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

Macy's Day Bird / Black With Green Leave...

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

The Rug * by Big Ass Truck (CD - 07/25/2...

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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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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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Gone with the Wind [CBS] by Original Soundtrack/Max Steiner (CD - 06/24/1997)
 

Gone with the Wind [CBS] by Original Sou...

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Gone with the Wind [CBS] by Original Soundtrack/Max Steiner (CD - 06/24/1997)
"Gone with the Wind [CBS]" (06/24/1997) Rock & Pop Original Soundtrack, Turner Classic Movies MusicAll tracks have been digitally remastered. Includes liner notes by Rudy Behlmer. Original score written by Max Steiner. This issue of GONE WITH THE WIND is a "best of" sampler from the Turner Classic Movies 2-CD soundtrack released in September 1996. Includes liner notes by Rudy Behlmer and Max Steiner. All tracks have been digitally remastered. The soundtrack to Gone with the Wind has appeared in numerous forms since its first release on LP in the 1950s. The 1990 CBS/Sony reissue was the second attempt to expand its content significantly, adding some incidental music and refining the sound that appeared on the previous MGM and Polydor versions. Most of it works if one allows for the sheer age of the materials involved -- Gone with the Wind is just about the oldest original soundtrack material that has any significant commercial appeal beyond a cult audience and, having been recorded in 1939, it has never fit entirely well into the modern marketplace. The producers here have tried to clean it up with various filters and other sound processing, which generally makes it easier on the ear. No re-recording of "Tara's Theme" or other memorable elements of the score were ever as well conducted as the original (even when composer Max Steiner himself attempted it in the '50s), and the sound is less ragged here than on earlier versions. The Rhino reissue from 1996 improves it yet further, though there will always be something lacking in some of the source material, in terms of modern fidelity and what contemporary listeners expect. ~ Bruce Eder

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Introspect/Don't It Make You Want to Go Home by Joe South (CD - 11/04/2003)
 

Introspect/Don't It Make You Want to Go ...

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Introspect/Don't It Make You Want to Go Home by Joe South (CD - 11/04/2003)
"Introspect/Don't It Make You Want to Go Home" (11/04/2003) Rock & Pop South, Joe, Raven2 LPs on 1 CD: INTROSPECT (1968)/DON'T IT MAKE YOU JUST WONDER (1969). Liner Note Author: Bernie Howitt. These two late-'60s albums were released at the peak of Joe South's commercial success and visibility, coinciding with his hits "Games People Play" (which appears on 1968's Introspect) and "Walk a Mile in My Shoes" (which is on 1969's Don't It Make You Want to Go Home?). This Raven reissue combines both records onto one CD, with the addition of the way-cool psychedelic soul outing "Hole in Your Soul" (from the Games People Play album) as a bonus track. As no less than 14 of the 22 tracks also appear on Raven's own Anthology: A Mirror of His Mind -- Hits and Highlights 1968-1975 -- nine of Introspect's 11 cuts, in fact, are also on Anthology -- it could be questioned whether listeners who have that best-of really need this too. Still, it does capture South at the peak of his powers, at the time where his idiosyncratic brand of pop/rock was really coming together, drawing from country, gospel, soul, the increasing freedom for personal expression opened up by the singer/songwriter movement, and a bit of psychedelia, kind of like a thinking person's B.J. Thomas. Introspect is perhaps the more memorable of the pair, if only for including "Games People Play" and South's version of "Rose Garden," which became a huge hit a couple years later for Lynn Anderson. Anyone who likes the sound South forged on Introspect, however, will also like the similar Don't It Make You Want to Go Home?, which has some relatively little-known quality songs like "Shelter" and "Clock Up on the Wall," as well as items too off the wall to make it onto best-of comps (particularly the spooky psychedelic blues-rock jam "A Million Miles Away"). Throughout, there's the sense of a man finding his own voice, one that, whether explicitly or subtly, was urging a search for an uplifting commonality among both musical genres and humanity in general. ~ Richie Unterberger

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

Lost and Gone Forever by Guster (CD - 09...

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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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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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