XTRMNTR
Average Customer Review:
Audio CD (02 May, 2000)
list price: $16.98 -- our price: $14.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

Primal Scream's XTRMNTR is one of the most intense andinnovative politically charged musical diatribes since the MC5's1969 debut. Approachingelectronic, funk, and alt-punk-based sounds with equal ferocity, thisis arguably the band's finest record yet. The over-the-top brillianceof "MBV Arkestra" (a seven-minute, Kevin Shields-saturatednoise fest) alone cannot be exaggerated. Really! --MikeMcGonigal ... Read more

Reviews (62)

Contender for Most Over-rated album of 2000 ?
The British music press have been fawning over Primal Scream and their latest album since the release of Xtrmntr early this year. In their furious desire to embrace a band 'that matters' they have grabbed on to the incoherent and hypocritical adolescent rantings of Bobby Gillespie and co. The first four tracks on this album are of top quality, if somewhat derivative of the Stooges and Velvet Undergound circa White Light/White Heat. They also owe a lot to Mani's exquisite driving basslines, honed in the early 90s with the Stone Roses. After that however, it falters badly. A terrible attempt at white-boy rap with 'Pills';a jazz-rock fusion which Soft Machine would have been ashamed of; a remix of a track already on the album; and the inclusion of a MBV remixed track which had already been released a year ago. Album of the year? I really don't think so.

Very impressive
I haven't heard any other primal scream albums, although from what I understand this album is pretty unlike their previous material, which is unfortunate because this album is very good. Indeed, this one of few wholly integrated rock/electronic bands I've heard that pulls the trick off well (Cornelius is the only other one that comes immediately to mind). There are electronic bands that use rock moves (Chemical Brothers); there are rock bands that pretend to be electronic by throwing in burbly synth noises. But Primal Scream have created an album that rocks, which you can dance to at the same time. This is more difficult than it sounds. It helps that they're all over the map on this one: Kevin Shields (formerly of my bloody valentine) adds production to accelerator that makes the song sound, unsurprisingly, like a my bloody valentine song (albeit faster & angrier). This is a good thing. Shields also contributes to the aptly-titled MBV Arkestra, a very impressive dance rave-up complete with horns and random swirling noises. There's also neo-hip-hop sounds here (Pills, aided by the Automator's fine production); big beat (kill all hippies), and other meldings of electronic moves into rock stylings. Primal Scream have also generously included two entertaining versions of the song Swastika Eyes: the first version melds a satisfying electro riff with impassioned vocals, while the second version is a remix by the Chemical Brothers that sounds like a Chemical Brothers song; imagine that. One other thing to note is that the track listing on Amazon is wrong: the listing above is the track listing for the uk version of the record, but the American version of this album also contains the bonus track "I'm 5 years ahead of my time." Unfortunately, I bought the import version of this album a couple of months ago, so I'm missing that track. In fact, I'm seriously considering buying the album a second time to get that song. Yes, the album is that good: hype is rarely dead on (remember the Beta Band?) but in this case, I'd say you can believe the hype.

Difficult, Uncompromising & abrasive, but Superb nonetheless
Primal Scream have never been a band about conformity, from their humble beginnings as a flowered-up rock 'n' roll band ("Sonic Flower Groove"), to the ultimate indie-pop / Dance fusion of the ecstasy generation ("Screamadelica"), through to a melting pot of Alternative Rock, Alternative Dance & Electroncia ("Vanishing Point")...Primal Scream have consistently delivered vastly deferring albums from what went before, and with "XTRMNTR", they not only hand in their most nihilistic, Aggressive and confrontational release thus far, but have made an album that not only matches their career highlight of "Screamadelica" (but depending on who you speak to, possibly surpasses it). Anyone expecting the freewheeling exuberantly optimistic follow up of Screamadelica with be in for a rude awakening, after the first track "Kill All Hippies" rolls into view. Hard edged electronics, interspersed with dialogue laded the start of the track before a commanding kick drum bursts into action and gyrates into full blown brash and unrelenting alternative Rock, and provides a flawless statement of intent.

"Accelerator" up's the aptitude considerably, with a song largely constructed of immense guitar feedback, with singer 'Bobby Gillespie' yelling like a deranged club singer over a thick dense wall of sound, immediately gratifying & although not an easy listen and uniformly relentless in its approach, each listen gathers a greater appreciation for this musical, change of direction.

"Swastika Eyes" would probably be the song that I'd have to cite as my favourite (if forced for a answer), as it has some of the most visceral guitar playing I've heard in ages, with house-influenced bleeps and Dance rave drums, this is the Dance / Rock crossover songs that Primal do so well, and Bobby holds up his end of the deal with a half sung/half spoken delivery that belies it's political beliefs, yet feels abrasive, hedonistic & gleefully innovative.

"Pills" is shouty punk-Rock done expertly, it's construction is simple and a far more laid back prospect, consisting of not much more than simple keyboard & Drum patterns, with another nod to dance music breaks layered over the top, Bobby Gillespie elevates this track to greatness with vocal of pure shouty apathy & disillusionment, that is a million miles away from the screaming energetic vocal of previous tracks, this is one of those tracks that is either a Love it/Hate it track, possibly appealing to those, with an appreciation of Punk-Funk music in their music collections, especially as the track contains a verse with some of the most concentrated amount swear words in a song.

"Blood Money" again confounds the listeners expectations with an instrumental Jazz/Bass Guitar fusion, the Jazz element in question is a seemingly referencing of many of B-movie spy Thrillers that featured 60/70's jazz as their musical score, all horns and Sax, that is not unlike something off a 'David Holmes' album. Coupled with a sublime repeating, groove laden bass Guitar rhythm. This is amongst the most surprising of the tracks included, not because of a drop in musical quality (if anything it's another personal fave), but because it's so defiantly different from what's gone before on the album, that the stylistic change is undeniably surprising, but for an album this is so rigidly non-conformist & experimental, this should be welcomed with open arms, and those (like me) that actually like the odd instrumental arrangement included in a vocal album, this stands out for it superb composition.

For those looking at making the purchase for this album, the question is.."Is it worth 5 Stars??", and the answer is 'Most Definitely....but is it something I'd recommend to everyone, or buyers of the Primal Scream's earlier albums??. Here the answer isn't so clear cut, and a hefty "Try Before You Buy" warning is the best advice I can give. It's not the quality of the album that in question here, but more to do with the fact that this is so far removed for what went before, that some people will buy this with fond memories of the Rave-influenced "Screamadelica" or the Electronic passages of "Echo Dek" in mind. And this album couldn't be more far removed for those two. "XTRMNTR" is a hostile, unrelenting, abrasive, anxious & Difficult listen. And those not knowing what to expect will be in for a 'Rude Awakening', but if you can handle (or indeed enjoy) this jump of genres from: Alternative Rock, Alternative Dance, Electronica, Alternative Punk & and small heaping of funk, this is easily their most demanding album yet, but curiously also one of their best. If your not prepared to give the investment, then I'd say avoid this, and look elsewhere.....but those undeterred by the prospect of Primal's most confrontational album, will possibly even give this the nod over "Screamadelica". ... Read more

Asin: B00004SZG2

Acid Rain
Average Customer Review:
Audio CD (10 December, 2002)
list price: $9.99 -- our price: $9.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Features

• Explicit Lyrics

Reviews (7)

Angry Retro-Anarchy Brilliantly Meets the 21st Century!
This is an age where so many artists think they are creating something new and genuine simply by taking it to the extreme. Within the dozens of Johnny Knoxvilles, Joanna Wents, and Backyard Wrestlers who think that true creativity abounds merely by going overboard, we occasionally encounter a visionary who courageously reaches into the brain stem of brilliance, and pulls out the bouquet of creative architecture that gives us the artistic endorphins society so desperately needs. Maddog & L.A.'s second release "Acid Rain" accomplishes this feat. While this group does march upon new and untrodden ground, they also reach into the heart of past influences that cry out the need for unleashed musical battle cries. From the opening tune "Holiday" to the final stanza of "Skinny," this CD may just be one of the most important underground works of this era.

"Acid Rain" succeeds where so many arrogant new-age types fail by bringing back the spirit of a radical sound that many thought was but a flash-in-the-pan many decades ago. While Maddog & L.A.'s instruments are not identical, their computerized genius brings back the anarchic spirit of the Moog-Synthesizer that stormed the Western world in the late 1960s by radicals like Gershon Kingsley and communal groups like "Hot Butter."

The works in "Acid Rain" reunite the spirit of The Moog with the 21st Century not by remakes of "Popcorn" or "Mah-Na-Mah-Na," but by bringing out the methodical slithering buzz of an everlasting keyboard note, bringing us into a hypnotic state that, ironically, awakes us into realizing that so much of society's squeaky-clean TV and music has no soul, and is merely overcooked and underfed. If philosopher John Stuart Mill were reincarted today, he would no doubt embrace this work as his first born.

Past practicioners of the Moog-Synthesizer were clever activists that keenly disguised works like "Moi Non Plus/J'taime" as Manciniesque happy tunes perfect for family night at the local Roller-Rink, yet the happy-peppy tunes were like mistletoe, lulling society into a false sense of boredom. Before anybody saw it coming, one Moog-Musician released an album called "Hair Pieces," a muzak rendition of the finest songs from the radical 1960s rock-opera "Hair."

Maddog & L.A. takes the artful leap of "Hair Pieces" one step further by creating musical journeys like "Somewhere in NYC," or igniting the cry to break up the lie that is the nuclear family in "Grandpa Is the Anti-Christ." Never has biting satirical lyrics mixed with gentle organic Moog instrumentals brought about such true artistic expression. The audio-angst these tunes bring up finds me releasing my rage with lonely screams as I pound the walls surrounding me in horror as I partake in my own haunted suburbia. If you want to intensify the effect, try playing the song "And She Knows" simultaneously with the abovementioned "Popcorn" by "Hot Butter." (while "Popcorn has been covered many times, only Stan Free, the front man of "Hot Butter," released it's true societal rage).

Maddog & L.A. have issued a unique and unusually gifted package in "Acid Rain." Buy this CD. Its message and music will liberate you.

More fun than a German suplex
If you don't take yourself or this CD too seriously, you'll love it."Holiday" is the first song and it's supposedly about the movie "Fear & Loathing In L.V." and as such it hits the spot. In fact, speaking of Las Vegas, Maddog & L.A. could easily be compared to Death In Vegas and other groups that refuse to be held down by one genre and one sound.
"Acid Rain" is all over the place. The song "Continental" sounds vocally like a spaced Issac Hayes,and that's a good thing in my book!"Stickin' To The Wall" is a great reggae ode to the joys of chronic. This is a CD that you need to buy.

Haunting Revival of the Soul!
Los Angeles is frequently accused of living the personification of plastic surgery souls in despair. If such pseudo-liberals from states like my own would wake up and taste the coffee ---not merely smell the coffee but taste it--- they could learn that works of art like "Acid Rain" are reasons why Southern California is truly a cavern of brilliant reality; disguised as neon cosmetics, yet earthier than the plethora of so-called naturalists who fail to realize there is more to reality than eating plain yogurt and chewing bark off trees.

The first tune from "Acid Rain" that I sampled was the Guajardian Feminist ode entitled "And She Knows." It was a stormy day, even by Seattle standards, and this piece of music grabbed me by the scruff of my soul and hurled me from my downward-spiraling depression. Anybody who has ever witnessed the work of brilliant performance artists like Annie Sprinkle, Lene Lovich, Sue Hankins, Dr. Jerry Graham or Johnny Legend will immediately grasp and nurture the seething explosive message "And She Knows" carries, and will no doubt embrace the modern day feminist that celebrates the sensual world rather than decry it. I found myself moshing around my apartment in ecstacy, realizing that the eagle no longer withers upon the leafless tree in the wilderness.

The group called Maddog & L.A. originally attacked our audio senses with an album entitled "Deface the Art." While that CD was a harsh mix of electronic keyboards and grinding feedback, "Acid Rain" serves up a more thorough and enraged cry for the politically active to abandon their phony ideals and pathetic cloak of martyrdom. The tune "Grandpa is the Anti-Christ" blasts of sheer audio-anti lyricism; not a word to speak, just a challenging banshee shreik that tears open our senses, yet healing our tortured souls.

"Acid Rain" is the overlooked CD of our day. Pass up this great CD and you miss out on audio-liberation. ... Read more

Asin: B00007M4HT
Sales Rank: 274593

The Contino Sessions
Average Customer Review:
Audio CD (14 September, 1999)
list price: $13.98
US | Canada | United Kingdom | Germany | France

Editorial Review

Richard Fearless has earned his name. Death in Vegas's 1997 debut, Dead Elvis, established him as a defiant DJ, mixing techno with weird dub, rock, and industrial. Despite itself, the disc spawned a hit ("Dirt"), an experience he may have wished to replicate here, though Contino pushes even harder in multiple directions. Many high-profile guests add to the blend of smooth grooves, noisy ambience, and raucous rock rhythms. Primal Scream's Bobby Gillespie conjures a laid-back hip-hop posture for "Soul Auctioneer," while Jim Reid makes "Broken Little Sister" sound a lot like his own band, Jesus and Mary Chain. On "Aisha," Iggy Pop's wicked monologue could rival Nick Cave's creep-factor were it not for Fearless's musical playfulness. From gospel choirs and organs to Americana twang, deep bass rumblings to spacey sci-fi sounds, The Contino Sessions is a psychedelic trip with bravery and grit. --Liisa Ladouceur ... Read more

Reviews (28)

The great 1999 sleeper
Most ambitious projects tend to be misunderstood upon their release. As I read the first reviews in Amazon, I realized it wasn't different with "The Contino Sessions". How can someone define this record as techno? There's great guitar work, a wonderful bass and powerful drums. Oh, sure, there are all these different kinds of electronic noises, but really, where do you think the future in music lay? The sheer quality of the guest stars should have attracted more attention to this record, but don't be fooled by the reviews that state that their songs are the only good ones. The real star is Richard Fearless! Iggy Pop could scream his lungs out, but if it weren't for the Midas touch of Fearless, the track would be lost in Pop's anger. Everybody is raving about "XTRMNTR", but Bobby Gillespie (who appers on the wonderful "Soul Auctioneer") certainly wouldn't have conceived such a noisy and angry record without the help of Richard Fearless. "Death Threat" reminds me of an obscure french band called View, while "Flying" has a hint of Spacemen 3. Jim Reid keeps Jesus & Mary Chain alive with "Broken Little Sister", and the album concludes with "Neptune City", in the best Spiritualized tradition. Prelude to the future.

The Darkest So-Called Dance C.D.
The second c.d. from Richard Fearless and Tim Holmes(a.k.a.Death In Vegas) is an excellent follow up to Dead Elvis,it is also a new departure for dance music as it must be the darkest so called dance c.d. I've ever heard. I bought this c.d. last year and a testament to its high quality is the fact I still listen to it regularly. I don't know how people are fitting this into the dance or techno category,because in my opinion it's a million miles from this sort of music. The album features a high calibre guest list-with Bobby Gillsepie(Primal Scream),Iggy Pop And Jim Reid(Jesus And Mary Chain)featuring on 3 of the 9 tracks. Most of the tracks are well over 5 minutes long and it becomes obvious after track one that this c.d. is dark ,loud and fairly heavy in it's musical content.Sometimes it's quite like Leftfield's last c.d. and yet some of the tracks sound a bit like the instrumental tracks of Nine Inch Nails -The Fragile. Fearless and Holmes have put together an excellent band to enhance their techno background.Gillespie sings in his usual 'somewhere out there' manner on track 2 'Soul Auctioneer'.The Iggy Pop song Aisha is excellent with Pop perfectly suited to his off the wall narrative where he tells the story of a serial killer-see I told you it was dark!Jim Reid's welcome return on Track 8 is one of the many highlights on this album. The Contino Sessions have deservedly just been nominated as one of the c.d.'s in line for the Mercury Music Prize-my only question would be how can it win the prize for the year 2000 when it came out in 1999! However this c.d. is well worth the listen!

Dark Without the Death
This album is a rare example of that music which manages to be dark and moody without causing involuntary wrist slitting or head-bang whiplash. The opening track, "Dirge", is representative of everything that is great about modern American rock music. The track contains simple, effective riffs obscured by gritty overdrives and thundering bass beats that are utterly addictive. The track also reveals the band's knack for increasing the tension and power in a song without advertising the fact. The result is a song which swells and pumps along, carrying the listener on a musical waterslide until the instruments seem to crash into the pool at the bottom leaving said listener both exhilarated and exhausted.
Try not to feel like a member of the trenchcoat mafia as the album's pivotal track 'Aisha' proclaims: "I think there's something you aughta know. I'm a murderer." The agressive rhythm combines with the sinister lyrics to provoke a sense of latent 'cool' in the listener.
Not all the tracks are stand out. Neither are they all heavy and dark. 'Flying' is one of the best tracks on the album but contains only feelings of airy joy as the various electronic rhythms swoop and, well, fly.
Death in Vegas are a rare breed of artist. They belong to a movement arguably started by the Velvet Underground but now frequented by the Red Hot Chilli Peppers, Nine Inch Nails, and others. These are the bands that will save the world from hyper-conformist pop. Vive le Death. ... Read more

Asin: B00001O30K

Dead Elvis
Average Customer Review:
Audio CD (16 September, 1997)
list price: $13.98 -- our price: $13.98
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Reviews (19)

It's a 5 scoop ice cream cone!
I initially bought this CD for just the track "Dirt", but after listening to the whole CD, I love each and every song! The intro to "Dirt" was taken from an annoucement at the original Woodstock..."from now on, this is a free concert." Dead Elvis is like getting a 5 scoop ice cream cone with all different flavors and you love each and every flavor. I hear songs to this CD played alot as background music on MTV's Realworld/ Roadrules. It has lot's of variety - something for everyone!

Death in Vegas: Music of the future
Combining dub electronic, ambient noise, and great grooves, Death in Vegas is one of the most original bands in decades. Some tunes have a reggae influence, while others are flat out bumping hard trance. The unifying element in Dead Elvis is their gritty, herion-rock sound. Death in Vegas don't use samples as ornamentation, they use simple samples as the centerpiece for each tune; much like avant garde composer Steve Reich.

If you are tired of hearing the same old pop riffs and blues scales, then check out any Death in Vegas CD. Their influence will be heard for several years to come.

Like a journey
I was blown away by this album. There's so much on here to enjoy. It's really an experienece from start to finish. I couldn't believe how it all flowed together, the sounds and just everything. There's a reggae influence, then all of a sudden hard trance, and more. You have to listen to it from start to finish. At the end it gets pretty dubbed out! They use live instrumentation which sets them apart from other groups in this genre. Excellent stuff! ... Read more

Asin: B000005ENR
Sales Rank: 17631

Transcendental Blues
Average Customer Review:
Audio CD (06 June, 2000)
list price: $16.98 -- our price: $13.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

While Steve Earle's last album, The Mountain, was an all-acoustic collection of folk and bluegrass, his latest project returns to the trademark stylistic eclecticism that he displayed on El Corazon (1997). Transcendental Blues flows from gentle folk to British invasion pop, from Celtic-flavored jaunts to hard-edged country-rock and bluegrass romps, and as always Earle deftly blurs these lines. --Marc Greilsamer ... Read more

Reviews (105)

read this review
"Transcendental Blues" is another solid album from gravel voiced Earle. On a level with "El Corazon", but just a little weaker than "I Feel Alright". There are maybe 6-8 great Steve Earle songs here, including "Lonelier Than This", "Halo Round the Moon", the title cut, "Galway Girl", and "Steve's Last Ramble". Much of the rest of the album sounds like he may be going through the motions. Still, his going through the motions is better than many artists best, and songs like "Another Town" and "Wherever I Go" are highly enjoyable if just a little slight. What Earle has done is make a great pop-rock album. Not Top 40 pop, but edgy and driving pop songs. The album has it's weak tracks, like the way-too-weird "The Boy Who Never Cried". This song is so devoid of feeling or hooks or melody that it seems completely out of place, and the duet with his sister is nothing compared to his past duets with Lucinda Williams, Emmylou Harris, or Iris Dement. Still, it's hard to complain about such solid music from a man who has put out the most remarkable series of albums from one artist through the last 5 or 6 years. If anyone in rock radio had any guts than this album could be the biggest hit of the year. It's songs were made for rock radio. I guess that's just wishful thinking.

More wonderful songs by Earle...
Steve Earle has yet to through down anything that I would call, "one of my all time favorite albums." And yet he is one of my three favorite artists. Each of his albums sound like collections of wonderfully wrought songs, many exploring similar themes.

So Transcendental Blues sounds a little bit less like an album and more like such a collection to my ears does it? Why yes it does. Especially with the fifteen tracks and the transition to a more mellow and low key sound midway through the album. Still, this is hardly a fault. More just something different for those of us who are used to thinking in terms of favorite albums and not favorite songs, bands, or genres.

There's one thing I will say: Some of the songs grab you from the get go while others take their sweet time. I loved "Everyone's In Love With You" and "Another Town" from the start, but sure enough songs like "When I Fall" and yes, even "The Boy Who Never Cried" won me over. That track isn't so bad really, once you get past how different it is from other Earle business.

If you've never listened to him before, by all means by Steve Earle's "I Feel Alright" and pop her in. If you're already a fan then what are you waiting for?! Buy the newest album by American music's premier songwriter and give your ears the treat that they deserve.

"...with a dark cloud hangin' down low."
I grew up listening to this guy and four years ago he dropped THIS on us. I'd bought this as a present for my dad (who introduced me to Steve Earle) and I ended up keeping it for myself and wearing out that copy. Three copies later, it still remains one of my faves and I still believe this to be Steve's best recording. It doesn't matter how rock you are, how country you are, or how hip you are. EVERYONE will find something to love here. I just re-bought it last weekend on a road-trip to a Metallica concert so take that for what it's worth.

Transcendental Blues may be the album of Steve's career. As much as I love "El Corazon", "Jerusalum", "I Feel Alright", and "The Hard Way" (Billy Austin never loses it's impact), this is still my favorite of his. If America had any taste in music whatsoever, this would have gotten a Grammy. That's all I have to say about that. ... Read more

Asin: B00004S9AN

La Peste
Average Customer Review:
Audio CD (24 October, 2000)
list price: $11.98 -- our price: $11.98
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Reviews (26)

Artistic Advancement
A3 changed their style on "Le Peste" from the sound they had used in "Exile on Coldharbor Lane". With songs like "Too Sick to Pray" and "Sad Eyed Lady of the Lowlife" it is evident of the musical maturity in their melodic harmonies and sound. The songs are more full than just the simple standard rhythms on the Coldharbor Lane album (which was also a good album). Though it is evident that they wanted to stick with the heavy bass tone of "Woke up this Morning" on their original album, which gave the song that cool laid back flow, they also decided to make this album more a serious artistic endeavor in the lyrical quality of their content in most cases. During the final track the album ends on a hopeful lyrical statement, "Everything's going to be alright." Hopefully the band is telling us, the listeners, that they're going to be around for a while, so that we can hear more of their "sweet sculptural rhythms."

They Were Better in "Exile"
Self-decribed "funky acid house country music" groovers A3 scored a huge success with their debut album, the AMAZING "Exhile on Coldharbor Lane." Not only did it contain what would become the theme song for "The Sopranos," it had at least half a dozen other tunes that were just as good. Alas, the dreaded sophomore slump seems to have befallen A3 on their second full length effort, "La Peste." Their sound remains much the same, but the songwriting is nowhere near as good as on "Coldharbor."

The first thing you notice is the absence of a lyrics sheet this time out. The next thing is that somewhere along the way the band's keen sense of humor seems to have deserted them. On the plus side, the downcast "Sad Eyed Lady of the Lowlife" is an execellent play on the similiarly title Bob Dylan song and the closing number, "Sinking..." gets almost genuinely spiritual. On the downside, most of the rest of the material pales when compared to the debut. The grooves are not as groovy and the lyrics have gotten far too serious. The cover of The Eagles' "Hotel California," for example, is far too pat and never takes off.

Overall, a middling sophomore effort from a uniquely talented band.

what happened?
where o where did the alabama 3 that i knew and loved so much go?
i was a faithful follower of the country tinged house music that earned irvine welsh's approval and was exhibited in such fine form on the Exile album. when i first heard this i was surprised that there was so much music with so little to say.
it seems that Alabama 3 has got themselves stuck with no real musical direction in a sort of rock/country/electronic mud puddle. there is a definite difference between 'delicate fusion' and 'muddy, unspectacular music'

this album pushes, if not crosses the boundary ... Read more

Asin: B00004ZDOZ
Sales Rank: 39887

Sweetheart of the Rodeo
Average Customer Review:
Audio CD (25 March, 1997)
list price: $11.98 -- our price: $10.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

After Chris Hillman dragged new friend Gram Parsons into the Byrds, they made an album as close to a country masterpiece as a rock act could ever make. In fact, the only tunes better than the definitive covers here of songs by Bob Dylan ("You Ain't Going Nowhere"), Guthrie ("Pretty Boy Floyd"), and the Louvin Brothers ("The Christian Life") are Parsons's originals, especially the incomparable "Hickory Wind." Sweetheart wasn't the first country-rock album, but with its gorgeous three-way harmonies and sweet pedal steel, it remains the best. --David Cantwell ... Read more

Features

• Original recording remastered

Reviews (58)

Beautiful
You don't have to be a fan of country & western to appreciate Sweetheart of the Rodeo. I am certainly no C&W fan, but I love this album. Of course, it doesn't hurt that The Byrds are one of my all time favorite groups. I love Roger McGuinn's voice and the harmonies of the band as well as Chris Hillman's super bass playing. This album misses David Crosby, but Gram Parsons fit in wonderfully with the band. Parsons fills in for Crosby nicely and his lead vocals on Hickory Wind and You're Still On My Mind are very nice. You Ain't Goin' Nowhere kicks off the album with a great start, and is yet another great entry in the Byrds' catalog of Dylan covers. Sweetheart is a very different sound than previous Byrds albums (much like The Notorious Byrd Brothers was). There's no 12-string Rickenbacker, only pedal steel this time. There's a lot of nice acoustic rhythm guitar on most of the songs though. This a great album, (not quite as good as Younger Than Yesterday or Notorious Byrd Brothers though) full of beautiful harmonies and peaceful, mellow soothing sounds. Essential for Byrds fans.

The Byrds' Country Pilgrimage!
My first introduction to The Byrds came back in 1990 with the release of the boxed set, but it wasn't intil 2001--when, on a whim, I picked up the CD re-issue of "Younger Than Yesterday"--that I REALLY got into the band.

Well, as the saying goes, "better late than never!" Talk about discovering burried treasure, not only have "Younger Than Yesterday" and "The Notorious Byrd Brothers" become some of my favorite albums of all time, but the landmark "Sweetheart of the Rodeo" is actually in my top 5. And I'm not even a country music fan!

"Sweetheart" really opened my ears to a completely different style, and the beautiful home-grown simplicity of songs like "You Ain't Going Nowhere," "The Christian Life," "One Hundred Years From Now, and "Blue Candian Rockies" make the album irresistible catchy.

Byrds mainstays Roger McGuinn and Chris Hillman abandoned their folk-rock psychedelia in favor of full-throttle country music, thanks to the commanding presence of new band member Gram Parsons. The resulting harmonies, inspired lead vocals, soothing lyrics, and mean slide guitar ensure that "Sweetheart" will become a mainstay in your CD player.

Once again, even if you don't consider yourself a country music fan, do yourself a favor and pick up "Sweetheart of the Rodeo." It's an album that no true music fan should be without.

Groundbreaking, but not up to today's best
This album has a few good songs, nothing great certainly. A couple sound like Greatful Dead or Mamas and Papas knockoffs (but then again - who came first?). No doubt a groundbreaking album and it holds up well, but there are lots of better albums out there now in the same genre (get BR549's first or the Rockhouse Rambler's Torch this town or Domino King's Life and 20). ... Read more

Asin: B000002AHB

Live: A Decade of Aggression
Average Customer Review:
Audio CD (12 March, 2002)
list price: $19.98 -- our price: $16.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Reviews (32)

Slayer at their finest!
Firstly, let me tell you that Slayer, in my opinion, is the best heavy metal (or to be more precise, 'Thrash') band ever. Decade of Aggression is one of only a couple of live Slayer recordings. Decade of Aggression has two CDs: the first is a of an entire concert recorded live at Lakeland Coliseum in Florida, USA, in 1991; the second CD features selected songs from a concert at Wembley Arena in London, 1990; and a concert in San Bernardino in California, USA, 1991.

This album was produced when Slayer were at their best. They had recently finished their superb album Seasons in the Abyss, and the albums that they had produced before were by far heavier and more satanic than their albums of late.

The songs on this album are nothing short of incredible-the selection is amazing, although I would've liked Skeletons of Society (on Seasons in the Abyss) as well, which is one of my favourite songs of all time, and it's not too heavy at all (if you're used to Slayer). Here are some of the very best thrash songs ever produced, and the atmosphere and ambience, which live recordings can capture far better than studio recordings, enhances all of these songs immensely. The Florida concert on CD 1 begins with Hell Awaits, probably my favourite song of all time with its amazing intro of hellish chants and unsurpassed guitar work; it's a song melodic and hard rather than insanely heavy but less clever. There are many other Slayer classics here, including War Ensemble, fast and brutal; Seasons in the Abyss (title song), very melodic and amazing to listen to; Angel of Death, which is absolutely incredible live and one of Slayer's most famous; and on the second CD, Die by the Sword, Captor of Sin, Born of Fire, Postmortem and Spirit in Black are some of Slayer's heaviest songs.

Between many of the songs on Decade of Aggression, the band talks to the audience, from a simple scream of "Angel of Death!" to the short talk concerning the audience in the mosh pit at the front where they tell people to "keep an eye on each other", and "that's what we're here to do, help each other out". Although it's a little strange coming from a Satanist band, it does make Slayer seem decent people beyond their musical talent. I guess they didn't want to be responsible for any deaths, as any band wouldn't. Also some songs are tributes to wars and massacres, and Mandatory Suicide tributes all those who made it back alive from the Persian Gulf (thematic): a tribute to America.

Overall this album is a must. If you're a fan of Slayer, Pantera, Megadeth, Black Sabbath, Ozzy Osbourne etc, and can enjoy heavy antichristian music, buy it now! But if you only like mainstream 'new generation rock' like Limp Bizkit, KoRn and Marilyn Manson, buy it by all means but don't complain if it's too hard for you; and if you like the more lighter, gothic Black Metal, including the excellent Cradle of Filth, you should find Slayer great; and Death Metal fans should be Slayer fans already. Slayer may be old, but their music unsurpassed by anything. And by the way, this isn't 'Death Metal' like Nile, Cannibal Corpse, Suffocation and Last Days of Humanity: with Slayer you can (usually) hear the lyrics as they don't use voice changers to make their voices growl like the devil, though Tom Araya's voice is brutal enough! The music is generally heavier than death metal, though not quite as insanely fast as Nile.

Downsides? Well, as I said, I would've appreciated Skeletons of Society on here, though most of Decade of Aggression covers the heavier Slayer albums like Reign in Blood rather than Seasons in the Abyss. There's also a little South of Heaven and Hell Awaits to top it off.

I think the best song on the album is Hell Awaits seconded by Angel of Death; the heaviest is Postmortem.

Go on, buy it, certainly if you're new to Slayer, and if you're already a Slayer fan this album should be already residing in your CD rack.

One of the few live albums worth having
I don't like most live albums. More often than not, live albums are poorly produced, have screaming fans overdubbed onto the music (KISS Alive I, II, and III) and the musicianship isn't as good as it is in the studio. Fortunately, that is NOT the case with this one.

Slayer has always been known to be a good live band. This album proves it. Kerry King and Jeff Hanneman prove that they are both very good guitar players. Dave Lombardo never missed a beat. The only thing that lacked at all is that Tom can't hit the high notes as well anymore, but I'll live.

I'm impressed with the selections on this album. The majority are from their two best albums; Show No Mercy, and Reign In Blood. They started the show with "Hell Awaits" and ran right into "The Antichrist." I wish they still did this. That is the perfect way to start a Slayer concert.

Another thing that I'd like to point out is that while they were touring in support of the Seasons In The Abyss album, they didn't play all of the new songs, and forget all the old stuff. They played several songs off Seasons, and still played all of their old classics.

This is one hella good live album, not to mention a good Slayer album. This is like having a Slayer "Greatest Hits" album. If you are new to Slayer, this would be an intelligent choice for a first album.

THIS ISNT DEATH METAL - THIS IS REAL HEAVY METAL
Lets make a distinction between Slayer and all the death metal and hardcore nu metal bands out there. First of all its a fact that nu metal bands such as slipknot and all death metal bands rippoff slayers guitar riffs and drum beats. Those bands unfortunantly fail to play as well as slayer since their musical knowledge is P I S S poor. Secondly these slayer rip off bands can't sing to save thier life, the arrrr and devil growling vocals only serve as bad substitutes for their inability to hold a note with their band. Tom Araya isnt the greatest metal singer but, at least he tries to compliment and enhance the music rather then butchering a song with off key vocals.
Overall this album is very good and I would give it a 5. I thought the songs from Seasons in the Abyss and SOuth of Heaven sounded the best Probably because they were fresh in Slayers mind since those albums recently came out to that point. OVerall I highly recommend this album.
Also I'd like to make a comment about the references that slayer makes to Satan and the devil in their lyrics. Anybody who chooses to interpret that as Satanism is either a satanist or just stupid. According to Tom Araya he writes music about the uglyness, Brutality, and stupidity that goes on the this world. This is relative to whats happening in Iraq with all the beheadings and carbombings. There is evil in this world which the devil may be a part of and slayer should be credited for singing about that reality. ... Read more

Asin: B000062YAY
Sales Rank: 30716
Subjects:  1. Pop    2. Rock   

Attak
Average Customer Review:
Audio CD (19 March, 2002)
list price: $15.98 -- our price: $15.98
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

Clearly refreshed by his hiatus, not to mention his guitar-and-noise-driven side project MDFMK, founder Sascha Konietzko brings renewed vigor to the reactivated KMFDM in the form of Attak. Arriving three years after their "farewell" album, Adios, Attak is in a more chaotic mood than the band's latter-day recordings. But the songs slide together neatly, making for a forceful collection--harness this thing to a dynamo and you could power a small city. Songs like "Sturm & Drang" and "Risen" simply beg to be cranked up; even with the volume down, this album soundsloud. Attak is KMFDM's first CD on aggressively indie industrial label Metropolis Records, and it seems as though the move to a new label has reawakened the group's core sensibilities. It's a mature album (no one would mistake this for an early KMFDM recording), but it's also crisp, fresh, and razor sharp. KMFDM is dead--long live KMFDM! --Genevieve Williams ... Read more

Reviews (53)

Arise and walk, my friend
Everyone in unison: "A new release from KMFDM?!?"

Forget everything you heard about the end, KMFDM are back! In full force and slaughtering the world with this new "attak" on humanity. With founding father, Sascha Konietzko, along with the combined talents of Lucia Cifarelli (of Drill), Raymond "Pig" Watts, Bill Rieflin (of Ministry & Revolting Cocks), Dorona Alberti, Joolz Hodgeson and of course, Tim Skold, this new release kicks us back in gear for more of the hardcore industrial manipulations we call KMFDM.

From start ot finish, the album punches beats, growls lyrics and grinds guitars. There's even some drum 'n bass stylings thrown in here and there. Favorites as of today would be, "Dirty," which is a grind-fest of guitars and sado-masichism with lyrics "Heaven can't take me, hell don't
care, KMFDM gonna take me there," the contained severity of track 9, "Sturm&Drang," and the sing-a-long harmonious power of pain in the song, "Save Me."

They've done it again-so what the hell are you waiting for?!? "Risen," states it clearly, "The ultra-heavy beat goes on and on!" The torment was released upon the world on April 19th, 2002.

The Next Step in the Evolution of the Ultimate Sound
Attak is the next evolution of KMFDM. From WDYKD to Don't blow your top to UAIOE one style of KMFDM was heard. Then Naive, Money and Angst showed us another. Nihil and Xtort gave another. Then Symbols. Followed by Adios. Attak is a combination of KMFDM's past, the MDFMK project, Skold's solo album, and Pig's unique style. It is a violent new breed of KMFDM. I find my self playing this album more and more. Attak/Reload - Great vocals from Lucia ultra heavy beat. Skurk - Pure heavy and great. Dirty - Heavy fast and awsome, very Pig. Urban Monkey Warfare - awsome beats sort of comic one of the best. Save Me - Very reminesant of Skold and Adios if you like this check out Skold. Yohoho - worst track kind of annoying. Superhero - Lucia's great here. Strum $ Drang - best song on the album heavy lots of KMFDM. Preach/Pervert - Vey Pig love it. Risen - reminesant of Symbols Awsome song. Sleep - I love Dorana's voice I'm so happy shes back I wish she was on more songs. Attak is a new evolution of KMFDM's Ultra Heavy Beat and their continual strive for the Ultimate Sound.
BUY IT NOW

Attacks your former idea of KMFDM and builds a better one!
Attak is my all time favorite KMFDM cd. If you want to start listening to KMFDM, or just want to keep growing your collection, this is THE cd you must get. It satisfies all the means! "Attak/Reload" starts the cd off with a great beat and great vocals. "Dirty" may just be my favorite track, for Waitts perfectly distributes his voice to the dark, heavy riffs. "Urban Monkey Warfare" keeps the beat strong, while "Yohoho" brings the cd to a new section of a sweet drum beat, and great vocals. "Strum & Drang" is another of my favorites because of its shear power! Over all, the cd is like a bliss of overwelming, splendid music. GET THIS CD! I'm SURE you'll love it! ... Read more

Asin: B00005YW67
Subjects:  1. Pop    2. Rock   

The Best Of John Hiatt
Average Customer Review:
Audio CD (25 August, 1998)
list price: $16.98 -- our price: $13.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

John Hiatt has had such extraordinary success as a songwriter that, even if you haven't followed his career as a performer, you'll find you know most of these songs by virtue of their hit cover versions. Bonnie Raitt ("A Thing Called Love"), Suzy Bogguss ("Drive South"), Rosanne Cash ("The Way We Mend a Broken Heart"), Jeff Healey ("Angel Eyes"), and Aaron Neville ("Feels Like Rain") have all dipped into the Hiatt songbook with spectacular results. Hiatt's originals (plus a couple of new tracks) are terrific in their own right, thanks to his gritty vocal style and stellar accompaniment on some tracks by Ry Cooder, Nick Lowe, Jim Keltner, and Sonny Landreth. The only missteps here are a rerecorded version of "Have a Little Faith in Me" (the original is one of Hiatt's most powerful performances) and the inclusion of "Take Off Your Uniform," a distant memory from Hiatt's days as a new waver in the Elvis Costello mold. --Daniel Durchholz ... Read more

Reviews (15)

Buy "Hiatt Comes Alive at Budokan."
John Hiatt has written some of the best music and lyrics I've ever heard. "Slow Turning", "Stolen Moments" and "Bring the Family" are all great disks. If you're looking for a good collection of Hiatt songs, choose "Hiatt Comes Alive at Budokan." "The Best of John Hiatt" falls far short of his best work. Don't give this disk to your friends if you're trying to turn them on to Hiatt's music.

In Retrospect: Some Perspective
Hiatt fans were understandably distraught when this compilation first came out, because no comprehensive collection of his estimable talent had been available at the time. But now that Hiatt has two compilations covering both halves of his career ("Y'all Caught?", the MCA & Geffen collection, and "Greatest Hits," from the A&M years), "The Best of John Hiatt" serves a worthy purpose that the other two don't: it gathers in some stray, unreleased songs that have littered the path of his prolific career: the band-and-choir version of "Have a Little Faith in Me"; Hiatt's duet with Rosannce cash on the gem "The Way We Make a Broken Heart" (from the "Riding with the King" sessions); a studio version of "Angel Eyes," and two others from sessions that never made it to albums. So...with this optional "Best" release, it's possible we're actually seeing the germ of a long-awaited, and long-deserved, box set from an undersold artist whose work historically has been scattered hither and yon among other, appreciative artists. May Hiatt long be permitted to litter so freely. And may Rhino or some other venerable instituion provide clean-up duty.

A fine sampler
This album was originally titled "The Best Of John Hiatt 1973-1998", but since it effectively sidesteps his earliest recordings, it is actually more like "The Best Of John Hiatt 1983-1998".

Compared with A&M's "Greatest Hits 1987-94", this Capitol release also features material from Hiatt's 1983 album "Riding With The King", from which it draws the title track, but unfortunately not the great roots-rock of "You May Already Be A Winner" and "She Loves The Jerk".
But there is a lot of good stuff here anyway (the track list is quite similar to the A&M compilation). Hiatt's tough, muscular blend of rock, folk, country and blues works particularly well on "Perfectly Good Guitar", "Cry Love", "Child Of The Wild Blue Yonder", "Slow Turning", and the excellent "Don't Know Much About Love" (a new song which is unique to this album, as is the fine ballad "Love In Flames").

"The Best Of John Hiatt" also features the wonderful "Buffalo River Home", one of Hiatt's best tunes and lyrics. Hiatt's first recording of his own "Angel Eyes" (which he gave to Jeff Healy, who had a hit with it in 1989). The groovy, slow and sexy R&B of "Take Off Your Uniform". And a lovely country-rock duet with Roseanne Cash, "The Way We Make A Broken Heart".

It is by no means defintive, but it is a very good sampler, and long-time fans will certainly not be disappointed with the new material. ... Read more

Asin: B000009RN8

Them
Average Customer Review:
Audio CD (25 October, 1990)
list price: $11.98 -- our price: $10.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Reviews (5)

Don't Listen to Howard! Buy this CD!
Do not listen to Howard and his vinyl hype and turntable jargon! I am getting REALLY tired of all these technophobes and their turntables and other OLD technology running off at the mouth about how horrible cd's are. It's this simple: if you are listening to rock music on vinyl and you're not a DJ, then you are an old geezer. Honestly, where in the world would you find some "V15 Type II's and some Fisher XB7b's" even if you wanted them? No thanks Howard! Not this week. I think I'll rip a copy of this album to mp3 format and download it onto my ipod where I can enjoy it in digital bliss in the car, in the gym, on an airplane, or perhaps somewhere else that you can't take a turntable with you.

On a lighter note...This is one hell of a cd! It features a young and hungry Van Morrison. Edgy and Raw! Totally awesome!!!

Thanks for Them
This is a must have release for the blues/rock fan! Van Morrison is raw and powerful, the band tight, and the selection of music outstanding. Turn it up and enjoy!

Van Morrison is king
Odds are if you are reading this you dig Van Morrison. What this album offers is VM doing edgy rock and roll. Every cut is VM sounding like the VM who later became a superstar, except here he is young and really raw (versus studio polished) and with a sharp edge. Some critics contend this album was where the punk movement came from. Either way, it is rare to find album with this much energy and it be a joy to listen to. ... Read more

Asin: B000001F2U
Sales Rank: 10690

Do or Die
Average Customer Review:
Audio CD (27 January, 1998)
list price: $11.98 -- our price: $10.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Reviews (76)

Get up!
Straight up, this album isn't for sit around-waste-your-life-cry-about-everything-punks. This is for individuals who actually get punk rock and use it as a source of motivation to improve their lives. Don't lift weights? You will, after hearing this.

The intro, Cadence to Arms is a perfect teasor of what's to come: Do or Die, Get Up and Never Alone will pump you up and get the adrenaline flowing.

The Irish folk tracks like Caught in A Jar, Far Away Coast, and Boys on the Docks (Pub version) work well, especially as setups for the trax that follow.

I don't know who else could write Fightstarter Karaoke ("Gonna start a fight but with who I don't [censored] know?"). Barrom Hero is a legendary track and will always get you going.

Noble is such a good track, and really cannot draw a parallel to any other song.

Normally bands end albums with B-side material, but not the Dropkicks. The closing anthem is Skinhead on the MBTA, which is the best cover song ever. I haven't heard the original song, and never want to, because nothing can touch this version with a ten foot pole.

With 16 trax, and at least 7 legendary songs, this'll make you get up and get out.

It makes me proud to be Irish!!!
The first Murphys song I heard was "Never Alone". Althogh song does the album no justice. It is a great song but I had no Idea how good this band was. I bought this cd when I was in the US two years ago and haven't takin it off the top of my pile since! I tell you, It makes you proud to be Irish!

1.Cadence to arms
A Bagpipe song without any singing. It starts off slow, but when the murphys 1234 it becomes a great punk tune.

2.Do or Die
The title track and one of the best. It starts where cadence 2 arms finfishes.

3.Get up
A good punk song.

4.Never alone
The first murphy's song i heard. good, but there is better.

5.Caught in a jar
One of the best songs on the disc. Very Irish.

6.Memories remain
Pretty good punk song.

7.Road of the righteous
One of the weaker songs on the cd. It starts off with some ska guitar.

8.Far away coast
A true Irish song. Acoustic with the swingin utters playing the flutes. About irsh people imigrating to America.

9.Firestarter Karaoke
A good punk song about starting bar fights.

10.Barroom Hero
The best song on the disc by far!

11.3rd man in
Good song about fightin' too.

12.Tenant Enemy 1
Good punk song.

13.Finnegans wake
Cover of a traditional irish song.

14.Noble
One of my favourites.

15.Boys on the docks
Acoustic version of one of the murphys oldest songs.

16.Skinhead on the MBTA
The best punk song on the cd. And a great finish.

This is the Dropkick murphys cd that influendced me to get all the others so I reccomend you start with this. If you want more punk get this. But if you want Irish get Sing loud Sing Proud. This is one of my favourite cds and every song will make you feel good.

Their Best
I bought this CD two years ago just as an impulse. I must say that I've never regretted buying this album. I now own every DKM CD and I have to tell you in all honesty that this is definitely their best effort. Not to say that their other albums are sub-par, but this album is absolutely phenomenal. I highly recommend picking up this CD if you've got the time. ... Read more

Asin: B000001INI
Sales Rank: 3223

Blue Streak
Average Customer Review:
Audio CD (05 September, 1995)
list price: $16.98 -- our price: $16.98
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

Soul Fixin' Man was the first Luther Allison album recorded on American soil in 18 years, and it reminded the stateside blues community why this Paris-based expatriate was once considered one of the very best of Chicago's second blues generation. He builds upon that reputation with Blue Streak, a follow-up which is even bluesier and more guitar-oriented than its predecessor. If the previous disc emphasized Allison's Wilson Pickett-like singing, this new one focuses on his Albert Collins-like picking. --Geoffrey Himes ... Read more

Reviews (6)

Soulful vocals and Icy crisp guitar Blues!
When this cd came out in 1995 it was one of the top albums on Guitar World's magazine year end list and for good reason! Excellent production, deep stirring vocals, Icy guitar playing and an excellent band added to a great cd! A favorite on The Crazy Coyote Blues Power Show 1490 KOTY AM (1490koty.com) Yakima Nation Radio in south central Washington state.

This will be one of your favorite CD's
Luther Allison's Blue Streak is simply one of the best blues albums around. There is not a disappointing track on the entire CD. From the infectious wood-block beat of "What have I Done Wrong" to the heart-wrenching "Cherry Red Wine", Allison poured his heart and soul into every cut. The combination of Allison's powerful vocals and virtuoso guitar playing blend perfectly; neither takes the back seat to the other. If you have never heard Luther Allison, give this CD a listen. Then, like me, you'll be a fan and want to have all of his CD's. Rest in peace, Luther.

In your face and about time!
Buy this album! Luther Allison is the real deal. As an avid blues lover, I can put this album in the "essentials" category of modern blues. Kind of like one of those "If I were stranded on a desert island" kind of records. You will not be disappointed. Luther sings with grit, determination, and a been-there attitude. Plus, his guitar will kill you! Not much more to say except: BUY IT!!!! ... Read more

Asin: B000000A10

Return Of The Grievous Angel: Tribute To Gram Parsons
Average Customer Review:
Audio CD (13 July, 1999)
list price: $18.98 -- our price: $14.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

The gentle hand of Emmylou Harris guides this tribute to ill-fated country-rock avatar Gram Parsons, which goes a long way toward explaining why this star-studded salute avoids the pitfalls that befall many such projects. Harris got her start harmonizing with the patron saint of alt country, contributing mightily to Parsons's two early 1970s solo albums and reviving selections from his small, but indispensable, oeuvre throughout her career. She has a vested interest in finding a true connection between her former benefactor and this cast of Parsons partisans. Here she bands together a flock of followers who range from obvious offspring (Wilco, Gillian Welch, Whiskeytown) to not-so-evident disciples (Beck, the Pretenders, Sheryl Crow). Parsons's partner in the Flying Burrito Brothers, Chris Hillman, teams with Steve Earle on "High Fashion Queen," and David Crosby (like Parsons and Hillman, an ex-Byrd) joins Lucinda Williams on "Return of the Grievous Angel." Harris harmonizes with Beck on "Sin City" and shares the mic with Crow on "Juanita," one of the collection's highlights. Ultimately, Harris has assembled a homage that would've pleased her old mentor. --Steven Stolder ... Read more

Reviews (73)

The children of alt-country's father do him justice
While I'm no disciple of Gram Parsons, I admire his work and have been a long-time fan of alt-country. (A love no doubt fostered by having the Mavericks as the house band at my local bar for a few years!) When I chanced upon this disc used, it seemed like a safe bet.

It was. In "Return of the Grievous Angel," I've found a warm, wonderful tribute to Parsons by artists who both understand and respect what his music was all about. While the covers from Wilco, Chris Hillman and Whiskeytown are predictably sublime, a welcomed surprise was the great effort put forth from some unexpected sources.

For example, Elvis Costello's "Sleepless Nights" is as remarkable as it is natural, and while it's hard to have much respect for pretty-boy junkie Dando and his whiny rich-kid cohort Hatfield as people, as artists, they DO have a talent for these kind of songs, and their version of "$1,000 Wedding" is outstanding. Heck, even the loathesome Beck (with the help of Emmylou Harris) does a good job here.

The only possible miss is the Cowboy Junkies' extremely slick version of "Ooh Las Vegas." While the production is stellar (you can almost swim through the sound), it sounds a bit too much like a movie soundtrack cliche' to these ears - it's a little TOO good.

A minor quibble, though. All fans of alt-country and/or Parsons will be well-served by this gem. Enjoy.

You'll Never Believe This Is A Tribute Album.
RETURN OF THE GRIEVOUS ANGEL is far too good for the tribute album stamp. Tribute albums are known for being notoriously bad, offering second or third rate version of songs by an artist, with arrangements similar to the originals. However, none of this is present on this exceptional album. Part of the reason might be the strenght of Gram Parsons's song. Another might be the fact that the ultra-talented Emmylou Harris served as executive producer. The artists who made the recordings also have a remarkable amount of talent listed in order of appearence on the record: The Pretenders, Emmylou Harris, The Cowboy Junkies, Beck, Evan Dando, Julianna Hatfield, The Mavericks, Chris Hillman, Steve Earle, Sheryl Crow, Elvis Costello, Lucinda Williams, David Crosby, Wilco, Whiskeytown, Gillian Welch, The Rolling Creekdippers. The arrangements of these songs are intriging, and perfectly performed. "She" is a beautiful song, which sounds natural, but not identical to, the arrangements of Gram Parson's original. "Ooh Las Vegas" is completely re-worked, which is a brand new sound experience, sounding almost other worldy. "Sin City" is an outstanding duet, when hearing this for the first time, I got a clearer meaning of the song. "$1,000 Wedding" is a beautiful, and powerful song. The Mavericks give "Hot Burrito #1" a new great flavor, keeping the song fresh and eager. My second favorite on the album (next to the title track) is "High Fashion Queen" sung by the brilliant talents of Chris Hillman and Steve Earle. The song is great country-rock music, and flawlessly written. Emmylou Harris and Sheryl Crow sound like angels performing "Juanita", the harmonies are gorgeous. Elvis Costello delievers a marvelous version of "Sleepless Nights", the only cover version on the tribute album. My favorite song on the album is "Return Of The Grievous Angel", the title track of Gram Parsons's last masterpiece. Lucinda Williams and David Crosby magnificently re-work the song, and deliever a fantastic track. It sounds almost like it belongs on Lucinda Williams's CAR WHEELS ON A GRAVEL ROAD (also HIGHLY RECOMMENDED). Wilco also marvelously re-works another masterpiece "One Hundred Years From Now". The song here is a straight-out, full-fledged rocker. The majestic "A Song For You" is an emotional song, beautifully performed by Whiskeytown. Gillian Welch performs a gorgeous version of the classic masterpiece "Hickory Wind". "Hickory Wind" is so wonderful, there can't be a way to ruin a song this perfect. The Rolling Creekdippers close the CD on an inspirational note with "In My Hour Of Darkness". No matter what kind of music you love, you'll be satisfied by RETURN OF THE GRIEVOUS ANGEL. After listening to music this good, some of my CDs now pale in comparison. After hearing and buying RETURN OF THE GRIEVOUS ANGEL, I've made a point of buying the original Gram Parson's albums: SAFE AT HOME (with the International Submarine Band), SWEETHEART OF THE RODEO (with The Byrds), THE GILDED PALACE OF SIN and BURRITO DELUXE (with The Flying Burrito Brothers), and GP/GRIEVOUS ANGEL (by Gram Parsons). This is music at its best, just one listen and you'll agree.

Why you guys don't provide 10 stars for this?
Every tracks of this album are so stunning, esp. Sleepless Nights and A Song for You. You will have to find Gram Parsons's work to guarantee his talent. ... Read more

Asin: B00000JMXD

Devil Without A Cause
Average Customer Review:
Audio CD (18 August, 1998)
list price: $18.98 -- our price: $14.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

It's fitting that the Kid Rock revival got started when the Beastie Boys featured him in their Grand Royal magazine--and not because the kid from Detroit shares their skin tone. Rock has often been compared with the early Beasties--the boys of "Fight for Your Right to Party" and "Brass Monkey," the boys no one ever thought would grow up. With lines like "I ain't straight outta Compton, I'm straight out the trailer" and "I started an escort service--for all the right reasons," it's obvious that Kid Rock doesn't aim to follow suit. But that's no hindrance to Devil--backed by the funky metal band Twisted Brown Trucker and special guests like blues vets Robert Bradley and Thronetta Davis, Rock is hosting one hell of an interesting party. Ultimately, Rock's party is great, schlocky fun, equal parts old Beasties and Sebastian Bach--making Devil a guilty pleasure, the Starship Troopers of hip-hop. --Randy Silver ... Read more

Features

• Explicit Lyrics

Reviews (425)

Kid Rocks breakthrough album
Excellent rock/rap album- Every song on the cd is good and its a fun cd to listen to.
1.Bawwitdaba- 5 out of 5 stars- one of my favorites on album
2.Cowboy- 5 out of 5 stars
3.Devil without a cause- 4 stars
4.I am the bullgod- 4.5 stars
5.Roving-3.5 stars
6.Wasting time- 4 stars
7.Welcome 2 the party- 4 stars
8.I got one for ya-4.5 stars
9.Somebodys gota feel this- 4 stars
10.Fist of Rage- 4 stars
11.Only god knows why- 5 out of 5 stars - great ballad
12.F*** off- 4 stars
13.Where u at rock- 3.5 stars
14.Black chick white guy-3.5 stars
Overall great rock cd worth the money/ Classic

This Will Make You a Believer
Guns N'Roses are gone. Led Zeppelin is history. Aerosmith has been clean for years. The Rolling Stones are living, breathing anachronisms. Rod Stewart is a pop singer. And hip hop bands don't use live bands with loud guitars. Is the modern music scene hopeless?

Nope. It's alive and dangerous. For those of us who miss loud guitars and controversial lyrics, Kid Rock has come to the rescue.

If you are a hard rock fan and can keep from banging your head during "Bawidaba," you don't have the volume loud enough. If you don't bang your head after the piano break in "Cowboy," you need to buy Pat Boone's "In a Metal Mood." If you don't sing along to the bridge in "Roving Gangster," perhaps you need to take your a** to the early-bird special at Denny's and take your geritol.

If you miss the danger of G N'R, you'll love the drug-glorifying jams of "I Am the Bullgod" and "Where You at Rock?"

While I've never been a fan of hip hop, I must say I thoroughly enjoy the drug-glamorizing, braggadoccio of Kid Rock's "Devil Without a Cause." Imagine the Beastie Boys merged with G n' R, Zeppelin, and Skynyrd and you have Kid Rock.

If you're looking for modern music with the edginess of the backporch of a house overlooking the Pacific in SoCal, this is it.

A lot better than I thought it would be
"Devil Without A Cause" is a lot better than I thought it would be. It opens up with "Bawitdaba", which is one of the best song's on the CD. My other favorites are "Devil Without A Cause", "I Am The Bullgod" and "F-ck Off". If you like rap-rock than you should get this CD. ... Read more

Asin: B000009ED0

Never Been Rocked Enough
Average Customer Review:
Audio CD (05 May, 1992)
list price: $9.98 -- our price: $9.98
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Reviews (13)

Delbert McClinton Scores Another Winner
Delbert McClinton is a Texas singer-songwriter and harmonica player who has been making great music since the late 1950's. He made his first big public splash playing harmonica on Bruce Chanel's "Hey baby" and legend has it that he taught John Lennon some of the rudiments of Blues harmonica playing. His songs have been covered by dozens of other recording srtists and has had a career that has spanned decades and shows absolutely no signs of slowing down.

"Never Been Rocked Enough" is an absolutely solid album by an absolutely solid performer. Delbert's back-up musicians are as tight as you can expect. The songwriting is a s strong as always and Delbert's singing is absolutely a joy to listen to. As always, his harmonica playing shows the years he's spent perfecting his craft.

This is a very nice effort by a great artist. I definitely recommend it.

Rockin' Bluesman
Delbert McClinton's NEVER BEEN ROCKED ENOUGH was a 1992 release, but the album is one that keeps on giving. If the listener wants a quick pick-me-up jumping beat, the CD delivers that. And if the listener wants a soul-stirring wonder-of-life-and-love moment, Delbert delivers that as well. NEVER BEEN ROCKED ENOUGH is a great introduction to Delbert's music for a first time listener. Delbert is a bluesman with a foot in the past and an eye on the future. As a result, his brand of music is timeless.

Born in Lubbock, Texas, Delbert never has tried to stray far from his blues and Western swing roots. He cut his teeth working roadhouses in Texas along the Jacksboro Highway, quietly lining up work as a sideman on other artists' albums. His first CD, VICTIM OF LIFE'S CIRCUMSTANCES, set the tone for much of his music. Several CDs have followed, including ONE OF THE FORTUNATE FEW, LET THE GOOD TIMES ROLL, HONKY TONK 'N BLUES, THE JEALOUS KIND, and 2001's Grammy Award-winning NOTHING PERSONAL.

In NEVER BEEN ROCKED ENOUGH, Delbert kicks off the CD with "Everytime I Roll The Dice", a slow grooving toe-tapper that became a Top Ten hit. "I Used To Worry" is a blues testimonial to the inevitability of the world delivered with a sarcastic wink. In "Miss You Fever", Delbert reaches into his vocals bag to hand out a tune in a hoarse and hurting voice echoing with the haunting feeling of sitting on a barstool far too long hurting the way everyone who has loved and lost hurts. Delbert wrote "Why Me?" and the background vocals are by Tom Petty, and the song kicks up the CD's overall tempo, hooking the listener solidly and reeling him or her in. "Have A Little Faith In Me" brings the listener back to earth, chaining him or her to the softer emotions, and Delbert's harmonica work underscores the hope the words offer. Then Delbert kicks the doors open and delivers "Never Been Rocked Enough", a tune that he wrote and that drives directly to the fun-loving rocker that co-exists with this bluesman extraordinaire. "Blues As Blues Can Get" is a soft and easy blues talker that speaks of pain and loneliness. Moving back into an up-tempo beat, Delbert delivers "Can I Change My Mind" but stays with the insecurity and pain of relationships. Sounding a bit like a gospel song, written by Delbert, "Cease and Desist" is a sexy and fun romp. "Stir It Up" is a cover of a Bob Marley song, and Delbert dishes a soulful sound that warms the heart and inspires hope. Singing with blues sensation Bonnie Raitt, Delbert blasts out "Good Man, Good Woman", which earned both singers a Grammy Award, and ends the CD with a solid blues feel and Delbert's haunting harmonica work.

NEVER BEEN ROCKED ENOUGH is a great addition to any Delbert McClinton sound library lacking this CD. For the blues enthusiast, the CD is also a definite keeper. Fans of Bonnie Raitt's work will definitely want to check out Delbert McClinton because they've both got the same long past deeply enmeshed in the blues scene and constant flirtation with the crossover pop crowd.

Not Enough Straight-Up Blues
This CD is a good CD, but, depending on the cut, a little (or a lot) too R&B, reggae, cross-over pop, or rock sounding for my taste. I was looking for a good, solid blues album by McClinton. After a couple of listens, I don't consider this to be it, despite other customer reviews by blues afficionados who apparently do (and whose reviews influenced my decision to give it a whirl). Of the 11 tracks, I count 3, or maybe 4, tops, that have a true blues sound, and, even then, 2 of them are really "blues light." Of the 3 or 4, "Blues as Blues Can Get" is really enjoyable -- with Paul Shaffer playing Wurlitzer. Again, it's a good CD, and McClinton's lyrics are often clever and playful, but if you're looking for what I was looking for, I'd skip this one. ... Read more

Asin: B000000D2K
Sales Rank: 18408

All the Best
Average Customer Review:
Audio CD (30 May, 1995)
list price: $17.98
US | Canada | United Kingdom | Germany | France

Reviews (17)

Highly overlooked album
To put it simply, Stiff Little Fingers is perhaps the most underated rock n roll band ever. Jake Burns and Co. took a political stand much like the Clash did, but never got the mass acclaim for it.
Personally as I listen to the Fingers more and more, their messages of rebellion come off a bit more heartfelt then the Clash's, which were burdened heavily by the fact that they worked for a major label record company.
Stiff Little Fingers traveled into much of the same sonic landscape as the Clash, but were a little bit better at restraint (alas no Sandinista album here).
As for the messages on the album, the politics haven't really aged too badly. After Sep. 11, Suspect Device has a new ring to it as does Tin Soldiers.
The latter-day SLF stuff on this disk is breathtaking. Listen, Stands to Reason and Talkback are perhaps some of the best rock songs ever recorded.
Now that I think about, SLF is the band U2 wishes it was.

Still Relevant After All These Years
I'd say being called "The Irish Clash" a compliment, not a burden, as both SLF & The Clash produced some of the greatest music of the 80's. and it remains timeless even today.The songs on All The Best sound better than any current so-called punk rock band working today. The Clash didn't last too long and their material lost the bite after their first two albums. Stiff Little Fingers, on the other hand,are still out there performing live and sounding better than ever. The best part is that the songs on All The Best are loved by their current teenage fans as well as the old timers like me.Songs like Nobody's Hero and Suspect Device are as lyrically ( and musically) relevant today as they were when this album was originally released. I saw SLF play live last week in Los Angeles and the crowd ranged from teenagers to fans now in their fifties, and they all knew the words to these songs and sang along in chorus with the band on every one of them.
The songs on All The Best are a must for all serious rock and punk fans. I own copies on vinyl, tape and CD, and out of the thousands of rock recordings I possess, All The Best remains in the top ten best and proves without a doubt that SLF and this CD are still relevant after all these years.
And don't ever miss an opportunity to see their live shows. SLF still play the songs found here along with their newer tunes and they still have the same raw, powerful energy they did twenty years ago, something that sadly can't be said for Joe Strummer's recent efforts. Maybe The Clash were "the English SLF".

Ireland's Own
Yes this is the band U2 can only dream about being partly because these guys lived in Belfast at the height ofthe "Troubles" -- so there's no second-hand, sanctimonious, simple-minded preaching as you get from U2 or anyone else south of the border. The sound is raw, it's real -- no fluff here. Yet the band never seemed to have reached the height of the Clash at least in the US -- can it be because of the prejudiced view that rock bands from Ireland were considered cheap imitations of the Brit bands? This collection is a good "summary" of the band's history. no they're not the "English Clash" -- they're sui generis. ... Read more

Asin: B000002R0C
Sales Rank: 76443

Let's Go
Average Customer Review:
Audio CD (14 June, 1994)
list price: $11.98 -- our price: $10.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Reviews (64)

Best Rancid Album
The 2nd official record (1994) from the Californian punx and their best album!

This classical of punk rock mix all the direct street punk sound
roots from their first album Rancid(1993) and the 7'' with techinicians that given a touch in the songs like they did later
in and out come the wolves (1996)

...and of course...this one marks too the first rancid record w/Lars F. and his amazing vocals.

There's a curiosity about 2 songs in this CD that some people won't notice: The songs Harry Bridges and Motorcycle Ride.

-Harry Bridges 1rst verse its the same verse already sung in their first cd in the song Union Blood (1RST VERSE:bloody thursady,was july5th the pigs killed three works Harry Bridges....etc)

-Motorcycle Ride first verse and 2nd verse, except for the chorus, these verses are the same 1first verse of the music TIME BOMB later recorded in and out come the wolves. Tim sings a lot faster and almoust incoprehensive (if you wanna make a move then you better come in...etc)

Amazing songs,probably the best songs ever recorded by rancid are here!

If I Could, It Would Be A 6!!!
This is the best album by Rancid. Period. No questions asked. My first CD by Rancid was ...Wolves, but after buying this one, and listening to the whole thing, this is by far better. There is a lack of some ska but that's okay. Every song is good. There isn't one that I don't like. And if the lyrics aren't good, the guitar riffs and Matt on bass makes up for it. Midnight probably has the best guitar in the whole CD. The best songs are Nihilism, Radio, sidekick, salvation, tenderloin, let's go, jimmy and johnny, black and blue, st.mary, and midnight. Buy it. it is well worth the money. and if you are not punk, buy it. you'll enjoy it and be open to a whole new world of music. and if you listen to blink 182 or New Found Glory don't buy it.

Twenty Three Tracks of Rancid Goodness
"Let's Go!" is good. Really, really good. In fact, by God, this is a great record.
Rancid have been angrier(2000's "Rancid"), more far reaching(1998's brilliant "Life Won't Wait") and more accesible(1995's "...and out come the wolves" and 2003's "Indestructible"), but I don't think they ever rocked as much as they do on this twenty three track opus.
There really aren't bad songs on "Let's Go!". They take the formula they issued on their self titled debut and make it better: anthemic 77 style punk with smart lyrics, memorable melodies and enough attitude to spare. The difference here is that the tunes feel more complete then they did on the first record. Few of the songs go over two and a half minutes, but all the songs feel like full based songs, a problem a few bands in this genre miss out on.
I could point out the songs that are worth checking out, but the problem all of them are. From "Nihlism" and the ultimate Rancid mission statement "Radio" right down to "7 Years Down", "Let's Go!" is constantly great. And ten years since its come out, its still better than 99% of the crap you're going to hear. ... Read more

Asin: B000001IPP
Sales Rank: 16684