J&R in Rock & Pop Music

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

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"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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"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]" (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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"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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"Starfall" (07/12/2005) Rock & Pop Dragonland, CleopatraDragonland: Jonas Heidgert (vocals); Nicklas Magnusson, Olof M?rck (guitar); Elias Holmlid (synthesizer); Christer Pedersen (bass guitar); Jesse Lindskog (drums). Although the power metal revival movement of the '90s and 2000s has had some worthwhile American bands, the majority of participants have been from Western Europe -- some from Germany, Austria, and the Netherlands, some from Great Britain, some from Italy and Spain, some from the Scandinavian countries. And one of the many Scandinavian power metal revival outfits is Sweden's Dragonland, who show no awareness of post-'80s metal trends on the proudly retro Starfall. Sweden, of course, had a ton of death metal/black metal activity in the '90s and early to mid-'00s, but there isn't a trace of death metal or black metal on Starfall; nor is there any alternative metal, rap-metal or metalcore influence on this disc. Although recorded in 2003 and 2004, Starfall is a total throwback to the old-school power metal of the '70s and '80s -- and this grandiose, elaborate effort (which is full of stereotypical dungeons-and-dragons lyrics) gets a great deal of inspiration from progressive rock as well. Dragonland's hard-rocking yet consistently melodic approach is best described as Iron Maiden, Queensr?che, Savatage and Manowar by way of Rush, Kansas, and Emerson, Lake & Palmer; this is a 2000s recording that sounds like it could have been made at least 20 years earlier. Dragonland isn't the least bit groundbreaking -- there are quite a few other European power metal revival acts that have been influenced by progressive rock and give the impression that they could enjoy Queensr?che's Operation: Mindcrime one minute and Yes' Tales from Topographic Oceans the next. But even though Starfall isn't big on originality, the CD certainly deserves credit for craftsmanship and quality. And while Starfall isn't remarkable, it is an enjoyable (if derivative) effort that is worth hearing if one is a die-hard power metal enthusiast who also appreciates progressive rock. ~ Alex Henderson

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"English Medieval Christmas Carols" (09/07/1999) Rock & Pop New York Pro Music Antiqua, Tradition/RykodiscRecorded in 1956.

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"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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