Borders.com in Rock & Pop Music

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

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"High as Hell" (05/30/2000) Rock & Pop Nashville Pussy, TVT (USA)Nashville Pussy: Blaine Cartwright (vocals, guitar); Ruyter Suys (guitar); Corey Parks (bass); Jeremy Thompson (drums). Recorded at Studio Litho, Seattle, Washington. Kiss, Motorhead, and Ted Nugent are just a few of the influences that come to mind when a revving motorcycle segues into a driving AC/DC-influenced guitar riff and Nashville Pussy does what it does best; sleazy, high-octane Southern hard rock with attitude to spare. HIGH AS HELL, its second album, delivers the goods, as illustrated by "She's Got the Drugs," with its munching-on-glass vocals and Sid and Nancy-style love story. The title track boasts a foot-stomping, Texas blues-rock groove, while "Go to Hell" puts a new twist on country music heartbreak in a grisly depiction of a man catching his wife in an adulterous affair. "You Ain't Right" finds the song's hero ending a bitter relationship, and Nashville Pussy has fun with handclaps, recalling early Aerosmith, with "Rock and Roll Outlaw." The self-explanatory "Blowjob From a Rattlesnake" tells of a run-in with the law leading to an disagreeable prison stay, while the closest thing to a manifesto comes to life in "Drive," where bad deeds are rationalized as just "...different ideas of fun."

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"Radio Waves of the 90's: Alternative Rock Hits" (10/22/2002) Rock & Pop Various Artists, Universal Special Products

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"Billboard Top 10 Karaoke: 1990's Vol. 1" (09/13/2005) Rock & Pop Karaoke, Sybersound

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"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. 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.

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"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.

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"This Type of Thinking (Could Do Us in)" (09/21/2004) Rock & Pop Chevelle, Epic (USA)Chevelle: Peter Chevelle (vocals, guitar); Joseph Chevelle (bass guitar); Samuel Chevelle (drums). Following the release of its 1999 debut, POINT #1, Chevelle acquired a more sophisticated sound that can be traced through contributions made to the DAREDEVIL and PUNISHER soundtracks, right up through the metal band's third album, 2004's THIS TYPE OF THINKING (COULD DO US IN). With Peter Chevelle (AKA Loeffler)'s choppy, sinister guitar tones and howling vocals, Chevelle sounds like a distant relative of the Tool/A Perfect Circle family. Throw in the plodding rhythms supplied by his bass-playing brother Joe and their skin-bashing sib Sam, and you have a brooding batch of songs that veers from the moody "The Clincher" and its excellent use of dynamics to the primarily acoustic, but no less compelling, "Bend the Bracket." Not surprisingly, Chevelle has a penchant for writing about some of life's darker subjects, ranging from those struggling to avoid conformity (the relentlessly pounding "Breach Birth") to those who willing embrace it through TV shows like AMERICAN IDOL (a swirling "Get Some"). With THIS TYPE OF THINKING, Chevelle continues to be the standard-bearer of nu metal.

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"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.

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"Illinois" (10/01/2005) Rock & Pop Stevens, Sufjan, Asthmatic Kitty RecordsPersonnel: Sufjan Stevens (vocals, various instruments); Craig Montoro (vocals, trumpet); James McAlister (drums); Daniel Smith, Elin Smith (hand claps, background vocals); Matt Morgan, Shara Worden, Katrina Kerns (background vocals). The second entry from sui generis singer/songwriter Sufjan Stevens in his absurdly ambitious project to make a record for every state in America outdistances even 2003's superb GREETINGS FROM MICHIGAN in scope and beauty. A sweeping paean to the Lincoln state, ILLINOIS weaves together history, personal confession, and detail-filled scenarios with chamber folk, expansive orchestral pop, and back-porch pastoral settings for a stunningly progressive indie gem that sound like Brian Wilson, Stereolab, and Neil Young holding hands in heaven. Remarkably, in its intricate, gorgeously crafted surfaces, ILLINOIS lives up to its aims. In addition to its symphonic grandeur, the album also showcases Stevens's heartland folk, and some of the album's most shimmering moments are its most spare. "John Wayne Gacy, Jr.," for instance, is an absorbing narrative that features Stevens's sweet tenor couched by guitar, piano, and backing vocals. "Casimir Pulaski Day," similarly, rides a rootsy banjo and guitar groove while Stevens unfurls image-rich lyrics over a lilting melody. Witty, audacious, and moving, ILLINOIS manages to be spiritual, entertaining, and educational all at once, resulting in an utterly unique conceptual and musical statement.

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"Macy's Day Bird" (02/28/2006) Rock & Pop Cluck, Diane, Important Records

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"Filthy Lucre Live" (07/30/1996) Rock & Pop Sex Pistols (The), Virgin Records (USA)The Sex Pistols: Johnny Rotten (vocals); Steve Jones (guitar); Glen Matlock (bass); Paul Cook (drums). Recorded live at Finsbury Park, London, England in June 1996. With the punk-rock seeds they sowed 20 years earlier finally bursting into the mainstream, the Sex Pistols return to cash in. We don't mean that as a knock; we're quite sure, in fact, that's exactly what the Pistols themselves would tell you if you asked. And besides, this document of their 1996 London show (released barely a month after the actual gig) finds the Pistols' original intensity undiminished. Playing all the songs that made them infamous, Johnny Rotten (nee Lydon) and company actually sound more aggressive and driving than they did in their '70s heyday. They're a million miles (and a few singing lessons) from the Las Vegas punk nostalgia act some feared. On classics like "Holidays In The Sun", "Pretty Vacant" and "Anarchy In The UK," the Pistols lay it down with an authority that leaves no doubt as to the authenticity of their reunion. Fans of modern-day punks such as Rancid, Green Day and Offspring will instantly recognize the roots of their heroes in this collection of seminal punk played with all the spirit one could hope for.

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"To Thine Own Ruin Be True" (12/14/2004) Rock & Pop Enablers, Suburban HomeEnablers: Rob Coe (vocals, guitar); Addison Burns (guitar, drums, background vocals); Dan Bonebrake (bass guitar, background vocals); Jordan Keith Welch (drums).

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"Here For the Party" (05/11/2004) Rock & Pop Wilson, Gretchen, Epic NashvillePersonnel include: Gretchen Wilson (vocals); Russ Pahl (guitar, steel guitar, lap steel guitar, banjo); John Rich, John Willis (acoustic guitar); Kenny Greenberg, Tom Bukovac (electric guitar); Michael Rhodes , Mike Brignardello (baritone guitar, bass guitar); Al Anderson (gut-string guitar); Larry Franklin (mandolin, fiddle); Reese Wynans, Steve Nathan (piano, Hammond b-3 organ); Greg Morrow (drums, percussion); Eric Darken (percussion). Recording information: Sony/Tree Studios, Nashville, Tennessee. In the tradition of singers such as Wanda Jackson and Tanya Tucker comes Gretchen Wilson, a self-proclaimed hard-living trailer-park inhabitant with country-rock attitude to spare. The pleasant surprise with Wilson is that, in stark contrast to the streamlined country-pop of Shania Twain and Faith Hill, she doesn't mind getting a bit dirty (musically or otherwise). Though her grassroots ethos clearly plays into her success, it's not a pose: Wilson means what she says, and her country twang, mixed with roots and mainstream rock, packs a punch. HERE FOR THE PARTY alternates between songs about rural, working-class nightlife (particularly Wilson's love of cowboys, whiskey, and, of course, country music) and its trials and tribulations (romantic heartache and spiritual struggle). The runaway single, "Redneck Woman," waves the banner of the "four-wheel-drive tailgate" and standing "barefoot in my own front yard with a baby on my hip." But where the anthemic choruses of songs such as "Here for the Party" are all bravado, "Holdin' You" and "The Bed" show the vulnerability of a dedicated and jilted lover, respectively. Wilson's range (listen to the gospel-derived "Chariot," complete with a mid-song rap) impresses, and adds to the appeal of a down-home girl that can rip up the honky-tonk and belt out a heartfelt ballad.

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"Girls to Chat & Boys to Bounce" (05/23/2006) Rock & Pop Foghat, Wounded Bird Records

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"Fandango [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: Billy Gibbons (vocals, guitar, harmonica); Dusty Hill (vocals, bass guitar); Frank Beard (drums). Recording information: 1975. 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."

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"Let Go" (02/04/2003) Rock & Pop Nada Surf, BarsukNada Surf: Matthew Caws, Daniel Lorca, Ira Elliot.

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"You Were Supposed to Be Beautiful" (10/04/2005) Rock & Pop Mason, Victory Records (USA)