Eels

Arrows

No Second Guesses

JJSProductionz

Need Some Sleep (Explicit)

EELS So Good: Essential EELS Vol. 2 (2007-2020)

Meija

POSSUM (Explicit)

Sharpton Mann

Shotgun Clown (feat. Eels) (Explicit)

Anything For Boo (Unplugged – Gentle Souls 2021 KCRW Session)

Extreme Witchcraft

Amateur Hour

The Magic

Steam Engine

Good Night On Earth

Out There In The Dark (Live 1994)

Teddy Specter

I Need Some Sleep (Remix)

Anything For Boo

Are We Alright Again

Who You Say You Are

Baby Let's Make It Real

Today Is The Day

The Deconstruction

Bone Dry

Premonition

Today is the Day

Fresh Blood

Live at Town Hall

Trouble With Dreams

Yes Man (Original Motion Picture Soundtrack)

Royal Albert Hall (Explicit)

The Cautionary Tales of Mark Oliver Everett

Mistakes of My Youth

Wonderful, Glorious (Deluxe Version)

Wonderful, Glorious

The Man

Tomorrow Morning

Spectacular Girl

End Times

Hombre Lobo

That Look You Gave That Guy

Live At Town Hall

Useless Trinkets-B Sides, Soundtracks, Rarieties and Unreleased 1996-2006

Blinking Lights And Other Revelations

Eels专辑介绍：Hi, We could do the usual record company “bio” about this new record, but, seriously… who gives a fuck.  The world is a mess. This is just music. Music by someone who tends to believe that change starts in your own backyard. I’m just optimistic enough to believe that kind of thing can still help people.  It doesn’t have any answers, other than maybe that there is no answer, the dust never settles, everything is out of control, etc. But it offers this: you can make changes. Thus, you can change the world. Right?  Maybe if there’s anything we have any true control over, it’s how we see things. There’s a song about that here. The “our” of “In Our Cathedral” is the collective “our” — all of us. Your point of view. As the great Roger Miller once said, “You can't roller skate in a buffalo herd, but you can be happy if you've a mind to.” He said it better than I did.  The other thing we can do while everything’s such a mess is just try to be kind. Why not? We all have bad days, but why not put in the effort whenever possible? Nobody has it easy, however their story may appear from a distance. So why not try to be nice? Starting with yourself. That’s a nice change for the world right there. Good things will grow out of that. There are some songs along those lines here as well.  I’ve been through some stuff, but I’m no expert. I’m trying to dead reckon my way same as anyone. I’m really just talking to myself here, looking for what’s really there under all the defenses. But maybe it could help you too?  Or: Fuck all this jibber jabber and see if you like this new record.  Here are 15 new EELS tracks that may or may not inspire, rock, or not rock you. The world is going nuts. But if you look for it, there is still great beauty to be found. Sometimes you don’t even have to look for it. Other times you have to try to make it yourself. And then there are times you have to tear something apart to find something beautiful inside.  Best wishes on future endeavors,EEELS guy  Some trivia pertaining to THE DECONSTRUCTION: It was performed by E, Koool G Murder and P-Boowith The Deconstruction Orchestra & Choir It was produced by Eand some songs were produced with Mickey Petralia (marking his first time in an EELS production chair since the ELECTRO-SHOCK BLUES album).  It was recorded at The Compound, Los Feliz, CA and at The Pie, Pasadena, CA  It’s dedicated to our fallen brother, Bobby, Jr.

Eels, the long-running project helmed by Mark Oliver Everett, released today the fourth taste from the band’s upcoming 11th album, The Deconstruction. Following the the title track, a video for “Today Is The Day” and the haunting second single, “Premonition,” new single “Bone Dry” adds a bleak if-not propulsive aspect to the album. A perverted doo-wop bassline drives the track, and that old-school R&B feel warps even further when chants of “shalala” drop in an almost disembodied tone. “Bone dry/You drank all the blood,” sings an exhausted Everett, sounding like it might be the last song he’ll ever sing. And through all of that, the song still reaches aspirational levels. Listen to the track below. The Deconstruction, the first Eels album in about four years, hits shelves April 6.

这张现场是Eels和管弦乐团合作的巡演的其中一站。他们的音乐中时有的爵士节奏与电声伴奏令他们显得独特。尤其这个现场，又加入了风琴、钢片儿琴等乐器，再加上Eels的成员均属于全能型乐手，表现更是让人惊异。

In May 2014 EELS embarked on an ambitious 53-show world tour. Starting in Phoenix, Arizona and crossing The United States and Canada before rolling through mainland Europe and Great Britain, the band performed spine-tingling shows at New York's Apollo, Chicago's Vic Theater, Los Angeles' Orpheum Theater, The Montreux Jazz Festival and The Amsterdam Concert Hall, among many others. On the night of June 30 EELS returned to London's legendary Royal Albert Hall for the first time in nine years to play a stunning show that was filmed and recorded.


《The Cautionary Tales Of Mark Oliver Everett》是Eels在2014年4月18日发行的专辑。

<Tomorrow Morning>是Eels2010年8月23日发行的专辑。

<Useless Trinkets-B Sides, Soundtracks, Rarieties and Unreleased 1996-2006>是Eels在2008年4月30日发行的专辑。

　　Eels的新专辑Blinking Lights and Other Revelations,用Mark Oliver Everett（也被叫做E）自己的话说，是一张关于"上帝和所有与上帝主题相关问题"的双张唱片。唱片充满极具想象却又情绪化的对于生活状况的反省和思考，录制工作大部分是在Everett洛杉矶的一个地下室花了好几年时间完成的。充斥在这两张CD中的，是关于信仰，责任，成长，尊严，不满，安抚，希望以及复兴的美妙音乐。
　　在这张唱片里，你能听到来自Everett在维基尼亚年少时光的回声，In the Yard, Behind the Church讲述的是在Everett家附近，南北战争时期的公墓里的一次令人兴奋的夏日野餐，而在Railroad Man这首歌里 ，一位年迈的火车司机追忆着曾经蔓延在Everett童年故乡，却已不复存在的Washington & Old Dominion铁路。
　　从"Son Of A Bitch"中的萨克斯六重奏，到surf-rock风格的"Old Shit/New Shit"中歌剧似呼啸的高音，这张历时数年，最终于2004年完成的唱片有着广阔的听觉跨度，有些甚至是如同鬼魅般的声响。"The other shoe"就像是一场预示灾难的大火，而在"Hey Man(Now You're Really Living)"中则有着Jackie Wilson存在主义的庆祝方式。专辑充满非比寻常的器乐演奏以及一些值得一书的友情出演，在"Last time we spoke"里，Everett的爱犬，一条名为Bobby,Jr的猎犬有着一段孤傲的嚎叫；几首歌之后，Eels完成了从一个Tom Waits乐迷到合作者的转变，在"Going Fetal" 中Tom Waits有着精彩的表现；接着是R.E.M的吉他手Peter Buck，他与Eels共同创作了"To Lick Your Boots"并包办了歌曲中吉他，贝斯以及感声琴的演奏，这也使得他的名字第二次出现在Eels专辑当中；更让人兴奋的是，摇滚乐界自鸣竖琴演奏大师，The Lovin' Spoonful的John Sebastian非常罕见的作了一回客串出演，他在同Eels共同创作的"Dusk:A Peace In The Orchard"中展示了自己自鸣竖琴的演奏技艺。

by Thom Jurek

On 2003's Shootenanny!, Eels frontman and songwriter Mark Oliver Everett seemed to approach his work with fresh ears. He cut through his own trademark lyric and production excesses (very evident on the wonderfully messy and rocked-up Souljacker) and came up with an offering of quirky, sparking tunes that were shot through with American roots music and his trademark power pop hooks, while never compromising his stubbornly iconoclastic way of looking at the world. The same cannot be said for Blinking Lights and Other Revelations. Over 90 minutes and 33 songs, E opens his own, personal Pandora's Box and lets everything out musically, lyrically, and emotionally. This is the most searingly personal album E and his ad hoc stable of cohorts have recorded since Electro-Shock Blues -- though it's not as unremittingly dark. The handsomely designed double digipack is adorned with familial photographs -- including a cover shot of his mother as a child. Strings, brass, tinkling bells, and gauzy layers of sonic textures stream through these haphazard songs. In fact, despite the appearance of family, childhood, changing times, and other concerns of personal narrative, Blinking Lights is not a unified album; its tunes are gathered seemingly willy-nilly conceptually. No matter; it is E's world-weary voice that holds the disparate parts of the album together in a loose, soft web that envelopes him and the listener. It sits dead center, allowing the tensions, textures, and moods to grip and release him at will. He expresses it all honestly, without immersion or unnecessary put-on detachment. It is his voice that gives the record a type of spiritual quality, one that seems to gauge lessons learned -- either with acceptance or rejection -- from the various truths revealed. Family and history are woven together over the entirety to create not only introspection but a sense of time's slippage, emotional and physical displacement, and grief that is offset in places by poignant humor.
Disc one's standouts include the glorious "Railroad Man," a country-ish lament for that quickly disappearing way of life, while "Son of a Bitch," with its elegant saxophones, weepy pedal steel, and stately pace, offsets the painful revelation of the protagonist, "Going Fetal," a new dance tune (à la the Twist) features a vocal sample by Tom Waits and a faux, live rave-up setting fueled completely by a loopy Wurlitzer and a lyric that expresses with true irony the perceived joy of escape. "Mother Mary" is a stomping organ and rhythm-driven track that references reggae and carnival music. Its subject matter is offset by the musical attack and the eerie sound of an empty playground swing weaving its way through the mix. The second disc begins with the elegiac yet shimmering "Dust of Ages," which feels like a demo from Peter Gabriel's second album. "I'm Going to Stop Pretending That I Didn't Break Your Heart" is gem-like pop/rock balladry, while "Dusk: A Peach in the Orchard" -- co-written with the Lovin' Spoonful's John Sebastian -- is a modern folk song that comes from the broken heart of memory, and could have been written during the Civil War era. R.E.M.'s Peter Buck co-wrote and performs on the ironic "To Lick Your Boots." The set closes with the bittersweet personal testament "Things the Grandchildren Should Know." It's unfocused and leaky lyrically, but it gets to emotional places most songwriters only dream of. Blinking Lights and Other Revelations is blessed because of -- not in spite of -- its excesses. It's not like anything else out there right now. It makes no apologies, it's shaky in places, and there are cuts that don't seemingly belong on either disc but fit within the context of the album as a whole. It feels like E and his collaborators have made an honest to goodness indie rock record, one that is immediate yet whose depths cannot be fathomed immediately. It's unwieldy, too long, irritating in some places, graceful in others, and sometimes clumsy. But it is utterly original and startlingly beautiful. At this juncture, records like this are almost museum pieces, mistakenly and cynically written off to the delusions of pop grandeur of earlier eras. Thank goodness rock music as we once knew it still exists in the minds and hearts of some of our more perceptive artists. E is one of them; he put everything into making Blinking Lights and Other Revelations, and the payoff is that it shows.

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