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

Blood Guts & Pussy by Dwarves (CD - ...

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Blood Guts & 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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Doppelganger by Kid Creole & the Coconuts (CD - 06/13/2006)
 

Doppelganger by Kid Creole & the Coc...

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Doppelganger by Kid Creole & the Coconuts (CD - 06/13/2006)
"Doppelganger" (06/13/2006) Rock & Pop Kid Creole, Wounded Bird RecordsPersonnel: Joe Mannozzi, Karen Joseph, Jerry Oland, Dave Friedman, Eugene Grey, Dian Sorel, Jimmy Rippetoe, Manny Oquendo, Andy Gonz lez, Philippe Saisse, Steve Kroon, Jose Madera, Francisco Centeno, Buddy Williams (background vocals). Audio Mixer: Michael Brauer. Recording information: Daily Planet Sound, New York, NY; Electric Lady Studios, New York, NY. Photographer: Pete Ashworth. The exotic big band sound of Kid Creole & the Coconuts was a colorful antidote to monochrome post punk in the early 1980s. This re-release features the band's signature synthesized exotic rhythms and tropically flavored songs like the traditional calypso favorite "If You Want to Be Happy," as well as the barbed "There's Something Wrong in Paradise" and the apocalyptic "Lifeboat Party." Also included among the three featured bonus tracks is the band's show-stopping exercise in Caribbean camp, "Don't Take My Coconuts."

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The Layla Sessions: 20th Anniversary Edition [Box] by Derek & the Dominos (CD - 09/18/1990)
 

The Layla Sessions: 20th Anniversary Edi...

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The Layla Sessions: 20th Anniversary Edition [Box] by Derek & the Dominos (CD - 09/18/1990)
"The Layla Sessions: 20th Anniversary Edition [Box]" (09/18/1990) Rock & Pop Derek & the Dominos, Polydor (USA)Derek & The Dominos: Eric Clapton (electric & acoustic guitars, vocals), Duane Allman (electric & acoustic guitars, slide guitars), Bobby Whitlock (organ, piano, acoustic guitar, vocals), Carl Radle (bass, percussion), Jim Gordon (drums, piano, percussion). Engineers include: Ron Albert, Steve Rinkoff, Chuck Kirkpatrick. Producers: Tom Dowd, Derek & The Dominos, Bill Levenson. Recorded at Criteria Studios, Miami, Florida from August to October 1970. This box set was digitally remixed and remastered by Bill Levenson and Steve Rinkoff at The Power Station, New York from May to June 1990. Includes a 16-page booklet with session notes, annotations and an essay by Gene Santoro. Personnel: Eric Clapton (vocals, guitar); Bobby Whitlock (vocals, piano, organ); Dickey Betts, Duane Allman (guitar); Albhy Galuten (piano); Jim Gordon (drums, percussion); Butch Trucks (drums); Carl Radle (percussion). Audio Mixer: Steve Rinkoff. Liner Note Author: Gene Santoro. Recording information: 08/26/1970-10/02/1970. By digitally remixing and remastering these sessions, the producers have resurrected one of Eric Clapton's greatest achievements, his instrumental and songwriting peak. Musically, Clapton was inspired by his new rhythm section and challenged by fellow guitar hero Duane Allman, whose torrid slide guitar makes blues-blasts like "Nobody Knows You When You're Down And Out" and "Key To The Highway" so compelling. And from the classic title song (with drummer Jim Gordon's famous piano coda), to rivetting performances of "Why Does Love Got To Be So Sad," "Have You Ever Loved A Woman," and Jimi Hendrix's "Little Wing" each and every metaphor is etched in blood and longing, framed in wailing guitars. Disc 1 is the legendary LAYLA double-LP. The jams which comprise disc 2 illustrate the evolution of the session, while the alternate masters, jams and outtakes on disc 3 will certainly be of interest to casual fans and completists alike. All in all, few rock albums from this era have the staying power and poetic immediacy of LAYLA. In the years after Cream disbanded and his collaboration with Steve Winwood in Blind Faith had sunk, Eric Clapton teamed with keyboardist Bobby Whitlock, drummer Jim Gordon, bassist Carl Radle, and guitarist Duane Allman under the name Derek & the Dominos to write and record some new material. The result was this 1970 masterpiece. Shot through with a passion informed by the tumultuous nature of Clapton's own life and career at the time, LAYLA AND OTHER ASSORTED LOVE SONGS plays like a primer for classic rock, with incendiary dueling guitars, swirling organ, blues-styled vocals, and punchy bass and drums. Covers of "Nobody Knows You When You're Down and Out" and Hendrix's "Little Wing" are given fresh interpretations, and the originals, most of which Clapton co-wrote with Whitlock, are by turns fierce, melancholic, and celebratory. The epic "Layla," clocking in at seven minutes and featuring blazing solos all around, pushes the album to its culmination. Throughout, Clapton's playing, spurred by Allman's stellar leads, is beautiful enough to induce cardiac arrest, and LAYLA ranks among the most inspired, soulful, and affecting works in his entire discography.

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Mercury Theatre: On Air!/Survival of the Fattest * by !Action Pact! (CD) [IMPORT - Canada]
 

Mercury Theatre: On Air!/Survival of the...

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Mercury Theatre: On Air!/Survival of the Fattest * by !Action Pact! (CD) [IMPORT - Canada]
"Mercury Theatre: On Air!/Survival of the Fattest *" (04/11/2000) Rock & Pop !Action Pact!, Captain Oi! Records (UK)Personnel: Grimly Fiendish (drums). Recording information: Greenhouse Studios, Vancouver, British Columbia, Canada; Pineapple Studios; Wickham Studios.

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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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Copperfields by The Dillards (CD - 12/15/2004)
 

Copperfields by The Dillards (CD - 12/15...

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Copperfields by The Dillards (CD - 12/15/2004)
"Copperfields" (12/15/2004) Rock & Pop Dillards (The), Collectors' Choice MusicThe Dillards' second album with rock-influenced arrangements was not as barrier-busting as 1968's Wheatstraw Suite, and further removed from their bluegrass roots. However, it was a similarly eclectic and, for the most part, joyous romp through a fusion of bluegrass, rock, folk, and country, with a bit of pop and orchestration along the ride, and the group's superb vocal harmonies being the main constant. "Touch Her If You Can" was the number with the most pop and orchestration, and worked extremely well, with its achingly sad melody. If anything the Dillards did on Elektra could have been a hit single, this would have been a likely candidate. Their unusual a cappella arrangement of the Beatles' "Yesterday" caught some attention, and "Brother John" is another simultaneous detour and highlight, with its Dave Brubeck-influenced jazzy rhythms and guitar picking that recalled the Byrds' psychedelic era. While other tracks, like the bluegrass tune "Old Man at the Mill" and Eric Andersen's "Close the Door Lightly," were more in the standard country-rock mode, they're also good, with the musicians applying care and creative production to the material throughout the disc. ~ Richie Unterberger

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From Where the Sun Now Stands I Will Fight No More, Forever by Drunk Injuns (CD - 07/16/2002)
 

From Where the Sun Now Stands I Will Fig...

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From Where the Sun Now Stands I Will Fight No More, Forever by Drunk Injuns (CD - 07/16/2002)
"From Where the Sun Now Stands I Will Fight No More, Forever" (07/16/2002) Rock & Pop Drunk Injuns, Alternative TentaclesDrunk Injuns: Joey Headbone Restless Spirit (vocals); Stoned Wolf, Wholley Smokkes (guitar); Johnny Yuma (bass); Sittin Duck (drums). Recorded between 1982 and 1997. This is part of Alternative Tentacles' Skate-Punk Reissues series. Personnel: Wh?lley Sm?kkes (guitar); Ray Stevens, Tony Guerrero (acoustic guitar). Audio Mixer: Tony Guerrero. Recording information: Tom Mallon Studio (1982-1984). Photographers: Tom Cogan; Nick Nichols. Long before Slipknot went platinum and the X-Games became a nationally broadcasted sporting event, Drunk Injuns wore scary Native American garb and masks while helping pioneer skate rock, a genre that came about in the early '80s that combined punk rock's nihilism with the skater ethos. Despite doing very little at the time recording-wise, the band's legacy has lived on, prompting the reissue of nearly impossible to find recordings by the band. This disc contains recordings from a self-released cassette entitled My Dad Butch (1983) and also Frontside Grind, the band's 1987 full-length LP, though nothing from the live Crimes Against Humanity 10" that the group considers its formal debut. Also tacked on are two tracks from Ancestors: Gods of Sound, a side project at the time. From Where the Sun Now Stands I Will Fight No More, Forever is more than a historical document, however; though it embodies California, empty swimming polls, and big, fat neon-colored skateboard wheels, the spirited, guitar-heavy punk rock that fits nicely alongside early Suicidal Tendencies efforts as post-Dead Boys discipleship holds up surprisingly well. It's a little rough around the edges, but that's what punk rock is supposed to be no matter how new it is, and the production is surprisingly strong given the age of the original recordings. ~ Brian O'Neill

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From the Muddy Banks of the Wishkah by Nirvana (US) (CD - 10/01/1996)
 

From the Muddy Banks of the Wishkah by N...

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From the Muddy Banks of the Wishkah by Nirvana (US) (CD - 10/01/1996)
"From the Muddy Banks of the Wishkah" (10/01/1996) Rock & Pop Nirvana (US), DGC (David Geffen Company) (USA)Nirvana: Kurt Cobain (guitar, vocals); Pat Smear (guitar, background vocals); Krist Novoselic (bass); Dave Grohl (drums, background vocals); Chad Channing (drums). Compilation producers: Krist Novoselic, Dave Grohl. Recorded live between 1989 and 1994. Includes liner notes by Krist Novoselic. Personnel: Kurt Cobain (vocals, guitar); Pat Smear (guitar, background vocals); Dave Grohl (drums, background vocals); Chad Channing (drums). Audio Mixer: Andy Wallace. Liner Note Author: Krist Novoselic. Recording information: Astoria Theatre, London, England (12/05/1989-01/05/1994); Civic Center, Springfield, MA (12/05/1989-01/05/1994); Del Mar Fairgrounds, CA (12/05/1989-01/05/1994); Great Western Forum, Los Angeles, CA (12/05/1989-01/05/1994); ll Castello Vi De PortaCastello 41 Rome (12/05/1989-01/05/1994); Paradiso, Amsterdam, The Netherlands (12/05/1989-01/05/1994); Paramount Theatre, Seattle, WA (12/05/1989-01/05/1994); Pier 48, Seattle, WA (12/05/1989-01/05/1994); Reading Festival, Reading, England (12/05/1989-01/05/1994); Seattle Center Arena, Seattle, WA (12/05/1989-01/05/1994). Photographers: Mark Kates; Lisa Johnson ; Kevin Mazur; Charles Peterson . The electric smashes and thrashes compiled on FROM THE MUDDY BANKS OF THE WISHKAH were originally intended as half of a double album; the other half would have been the acoustic show released as MTV UNPLUGGED IN NEW YORK. But after Kurt Cobain's death, UNPLUGGED was released on its own, and the task of putting together a live electric disc was put aside for a couple years. Now completed, FROM THE MUDDY BANKS OF THE WISHKAH (named for a river that cuts through Nirvana's hometown, Aberdeen, Washington) serves as a perfect mirror to UNPLUGGED. Where that one offered a recontextualization of Nirvana's oeuvre, this one offers a reaffirmation of the band's raw power. All the elements that made the band a legend are present here: piledriver rhythm section, scabrous guitar work that combines a Neil Young-ish tone with a punk sensibility, and Cobain's anguished, sandpaper vocal delivery. Many of Nirvana's best-known songs are included in versions that double the intensity and aggression (and sometimes the speed) of the original recordings. "Smells Like Teen Spirit" finds the band charging at a pace that suggests its life depends on reaching the end of the song. "Scentless Apprentice" is a raging howl that makes the original version sound like a beer commercial.

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Love Songs: A Compilation...Old and New by Phil Collins (CD - 09/28/2004)
 

Love Songs: A Compilation...Old and New ...

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Love Songs: A Compilation...Old and New by Phil Collins (CD - 09/28/2004)
"Love Songs: A Compilation...Old and New" (09/28/2004) Rock & Pop Collins, Phil, Rhino Records (USA)Personnel: Gerald Albright (soprano saxophone); Harry Kim (flugelhorn). Audio Mixers: Chris Lord-Alge; Don Murray ; Hugh Padgham; Allen Sides; Phil Collins; Tom Lord-Alge. Audio Remixer: Allen Sides. Recording information: Toulouse, France. Photographers: Sebastian Copeland; Julian Broad; Guzman/Rotterdam Conservatory Orquesta Tipica. Arrangers: Roberta Flack; Brad Cole . This 2004 collection features romantic hits that Phil Collins personally chose from his extensive solo catalog, including the emotive "Against All Odds," the pleading "One More Night," and the gentle "You'll Be in My Heart." However, there are also obscure tunes found here, and these songs make this compilation unique. For example, this two-disc set includes a rehearsal version of Cyndi Lauper's "True Colors," a song Collins often covered in concert during the late 1980s. This R&B-inflected rendition contains a clever vocal arrangement from Amy Keys and Brad Cole that employs rich harmonies, leaving the instrumental accompaniment in the backseat. Another Collins rarity is his live version of the Jerome Kern song "The Way You Look Tonight." Collins's take on this standard avoids being overly sentimental, with Harry Kim's impassioned flugelhorn solo adding a jazzy and sensitive tone. For fans of Collins's softer side, LOVE SONGS is quite a treasure.

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Der Kommissar: Cbs Recordings (+10 Bonus Tracks)
 

Der Kommissar: Cbs Recordings (+10 Bonus...

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Der Kommissar: Cbs Recordings (+10 Bonus Tracks)
"Der Kommisar: The CBS Recordings" (02/07/2005) Rock & Pop After the Fire, Edsel (UK)This 2-CD release includes the three studio albums recorded by synth-pop act After the Fire for CBS (in 1979, 1980, and 1982), 10 of their singles (including a cover of Falco's "Der Kommissar," their biggest hit), and rare live tracks recorded at London's Rainbow club. The booklet features contributions from the president of the group's fan club and a complete set of cover images from the group's releases. CD contains 10 bonus tracks. Personnel: Memory Banks (vocals, synthesizer, background vocals); Andy Piercy (vocals); John Russell (guitar, background vocals). Liner Note Author: Mark Chatterton. Recording information: The Rainbow, London, England; TMC Studios, London, England; Utopia Studios, London, England.

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

Girls to Chat & Boys to Bounce by Fo...

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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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Definitive All-Time Greatest Hits by John Denver (CD - 10/05/2004)
 

Definitive All-Time Greatest Hits by Joh...

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Definitive All-Time Greatest Hits by John Denver (CD - 10/05/2004)
"Definitive All-Time Greatest Hits" (10/05/2004) Rock & Pop Denver, John, RCA Records (USA)Initials pressings include bonus disc. Personnel: John Denver (vocals, guitar); Emmylou Harris, Pl cido Domingo (vocals). Audio Mixer: Chris Theis. Liner Note Authors: Milton Okun; David Wild. Recording information: Goldstar Recording Studios, Hollywood, CA (??/1966-04/1983). Photographer: Lowell Norman. Arrangers: John Denver; Milton Okun; Dick Kniss; Lee Holdridge; Mike Taylor . The title of this collection by the Jesus of 1970s soft pop makes no bones about its intentions. Fortunately, it delivers what it promises in spades. DEFINITIVE ALL-TIME GREATEST HITS chronicles the hit-packed career of John Denver without missing a trick. From his earliest, most folk-oriented material ("Leaving on a Jet Plane," a hit for Peter, Paul & Mary) to his more country-flavored compositions ("Take Me Home, Country Roads," the stomp-along "Thank God I'm a Country Boy"), we're given a full picture of Denver's abilities. Early-'80s duets with Placido Domingo ("Perhaps Love") and Emmylou Harris ("Wild Montana Skies") underscore both the far-reaching ripples Denver made in the music world and the full range of his own gifts. Such gentle, melodic ballads as "Annie's Song" and "Sunshine on My Shoulders" are the distilled essence of what made '70s AM radio tick, and will elicit instant nostalgia for the era when Denver's brand of quiet, graceful songcraft reigned supreme. For the hardcore fan, a bonus disc includes previously unreleased versions of some of Denver's classic tunes. Placing the word definitive on a best-of collection is usually a panicked label attempt to fill last-minute Christmas stockings, but in the case of RCA's Definitive All-Time Greatest Hits John Denver retrospective, it's a truly apt description. Coinciding with the 35th anniversary of Denver's first album release on RCA, the two-disc, 24-track overview of the country-pop singer's storied career is the most concise and nuanced yet. Digitally remastered from the original master tapes, road-trip classics like "Take Me Home, Country Roads," "Rocky Mountain High," and "Back Home Again" are as warm as the singer's lauded tenor. There are no gimmicky re-recorded cuts or disappointing live tracks -- "Thank God I'm a Country Boy" spent its time on the charts in its live incarnation -- and his spotty '80s material is only briefly covered ("Perhaps Love" and "Shanghai Breezes"). The only real omission is "Grandma's Feather Bed," but the 20-page booklet and song-by-song commentary by longtime friend Milt Okun more than suffice. The bonus disc, maddeningly sparse at just four tracks, makes up for its brevity by including a goose bump-inducing 1975 acoustic version of "Calypso." With the pompous string section, clanging ship bell, and unnecessary drum fills removed, his ode to Jacques Cousteau's tenacious vessel is a wonder of emotion and nautical kinsmenship that inarguably exhibits Denver as one of the greatest vocalists of his time. For those unwilling to sift through the exhaustive four-CD Country Roads Collection, this Definitive package is a good buy and a rewarding visit with an old friend. ~ James Christopher Monger

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