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Fandango [Remaster]
 

Fandango [Remaster]

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Fandango [Remaster]
"Fandango! [Bonus Tracks] [Remaster]" (10/25/1990) Rock & Pop ZZ Top, Warner Bros. Records (Record Label)ZZ Top: Billy Gibbons (vocals, guitar); Dusty Hill (vocals, bass); Frank Beard (drums). FANDANGO, ZZ Top's fourth album, came out after five years of constant touring. With a studio/live format, it contained their first top-40 single ("Tush"). Also available with TRES HOMBRES on 1 cassette and as part of the ZZ Top 6 Pack. This is ZZ Top's fourth album. ZZ Top: Dusty Hill (bass guitar); Frank Beard, Billy Gibbons. Personnel: Billy Gibbons (vocals, guitar, slide guitar, harmonica); Dusty Hill (vocals); Frank Beard (drums). Audio Remasterer: Bob Ludwig. Liner Note Author: Tom Vickers. Photographer: Fin Costello. Blessed with their first full-fledged hit album, ZZ Top followed it up with Fandango!, a record split between a side of live tracks and a side of new studio cuts. In a way, this might have made sense, since they were a kick-ass live band, and they do sound good here, but it's hard not to see this as a bit of a wasted opportunity in retrospect. Why? Because the studio side is a worthy successor to the all-fine Tres Hombres, driven by "Tush" and "Heard It on the X," two of their greatest songs that build on that album by consolidating their sound and amplifying their humor. If they had sustained this energy and quality throughout a full studio album, it would have been their greatest, but instead the mood is broken by the live cuts. Now, these are really good live cuts -- and "Backdoor Medley" and "Jailhouse Rock" were fine interpretations, making familiar songs sound utterly comfortable in their signature sound -- and Fandango! remains one of their better albums, but it's hard not to think that it could have been even better. ~ Stephen Thomas Erlewine While ZZ Top's early '70s studio albums were indeed great examples of the blues rock genre, the band's live shows were where the band really shined. On 1975's FANDANGO!, the trio issued an album that contained an 'in-concert' first side and a 'studio' second. This was the album that catapulted ZZ Top to the summit of the '70s rock mountain, mainly due to the rowdy monster hit "Tush," which remains in rotation on rock radio to this day. Other highlights include the entire live turbo-charged first half ("Thunderbird," a cover of Elvis' "Jailhouse Rock," and the near 10-minute long "Backdoor Medley"), as well as the studio rockers "Balinese" and "Heard It on the X." Blessed with their first full-fledged hit album, ZZ Top followed it up with Fandango!, a record split between a side of live tracks and a side of new studio cuts. In a way, this might have made sense, since they were a kick-ass live band, and they do sound good here, but it's hard not to see this as a bit of a wasted opportunity in retrospect. Why? Because the studio side is a worthy successor to the all-fine Tres Hombres, driven by "Tush" and "Heard It on the X," two of their greatest songs that build on that album by consolidating their sound and amplifying their humor. If they had sustained this energy and quality throughout a full studio album, it would have been their greatest, but instead the mood is broken by the live cuts. Now, these are really good live cuts -- and "Backdoor Medley" and "Jailhouse Rock" were fine interpretations, making familiar songs sound utterly comfortable in their signature sound -- and Fandango! remains one of their better albums, but it's hard not to think that it could have been even better. [The 2006 reissue of the album adds three live tracks: "Jailhouse Rock," "Tush," and "Heard It on the X."] ~ Stephen Thomas Erlewine

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Macy's Day Bird / Black With Green Leaves [2/28] *
 

Macy's Day Bird / Black With Green Leaves [2/28] *

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Macy's Day Bird / Black With Green Leaves [2/28] *
"Macy's Day Bird" (02/28/2006) Rock & Pop Cluck, Diane, Important Records

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Frequency 99: Greatest Hits of the '90s by Various Artists (CD - 03/27/2001)
 

Frequency 99: Greatest Hits of the '90s by ...

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Frequency 99: Greatest Hits of the '90s by Various Artists (CD - 03/27/2001)
"Frequency 99: Greatest Hits of '90s [2 CD]" (03/27/2001) Rock & Pop Various Artists, Virgin Records (USA)Includes liner notes by Kevin Flaherty. Liner Note Author: Kevin Flaherty.

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The Rug * by Big Ass Truck (CD - 07/25/2005)
 

The Rug * by Big Ass Truck (CD - 07/25/2005)

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The Rug * by Big Ass Truck (CD - 07/25/2005)
"The Rug *" (07/25/2005) Rock & Pop Big Ass Truck, Terminus RecordsBig Ass Truck includes: Robby Grant (vocals, guitar); Steve Selvidge (guitar, keyboards, background vocals); Grayson Grant (acoustic & electric basses); Robert Barnett (drums, percussion); Colin Butler (programming, loops, turntables). Recorded at Easely-McCain Studios, Memphis, Tennessee. Proof positive that eclectically for its own sake is not necessarily a good thing, this Memphis-based quintet's experimental rock sound is difficult to pin down. Sure, the lineup may seem normal at first glance, with vocals, two guitars, bass, drums, and a fifth man handling loops, beats, and turntables. But Big Ass Truck's sound jumps around more than hyperactive kangaroos listening to House of Pain, making The Rug a largely hit-and-miss proposition. The opening track, "The Path," may have you ready to compare them to Medeski, Martin & Wood, but the tweaked-out jazz-pop of "The Wardrobe" is so damn jumbled, you'll start to second-guess your first impression. The piano-driven pop of "Locked In" may remind you of a less compositionally mature Ben Folds, but the hypnotic percussion, spaghetti western guitar, and children's chant of "The Me" sounds like nobody you've ever heard before. Ultimately, Big Ass Truck comes across as either a young band still in search of its own sound, or a frustrated one who've been through the industry ringer enough times to just have fun and not give a damn what critics think. Either way, it makes for a frustratingly erratic listen. ~ Bret Love

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MORAL MINORITY
 

MORAL MINORITY

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MORAL MINORITY
"Moral Minority" (07/05/2003) Rock & Pop The Moral Minority, CD Baby (distributor)

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Upcoming Release [11/15]
 

Upcoming Release [11/15]

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Upcoming Release [11/15]
"Some Hearts" (11/15/2005) Country Underwood, Carrie, Arista Records (USA)Carrie Underwood: Dann Huff (electric guitar); Mike Johnson (steel guitar); Julian Hallmark (violin); Daniel Smith (cello); Jimmie Lee Sloas (bass instrument); Chris McHugh, Matt Funes, Alyssa Park, Eric Darken, Hillary Lindsey, Joel Derouin, Adam Steffey, Lonnie Wilson, Matt Rollings, Paul Franklin, Sid Page, Suzie Katayama, Wes Hightower, Roberto Cani, Larry Corbett, Biff Watson, J.T. Corenflos, Steve Nathan, Jonathan Yudkin, Tom Bukovac, Jim VanCleve, Steve Richards , Perry Coleman, Michael Markman, Josephina Vergara, Michele Richards, Susan Chatman, Bryan Sutton, Morgane Hayes, Charles Judge, Mario Diaz de Leon, Endre Granat, Tereza Stanislav, Denyse Buffum, Andrew Duckles, Shanti Randall. Personnel: Carrie Underwood (background vocals); Biff Watson, Bryan Sutton (acoustic guitar); Dan Huff, J.T. Corenflos, Tom Bukovac (electric guitar); Gary Morse, Paul Franklin (steel guitar); Jonathan Yudkin (dobro, banjo, mandolin, violin, fiddle, viola, cello, strings); Adam Steffey (mandolin); Matt Funes, Alyssa Park, Julian Hallmark, Joel Derouin, Sid Page, Roberto Cani, Michael Markman, Josephina Vergara, Michele Richards, Susan Chatman, Mario Diaz de Leon, Endre Granat, Tereza Stanislav, Denyse Buffum, Andrew Duckles, Shanti Randall (violin); Jim VanCleve (fiddle); Suzie Katayama, Larry Corbett, Steve Richards (cello); Matt Rollings (piano); Charles Judge (keyboards, programming); Steve Nathan (keyboards); Chris McHugh, Lonnie Wilson, Shannon Forrest (drums); Eric Darken (percussion); Hillary Lindsey, Lisa Cochran, Neil Thrasher, Wes Hightower, Perry Coleman, Morgane Hayes (background vocals). Audio Mixers: Derek Bason; Justin Niebank; Serban Ghenea. Recording information: Blackbird Studios, Nashville, TN; Capitol Recording Studios, Hollywood, CA; Electrokitty Recording, Seattle, WA; Sound Stage Studios, Nashville, TN; Starstruck, Nashville, TN; The Gentlemen's Club; The Plant Recording Studios, Sausalito, CA; The Record Plant, Los Angeles, CA; The Sound Kitchen, Nashville, TN; The Village, Los Angeles, CA. Photographer: Andrew Southam. Arranger: Harry "Slick" Sommerdahl. Country purists may take offense at finding American Idol winner Carrie Underwood's debut album in the country section. An unabashedly manufactured commercial product, SOME HEARTS is the sound of mainstream country in the 2000s heavily steeped in glossy pop. There's nothing downhome or roots-conscious about Underwood's voice or looks: she's the pretty blonde next door with a fine singing voice, but the powers that be have made her a country artist, and that's what the public gets. None of this is to say that SOME HEARTS is not a good pop album. The combination of Underwood's considerable gift and the slick, spot-on production of Dan Huff and Mark Bright makes for a fine package. Even on somewhat by-the-numbers tunes (like her smash hit "Inside Your Heaven"), Underwood sings with conviction, and she does well with both the ballads and the uptempo tracks. Idol viewers and fans of artists like Faith Hill and Shania Twain will want to check this out. Given the tightly controlled nature of American Idol, it's a wonder that the televised talent contest has never produced a winner who specialized in country music, since there's no segment of modern popular music that is controlled tighter than contemporary country. Maybe this thought was in the minds of Simon Fuller and the rest of AmIdol's 19 management when they went into their fourth season in 2005, since as soon as fresh-faced Oklahoma blonde Carrie Underwood showed up in the audition rounds, the judges -- alright, specifically Simon Cowell -- pigeonholed her as a country singer, even if there was nothing specifically country about her sweet, friendly voice. From that point on, she was not only the frontrunner, but anointed as the show's first country winner, which apparently proved more enticing to the voters and the producers than the prospect of the show's first rock & roll winner in the guise of the Southern-fried hippie throwback Bo Bice. Which makes sense: cute, guileless young girls have a broader appea

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Girls to Chat & Boys to Bounce by Foghat (CD - 05/23/2006)
 

Girls to Chat & Boys to Bounce by Foghat (CD ...

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Girls to Chat & Boys to Bounce by Foghat (CD - 05/23/2006)
"Girls to Chat & Boys to Bounce" (05/23/2006) Rock & Pop Foghat, Wounded Bird RecordsPersonnel: Lonesome Dave Peverett (vocals, guitar); Erik Cartwright (guitar, background vocals); Nick Jameson (keyboards, background vocals); Roger Earl (drums, shaker). By the time Girls to Chat & Boys to Bounce hit record stores in 1981, it had been ten years since Foghat had released their first American single "I Just Want to Make Love to You," and even though the veteran London blues/boogie rock outfit had a rather long list of commercial accomplishments, the wavering quality and focus of their music in the late '70s had shaken the band's core fan base and slight critical appeal. The stomp and the swagger were replaced by glitter and global tours, rust turned to chrome, howlin' blues to raunch and roll. So bandleader Lonesome Dave Peverett continued an experiment he had tentatively begun a year earlier on Tight Shoes: drawing on new musical influences from the burgeoning punk and new wave scene in and around London. While not exactly a new wave recording, certain tracks on the Bearsville release, especially the ode to London pub thuggery "Wide Boys," are decidedly minimal, modern, and just plain un-bluesy. In general, the arrangements on the record are sparse, the songs and solos are short, and the sound is tighter throughout -- with tracks like "Let Me Get Close to You," "Wide Boys," and "Delayed Reaction" being the best examples of the bizarre commingling of a Elvis Costello influence with Foghat's reflexive blues sensibilities. An interesting effort, Girls to Chat & Boys to Bounce might actually captivate extremely open-minded new wave fans and Foghat completists. ~ Vincent Jeffries

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Lost and Gone Forever by Guster (CD - 09/28/1999)
 

Lost and Gone Forever by Guster (CD - 09/28/1999)

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Lost and Gone Forever by Guster (CD - 09/28/1999)
"Lost and Gone Forever" (09/28/1999) Rock & Pop Guster, RepriseGuster: Adam Gardner (vocals, guitar, trumpet, bass); Ryan Miller (vocals, guitar, piano, organ); Brian Rosenworcel (vocals, trombone, percussion). Additional personnel: Tracy Silverman (violin, viola); Dan Rieter (cello); Karl Denson (flute, saxophone); Tony Levin (bass, Chapman stick); Chris Manning (bass); Page McConnell (Theremin). Recorded at The Plant, Sausalito, California and Bearsville Studio, Bearsville, New York in 1999. Personnel: Adam Gardner (vocals, guitar, trumpet); Ryan Miller (vocals, guitar, piano, organ); Eric Casimiro, Alicia Berger, Emily Martinez, Kristen Randall, Katherine Forgacs, Alysa, D. Buchanan, Lisa Williams (whistling); Tracy Silverman (violin, viola); Dan Rieter (cello); Karl Denson (flute, saxophone); Brian Rosenworcel (trombone, typewriter); Page McConnell (Theremin). Audio Mixers: John Siket; Steve Lillywhite. Recording information: Bearsville Sound Studios, Bearsville, NY (1999); The Record Plant, Sausalito, CA (1999). Photographers: Chris Buck; Sam Erickson; James Ragsdale. Unknown Contributor Roles: Alicia Berger; Eric Casmiro; Emily Martinez; Kristen Randall; Katherine Forgacs; Alysa, D. Buchanan; Lisa Williams. Signing to a major-label doesn't really change Guster's outlook for their third album, Lost & Gone Forever. However, the switch to the big leagues has given the band the opportunity to hire a heavy-hitter producer, Steve Lillywhite, who performs a similar function here that he did with Dave Matthews. Lillywhite doesn't attempt to change Guster's jovial folk-pop, but he helps them focus and gives them a clear, vibrant sonic palette that makes Lost & Gone Forever sound inviting and intimate. That's a blessing, since it highlights their effortless melodic gifts, warm harmonies, and quirky arrangements. And, depending on your view, it may also be a bit of a curse since it highlights the group's cutesy, jokey side, which can be a little irritating. Still, Lost & Gone Forever is not only Guster's best-sounding record, it's among their most consistent, filled with some of their strongest, catchiest tunes. In other words, it's exactly what their major-label debut should have been. ~ Stephen Thomas Erlewine

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Blood Guts and Pussy by Dwarves (CD - 09/08/1998)
 

Blood Guts and Pussy by Dwarves (CD - 09/08/1998)

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Blood Guts and Pussy by Dwarves (CD - 09/08/1998)
"Blood Guts & Pussy" (09/08/1998) Rock & Pop Dwarves, Sub Pop Records (USA)Dwarves: Blag Jesus (vocals); Salt Peter (guitar); He Who Can Not Be Named (bass); Vadge Moore (drums). Recorded at Reciprocal Recording, Seattle, Washington in 1989. The song "Fuckhead" is listed on the CD package, but does not appear on the CD. With a title like Blood Guts & Pussy, an album cover which features three nude models drenched in animal blood, and song titles like "Let's Fuck," "Fuck You Up and Get High," "Motherfucker," and "Fuckhead," the Dwarves had obviously redirected their style since Horror Stories. Gone is the subtle suggestiveness of that album, replaced by explicit exploitation and genuinely disgusting humor. Of course, most won't find the Dwarves very humorous; it takes a sick mind to appreciate the Dwarves' celebration of statutory rape on "Let's Fuck" or vocalist Blag Jesus' anger at a girl afraid of AIDS on "SFVD." Thirteen songs full of general punk sloppiness and distortion performed in 14 minutes. [Note: Many pressings of the CD are missing the track "Fuckhead" and the bonus untitled "Bitch" track, although all versions of the CD have "Fuckhead" on the track list.] ~ Matt Carlson

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