dead man's trail.
	www.atforumz.com /showthread.php?t=229684 (171 words)

	YouTube - Black Amour - Barry Adamson
		Barry Adamson's video clip for "Black Amour", off "The King of Nothing Hill" album.
		Barry Adamson live @ Primavera Sound (Barcelona 07)
		Barry Adamson WHO KILLED BIG BIRD Drive time
	www.youtube.com /watch?v=AIKDvuBfxr4 (236 words)

	Amazon.com: Moss Side Story: Music: Barry Adamson (Site not responding. Last check: 2007-10-18)
		The songs present moods more than discernable events (except, e.g., the first which is apparently about a woman being followed and becoming increasingly frightened), so you can make up a different storyline each time you listen.
		Without this interactivity, the album loses some of its strength as its compositions are generally not as strong as Adamson's later work.
		When you're out of gift ideas for that special someone, remember that Mr Adamson is here to breathe life into the bleak and unprofessional world of modern music.
	www.amazon.com /exec/obidos/tg/detail/-/B000003Z6M?v=glance (824 words)

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