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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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The Lost Christmas Eve by Trans-Siberian Orchestra (CD - 10/12/2004)
 

The Lost Christmas Eve by Trans-Siberian...

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The Lost Christmas Eve by Trans-Siberian Orchestra (CD - 10/12/2004)
"The Lost Christmas Eve" (10/12/2004) Rock & Pop Trans-Siberian Orchestra, Lava Records (USA)Trans-Siberian Orchestra: Jennifer Cella (vocals); Al Pitrelli (guitar, keyboards); Dave Wittman (guitar, bass guitar, drums); Chris Caffery, Alex Skolnick, Paul O'Neill, Angus Clark, Tristan Avakian (guitar); Amy Helm (whistle); John Clark (horns); Jon Oliva, Robert Kinkel (piano, keyboards); Jane Mangini (piano); Carmine Giglo, Mee Eun Kim (keyboards); David Z. , Johnny Lee Middleton, Jeff Allegue (bass guitar); Jeff Plate, Takanori Niida, John O'Reilly (drums). The great cosmic fable of THE LOST CHRISTMAS EVE posits angels on earth, snow princesses in the galaxies, and Christmas in the hearts of hardened businessmen and New York City street kids. Trans-Siberian Orchestra's prog-rock opera (the third in a trilogy of Christmas-themed concept albums) traverses time and space to tell the story of a lonely man who discovers the deeper implications of love on a dark night before that merriest of days. Composer and producer Paul O'Neill favors big, theatrical arrangements and booming production, often utilizing vocal choirs (both gospel and classical), orchestral instruments, and a rock/big-band ensemble to achieve maximum oomph. His compositions are a catalog of emotion-stirring styles, as he glides from piano-pounding pop ("Christmas Nights in Blue") to bouncy fusion ("Christmas Jazz") to hard-edged rock ("Christmas Jam") to chamber music ("Remember"). Traditional carols appear amongst--and sometimes within--O'Neill's exciting originals. This dual approach is used most strikingly on "For the Sake of Our Brother," on which vocalist Daryl Pediford twines a heartrending "O' Come All Ye Faithful" into an impassioned Tom Waits-like ballad about faith and trust. With THE LOST CHRISTMAS EVE, Trans-Siberian Orchestra has created another classic backdrop for celebrating the season of hope and goodwill.

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The Capitol Albums Vol. 1 [Box] [Limited] [11/16]*
 

The Capitol Albums Vol. 1 [Box] [Limited...

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The Capitol Albums Vol. 1 [Box] [Limited] [11/16]*
"The Capitol Albums, Vol. 1 [Box]" (11/16/2004) Oldies Beatles (The), Capitol/EMI RecordsIncludes both stereo and mono versions of the USA-only albums MEET THE BEATLES (1964), THE BEATLES' SECOND ALBUM (1964), SOMETHING NEW (1964), and BEATLES '65 (1964), and a 60 page booklet including rare photos and select quotes from John, Paul, George and Ringo. The Beatles: John Lennon (guitar); Paul McCartney (bass guitar); Ringo Starr, George Harrison. Personnel: George Harrison (vocals, guitar); John Lennon (vocals, harmonica); Ringo Starr (vocals, drums); Paul McCartney (vocals). Audio Remasterer: Ted Jensen. Liner Note Authors: Mark Lewisohn; Mark Lewisohn. Recording information: England. All tracks have been digitally mastered using 24-bit technology. Authors: John Lennon; Paul McCartney; George Harrison; Ringo Starr; Brian Epstein . Photographers: Joe Covello; Black Star. Although America wasn't the first to catch on to the Beatles, it certainly gave the Fabs a worldwide stage from which to launch their pop music invasion. During the space of 12 months in 1964, Capitol released four Beatles LPs that reshuffled various British Parlophone LPs, EPs, and singles. The result of this rejiggering was four unique titles that, along with those famed Ed Sullivan performances, were the introduction to this global phenomenon for millions in the United States. For the 40th anniversary of these releases, this 2004 set represents the first time these titles were ever available on CD, and features both mono and stereo (or "duophonic") versions of all the songs. Because of the Beatles' enthusiasm, high standards, and synergy, these evergreen tracks crackle and burn, guaranteeing giddy, joyous memories for some, while also enlisting new fans. Among the many classics are the groundbreaking single, "I Want to Hold Your Hand," and other romantic rockers ("I Saw Her Standing There," "She Loves You," "All My Loving"), as well as cover tunes ("Long Tall Sally," "Roll Over Beethoven") and lesser-known songs ("Any Time at All," "I'll Follow the Sun"). The boys had been tirelessly working the nightclub trenches for a number of years prior to these albums, but, in truth, John, Paul, George, and Ringo were just getting started.

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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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too much love
 

too much love

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too much love
"Too Much Love" (06/10/2005) Rock & Pop Harlan T Bobo, Goner RecordsHarlan T. Bobo: H.T.B. (vocals, guitar); Jeremy Scott (vocals, bass guitar); Brendan Spengler (organ); Shane Callaway (drums). Personnel: Harlan T. Bobo (vocals, guitar); Brendan Lee Spengler (organ). Recording information: Easley-McCain Studios, Memphis, TN (2003). On the surface, Harlan T. Bobo's Too Much Love could seem like just another breakup record, but once the music starts, it quickly transcends such labels. Ostensibly a record chronicling "the best and worst of loving Yvonne Bobo," Too Much Love is a breakup record whose musical tide mirrors the peaks and valleys of an emotional roller coaster. Cinematic and magical, opening track "Only Love" has a languid, nearly tropical sway that sounds like a clandestine jam session between David Lynch, Tim Burton/Danny Elfman, and Roy Orbison. Eerie and beautiful, the song is soft and sparse, but immediate and powerful. Nick Cave wishes his melancholy rang half as true as Bobo's. The simplest lines are often the sharpest. Bobo strikes a universal chord with the spoken intro of "Stop," declaring "I called you on the phone/Your roommate said you weren't at home/But I could hear you talking in the background." The album is populated with countless other lines that are equally heart-rending. He sings quietly, but with lyrics like this, there's no need to yell. Over the course of a few more songs, Bobo's hushed, talky vocal style begins to bring to mind Beck's softer moments. Unlike Beck, Bobo doesn't seem to get bogged down in self-conscious attempts to be an artfully eclectic hipster. An album highlight, the title track calls to mind a fiery, agitated take on American Music Club. Elsewhere, with dirty guitars, organ, and hoarse late-night vocals, "Mr. Last Week" rocks like something out of the Compulsive Gamblers' gritty back catalog (specifically "Mind in the Gutter"). Although there are plenty of musicians in the mix at any given moment, Too Much Love maintains an understated feel. The instruments and vocals all have plenty of breathing room. In an age when it's so easy, and often very tempting, to add endless layers, effects, and overdubs, Bobo's album sounds refreshingly easygoing and organic. Musically, the album is as thoughtful and nuanced as Bobo's lyrics. The ace musicianship is little surprise considering his group -- and guest musicians -- include current and former members of fine outfits such as Viva l'American Death Ray Music and the Reigning Sound. ~ Karen E. Graves

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New Music for Silent Films by Original Soundtrack/Alloy Orchestra (CD - 09/13/2005)
 

New Music for Silent Films by Original S...

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New Music for Silent Films by Original Soundtrack/Alloy Orchestra (CD - 09/13/2005)
"New Music for Silent Films" (09/13/2005) Rock & Pop Original Soundtrack, Accurate RecordsAlloy Orchestra: Caleb Sampson (synthesizer); Ken Winokur (percussion); Terry Donahue (percussion, accordion). Additonal personnel: Neil Leonard (saxophone). Engineers: Carl Plaster, George Hicks, Ken Winokur. All songs written by Alloy Orchestra except "Deep Water" (Neil Leonard). Personnel: Terry Donahue (accordion, percussion); Neil Leonard (saxophone); Caleb Sampson (synthesizer); Ken Winokur (percussion). Recording information: Chicken Loft Studios. Photographers: James Walker ; Ken Winokur. A splendid collection of compositions from scores created by Alloy Orchestra (keyboard player Caleb Sampson, percussionist Ken Winokur, and accordionist/percussionist Terry Donahue, with prominent appearances by saxophonist Neil Leonard.) Fitting new music to silent movies is a tricky business that involves producing wall-to-wall sound without it being overly intrusive for a good part of the time. The selections here indicate a great deal of expertise along with the requisite musical ability. A large percussion array is used to extremely good effect on many of the tracks, while Sampson puts his keyboards to majestic use -- layers of thick, fat string sounds vying with rippling, flowing harp tones that balance lightly against shaken tambourines and tinkling chimes. This is excellent music for imaginative meditation as well as for its intended use. ~ Steven McDonald

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Old School Hip Hop, Vol. 2 by Various Artists (CD - 09/11/2001)
 

Old School Hip Hop, Vol. 2 by Various Ar...

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Old School Hip Hop, Vol. 2 by Various Artists (CD - 09/11/2001)
"Old School Hip Hop, Vol. 2" (09/11/2001) R&B Various Artists, Thump Records

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Gorillaz [PA] by Gorillaz (CD - 06/19/2001)
 

Gorillaz [PA] by Gorillaz (CD - 06/19/20...

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Gorillaz [PA] by Gorillaz (CD - 06/19/2001)
"Gorillaz [PA]" (06/19/2001) Rock & Pop Gorillaz, Virgin Records (USA)This is an Enhanced CD which contains regular audio tracks and multimedia computer files. Gorillaz: 2D, Noodle, Russel, Murdoc (a.k.a. Damon Albarn, Del Tha Funky Homosapien, Sky Edwards, Dan The Automator). Additional personnel includes: Miho Hatori, Tina Weymouth, Ibrahim Ferrer. Producers include: Dan The Automater, Tom Girling, Jason Cox, Gorillaz. Engineers include: Tom Girling, Jason Cox, Toby Whelan. Recorded at Gee Jam Studios, Jamaica. "Clint Eastwood" was nominated for the 2002 Grammy Award for Best Rap Performance By A Duo Or Group. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. What do you get when you combine Damon Albarn, singer for Britpop superstars Blur, with hip-hop producer Dan The Automator? Gorillaz, silly! Albarn takes a busman's holiday and avails himself of the opportunity to take the kind of sonic risks one would be unlikely to find on a Blur album. This isn't hip-hop or dance music per se, though "Rock the House" is a bona-fide party rap tune, and Dan The Automator adds plenty of hip-hop elements and trip-hop beats throughout. Ultimately, GORILLAZ is occupied by Albarn's arch, twisted pop vision filtered through a dizzying array of electronic sounds and studio manipulations. There are some interesting stylistic experiments, too, as on the Latin-style "Latin Simone," which features a guest vocal from none other than Cuban legend Ibrahim Ferrer, and "Slow Country," which, despite its title, is an excursion into the atmospheric land of dub reggae. This is a far cry from Britpop--imagine Blur in a sonic kaleidoscope. And then try in vain to imagine either of the Gallagher brothers attempting anything close to this.

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In Hollywood, Vol. 2: 1930-1934 by Bing Crosby (CD - 03/14/2006)
 

In Hollywood, Vol. 2: 1930-1934 by Bing ...

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In Hollywood, Vol. 2: 1930-1934 by Bing Crosby (CD - 03/14/2006)
"In Hollywood, Vol. 2: 1930-1934" (03/14/2006) Pop Vocal Crosby, Bing, Collectables RecordsRecorded in 1933-34. When Columbia Records released the double-LP Bing Crosby in Hollywood in the fall of 1967 as the flagship album in its Hall of Fame reissue series, it was the first comprehensive collection of Crosby recordings from the company's vaults. Crosby recorded for Columbia as singer with the Paul Whiteman Orchestra from 1928 to 1930, and his recordings for Brunswick Records from late 1931 to mid-1934 ended up in Columbia's possession when the Brunswick catalog was divided up and sold off. Columbia had attempted a few compilations in the late 1940s and '50s, but nothing like this: compiler/annotator Miles Krueger assembled a 32-track selection of commercial recordings made in connection with Crosby's early films, among them some of his biggest hits of the early 1930s. The scholarly approach was a precursor to the kind of reissues that started to be done in the CD era. Collectables Records has chosen to reissue the set in two separate volumes, which diminishes its value slightly, at least if you don't buy both of them. The second disc begins halfway through the tracks from 1933's Too Much Harmony, meaning that the date range in the title, 1930-1934, is now inaccurate, as is Kreuger's statement that, "This album contains, without exception, every recording [Crosby] made commercially from all the feature films in which he appeared, from his modest screen debut in The King of Jazz, in 1930, through his eminent screen stardom in She Loves Me Not, in 1934." That's what you'll have if you buy both volumes; here, you get exactly half of it. ~ William Ruhlmann

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In Between Dreams [3/1] *
 

In Between Dreams [3/1] *

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In Between Dreams [3/1] *
"In Between Dreams [Digipak]" (03/01/2005) Rock & Pop Johnson, Jack, Universal DistributionPersonnel: Jack Johnson (vocals, guitar); Merlo Podlewski (bass instrument); Adam Topol (drums, percussion). A former professional surfer and self-proclaimed beach bum, Jack Johnson is an unlikely candidate for rock-star status. Somehow, however, this everyman's mellow pop songs seem to tap into a commonly held desire for the simple life. The formula on IN BETWEEN DREAMS doesn't vary much from Johnson's previous albums, but is no less engaging--delicately strummed acoustic guitar, round bass lines, and gently funky drum patterns form a comforting bed for the Hawaii native's effortlessly soulful R&B-meets-folk vocals. Sounding at times like a more laid-back G. Love (without the rap tendencies), Johnson celebrates the simple pleasures and asks the big questions with the childlike innocence that only someone living in a literal paradise could muster. "Banana Pancakes" is a Harry Nilsson-like groover that urges listeners to skip work and enjoy themselves every so often, while "Good People" decries the age of reality television with a poignancy reminiscent of Donovan at his free-spirited best. Perhaps the track that most accurately encapsulates Johnson's unique less-is-more approach, however, is "Belle," a jazzy ditty that clocks in at less than two minutes and lets a swooning accordion tell the bulk of the story.

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That's Life by Mick Ralphs (CD - 06/01/2004)
 

That's Life by Mick Ralphs (CD - 06/01/2...

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That's Life by Mick Ralphs (CD - 06/01/2004)
"That's Life" (06/01/2004) Rock & Pop Ralphs, Mick, Angel Air RecordsContains 13 tracks. Personnel: Mick Ralphs (vocals). Unknown Contributor Roles: Simon Kirke; Boz Burrell.

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Uh Huh Her [PA] by PJ Harvey (CD - 06/08/2004)
 

Uh Huh Her [PA] by PJ Harvey (CD - 06/08...

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Uh Huh Her [PA] by PJ Harvey (CD - 06/08/2004)
"Uh Huh Her [PA]" (06/08/2004) Rock & Pop Harvey, PJ, Island Records (USA)Personnel: PJ Harvey (vocals, various instruments); Rob Ellis (drums, percussion, background vocals); Mr. Head, Evelyn Isaac (background vocals). A clear departure from STORIES FROM THE CITY, STORIES FROM THE SEA, 2004's UH HUH HER finds Polly Jean Harvey forgoing the poppier touches of the relatively refined former album in favor of a stripped-down, no-frills record. Aside from the presence of longtime drummer Rob Ellis, this is essentially a one-woman show, with Harvey playing all other instruments and producing every song. Many tracks on UH HUH HER are so spare that they might be mistaken for demos, and this minimalism works in the album's favor. "Shame" and "Pocket Knife" both consist of little more than a steady beat and subtle instrumentation, but they allow Harvey's bold, emotive voice to come to the fore. Harvey's signature sense of menace shows up on a number of songs, including the lumbering "The Life & Death of Mr. Badmouth" and the dynamic "The Letter." However, the album's most notable track may be "The Slow Drug," which floats along on a faint keyboard line, fading in and out like a half-remembered dream. Though it may seem like a sonic retreat, UH HUH HER reaffirms Harvey's status as one of rock's most unpredictable artists.

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Old School Soul Party [Digipak] [3/1]
 

Old School Soul Party [Digipak] [3/1]

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Old School Soul Party [Digipak] [3/1]
"Old School Soul Party [Box]" (03/01/2005) R&B Various Artists, Shout! FactoryLiner Note Author: Steven Chean. Another entry in Shout! Factory's ongoing series of triple-CD box compilations promoted on PBS, this one is more cohesively presented. Sequenced to flow like a typical party, the discs of this predominantly '70s-era 58-track R&B collection are divided into three connected parts. Starting with the high-energy sounds of Wild Cherry's one-hit wonder "Play That Funky Music," disc one (subtitled "Kickin' It Off") continues with tough funk hits from Cameo, Rick James, Parliament, and James Brown. Mercifully dodging the disco bullet save for Donna Summer's "Last Dance," this nonstop funkathon platter is alone worth the price of admission. Adding different sounds such as the Undisputed Truth's slightly trippy "Smiling Faces Sometimes" and the Beginning of the End's tropical "Funky Nassau" successfully serves to shift the style but not the mood. Disc two ("Getting' into the Groove") lightens the groove moderately as melody and pop become more emphasized on Cheryl Lynn's "Got to Be Real," the Friends of Distinction's "Love or Let Me Be Lonely," Gene Chandler's "Groovy Situation," and Ashford & Simpson's "Solid." These are all well-chosen selections that were substantial hits, but not as ubiquitous as the Isley Brothers' "That Lady, Pts. 1-2," a tune that always seems to find its way onto '70s soul collections such as this. Disc three ("Dimmin' the Lights") moves into slow and sensual post-party fare with 19 quiet storm smooth jams from artists such as the Five Stairsteps ("O-o-h Child"), Minnie Riperton ("Lovin' You"),the Chi-Lites ("Have You Seen Her"), and Marvin Gaye ("Sexual Healing"). The schlock factor is obviously higher here, but all the songs are Top Ten R&B and/or pop hits and will spark instant recognition from those this box is intended for. The remastered sound is crisp and sparkling throughout, bringing out these oldies' subtleties -- especially with percussion -- that you might not have heard before. While not definitive, the set accomplishes its mission of replaying the soundtrack to a colorful late-'70s urban shindig. More than a haphazard collection of oldies, this conceptual box boasts a well-defined focus, a unique programming flow, and of course lots of soul. ~ Hal Horowitz

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