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| Rob Dougan 2003 Furious Angels album cover | |||||||||||||||
| Furious Angels is the first album by Rob Dougan, released in mid-2002 in the UK and in mid-2003 in the US and Europe. It was nominated for the 2004 Grammy Award for "Best Boxed or Special Limited Edition Package".
Track listing: Lyric excerpts are provided for the most representative standout tracks. Disc one 1. "Prelude" (0:43) — A brief choral opening with strongly distinguished left and right channels, making it uncomfortable on headphones. 2. "Furious Angels" (5:56) — An up-tempo track coordinating Rob Dougan's lead vocals, Joy Malcolm's backing vocals, a full orchestra, and "metronomic" synthetic beats, as well as subtle piano backing. It's also the only track that's similar to "Clubbed to Death", but with a slight gospel music twist. 3. "Will You Follow Me?" (3:50) — Romantic and soundtrack-like orchestral instrumental. 4. "Left Me for Dead" (4:34) — Orchestral torch song of strings tempered by some folksy bitter humour. 5. "I'm Not Driving Anymore" (4:34) — A dark, electro-orchestral song. The song is a complex network of tragedy, anger, despair and addiction. It bursts with a severe energy that is sustained throughout, with a softer yet still tragic interlude at about 2.45 minutes in, only to be struck by a dramatic despair-laden ending. 6. "Clubbed to Death (Kurayamino variation)" (7:29) — Rob Dougan frequently attempts different variations of the same track, which usually find their way onto single releases, however the "Kurayamino variation" of this track is significantly better known than the first one due to its appearance in The Matrix and having been a fan-favourite. Therefore, this version is now known simply as "Clubbed to Death", and the first one as the "First Mix". 7. "There's Only Me" (5:37) — A moving and bitter-sweet song about hopeless-love. 8. "Instrumental" (4:28) — A string version of the melody from "One and the Same (coda)". 9. "Nothing at All" (6:32) — A powerfully poignant song about love, old age and death, which could thematically be compared, or opposed, to The Beatles' "When I'm Sixty-Four". Dougan's usual gravelly voice is contrasted by falsetto peaks, and the simple use of an acoustic guitar, seconded by sparse piano and harp, demonstrates another facet of his musical styles. 10. "Born Yesterday" (5:20) — A disenchanted club/orchestral song. 11. "Speed Me towards Death" (4:33) — Despite its theme, a much more relaxed and energetic song, with suicidal hints. 12. "Drinking Song" (3:59) — Almost jazzy, a melancholic piano bar complaint, growled as a half-drunk Tom Waits. 13. "Pause" (0:33) — Precisely 33 seconds of silence, intended to pace the album more effectively when listened to from start to finish. 14. "One and the Same (Coda)" (5:46) — An uplifting and serenely optimistic finish. 15. "Clubbed to Death 2" (7:07) — Preceded by precisely 60 seconds of silence; probably to designate its bonus track status, or as an encore. After about a minute of Dougan-esque instrumentals, a heavy drum loop fades in and the orchestra speeds up a bit and brings back memories of the original Clubbed to Death. The track occasionally takes breaks from the panicked sound to return to wholly orchestral elements. Disc two (instrumental versions) 1. "Will You Follow Me? [instrumental]" (4:34) — Followed by "Prelude" 2. "Furious Angels [instrumental]" (6:04) — Followed again by "Prelude", although with different use of stereo. 3. "Left Me for Dead [instrumental]" (4:42) — 4. "I'm Not Driving Anymore [instrumental]" (4:34) — A more immediate version than the vocal version, opening with the main drum beat and maintaining it for much of the song. 5. "There's Only Me [instrumental]" (5:36) 6. "Instrumental " – (4:30) — Identical to the version on disc one; some versions mislabel this as "Clubbed to Death" in the track listing. 7. "Nothing at All [instrumental]" (5:54) — Starts immediately with acoustic strings and without the lingering piano notes in the original's beginning 8. "Born Yesterday [instrumental]" (7:33) — Clearly much longer than original, with an extended female vocal interlude 9. "Speed Me Towards Death [instrumental]" (4:30) 10. "One and the Same (Coda) [instrumental]" (5:46) | |||||||||||||||
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