Now Playing! With Cover Art & Reviews if Possible.

[Dreamnine]

In a way, the Ramones are an ideal band to anthologize. No matter how cohesive their records were (or not), their albums always played like collections of singles and since singles are easy to anthologize, it stands to reason that the best of the Ramones' songs will sound good in nearly any context; hell, the haphazard Ramones Mania proved that. However, Rhino's double-disc Hey! Ho! Let's Go: Ramones Anthology has much greater goals than being just another collection -- it strives to be the final word on the Ramones. Weighing in at nearly 60 songs, with a hardcover book that includes an excellent history by David Fricke, it has to be said that the set has the heft of history, which is both a blessing and a curse. It's a blessing because Anthology does its job perfectly -- apart from "We're a Happy Family," no major songs are missing and it tells its history succinctly, even at its length. The problem is that the Ramones did drop in quality sometime after End of the Century. They never bottomed out, but their music became less exciting, which is evident in this anthology, as the second disc is simply not as compelling as the first. That's not to say it isn't good -- with "The KKK Took My Baby Away" and "My Brain Is Hanging Upside Down (Bonzo Goes to Bitburg)," it can be great -- but it isn't timeless like the entire first disc is. Yet, this is nitpicking, since Anthology does a flawless job in summarizing the band's career. True, most listeners will wear out the first disc while rarely reaching for the second, but this is still essential.

[CrowdAds]

[madkid]

Artist: Red
Album: Innocence and Instinct
Song: Overtake You
Art:

[Dreamnine]

Look at the album cover. You've seen it before - everyone has, it's probably one of the most famous album covers ever. It kind of looks like a face, but isn't which makes it the perfect sleeve for Screamadelica. It's kind of rock but it isn't, it's kind of dance but it isn't, it's kind of....I never know what to say when people ask me - "what are Primal Scream like?" That's the problem, they aren't like anyone. One of the most original bands I have ever heard (without sounding too weird to enjoy). They blend so many different styles there's something for everyone. Prior to Screamadelica, The Scream were more stonesy/classic rock sounding so this was a brave change of direction for the Scottish rockers. Screamadelica broke all the boundaries and made way for a wide array of bands in the 90's. A classic album.

1. Movin' On Up
Could easily pass for being a Rolling Stones song, everything about it matches up - vocals, backing vocals, riff, solo. If this was a Stones song though it would be up there with the best of them and that's really saying something. Great track with an upbeat, "feel good" feel about it. A 90's classic 5/5

2. Slip Inside This House
Introduces you to the use of dance beats that are laced throughout Screamadelica. Really psychadelic sounding percussion sets the basis for Mani's pounding bass line. The key to the song is the pre-verse and chorus which immediatley stick in your head. Quite a laid back track which would work well as an instrumental although Gillespie's vocals make it another stand out track on the album 5/5

3. Don't Fight it, Feel it
Unlike the last two tracks, this isn't going to appeal to everyone. Much more dance based with a woman vocalist taking the reins makes it very different. There's a very early 90's feel to this song with it's counter melody "bird noise" which can also be heard on the Prodigy's first album also released around that time. Nothing really grabs your attention which makes it a weaker track than most of the others. 3/5

4. Higher Than the Sun
Takes a few listens before you get into it. Again very psychadelic with some cool breakdowns. The blend of lots of influences intertwined eg. dance, jazz, rock make this another very different track. I can't think of another band who have ever made music like this. The first part of two cool tracks. EDIT: This has gradually became my favourite track on the album.5/5

5. Inner Flight
This is a drug song - nothing else can be said to describe it. Makes you feel like your slipping into a dream. Sounds a lot like Leftfield with it's distant drum beat and psychadelic melody. Refreshing. 4/5

6. Come Together
Defintley the weirdest track on the album. No vocals or lyrics, just a sample of a preacher played over and over upon gospel organ chords and dance beat. "Warping space sounds" give the song a feeling of being in space. Starts off slowly and builds up to a climax of many different sounds and textures going at once. The preach of "we just know music is music" symbolises the whole Primal Scream experience with their endless array of influences. The track gradually breaks down again with woman vocalists chant of "together as one" which gradually leads the song out. 4/5

7. Loaded
"Exactly what is it that you want to do?" One of the most popular tracks off the album and praised by stoners everywhere. "Loaded" is probably my favourite track on the album with it's laid back groove and sweeping melodies. If your going to download one song from the album, this is it.5/5

8. Damaged
The only acoustic song on Screamadelica. More like a conventional song than most of the other tracks with it's simple structure and singing throughout. It's hard to make out what Gillespie is singing about but what can be heard sounds like a love song. Adds even more variety to the album. 4/5

9. I'm Comin' Down
Again, very different from everything else. A blend of jazz and oriental style percussion are used to make this another chillout track. Perfect for falling asleep to or relaxing. 4/5

10. Higher Than the Sun (a dub symphony in two parts)
I don't know what to say about this track. There's so much going on yet it still remains laid back as if nothing's really happening. Split into two parts hence - "a dub symphony in two parts", the change between the two isn't really subtle at all. Everything just seems to stop and make way for an upbeat bassline that appears out of nowhere. Still a great track though.4/5

11. Shine Like Stars
Probably the weakest track. Just personal opinion but something doesn't seem right about it. There's not much of a feel to it which is what makes the rest of the album so appealing. On the otherhand, it does make a good ending to the album as the fade away as the end seems to fit perfectly. Jargon aside, it's a not very good song but good for rounding off the album. 3/5

Screamadelica is one of the most original album i've ever heard. Enjoyable from start to finish and continues to get better and better with every listen. Defintley worth checking out if your looking for something different.

Sputnik Music

[Dreamnine]

# "Guts"
# "Mary Lou"
# "Helen of Troy"
# "Pablo Picasso"
# "Leaving It Up To You"
# "Fear Is A Man's Best Friend"
# "Gun"
# "Dirty Ass Rock 'n' Roll"
# "Heartbreak Hotel"


Disturbing yet good album from the Welshman.

[dfkt]

Art Blakey & The Jazz Messengers With Thelonious Monk (1958)

Art Blakey's Jazz Messengers With Thelonious Monk (1958) was one of a number of landmark projects that Monk (piano) would record during the remarkably prolific spring and summer of 1957. In addition to this confab, he also documented the solo platter Thelonious Himself (1957), as well as Monk's Music's (1957) with a septet, and even going toe to toe with another respective pair of his formidable contemporaries on Thelonious Monk With John Coltrane (1957) and Mulligan Meets Monk (1957). However in this classic confrontation, Art Blakey (drums) and his concurrent Jazz Messengers -- featuring the talents of Johnny Griffin (tenor sax), Bill Hardman (trumpet), and Spanky Debrest (bass) -- play host to the pianist on his only sides for the venerable Atlantic record label. As one might anticipate with an artist whose catalog almost single-handedly defines bebop, the vast majority of the cleverly chosen material consists of Monk standards. While both co-leads rise to the occasion with thoroughly expressive performances throughout, this incarnation of the Jazz Messengers reveals a particularly potent support. During "Evidence," Hardman unleashes a powerful lead into an equally inspired keyboard run of enthusiastic chord progressions and advanced phrasings from Monk. Griffin's interminable bop mentality effortlessly punctuates "In Walked Bud" as he almost immediately pounces into the free swinging melody with a verve that refuses to subside. From Blakey's boisterous opening to "Blue Monk" right through to the single-note crescendo during the finale, the Jazz Messengers provide a lethargic propulsion that showcases the tune's bluesy origins. This directly contrasts the up-tempo charge of "Rhythm-a-Ning." The quirky-yet-catchy chorus bounces from the dual-lead horn section with the entire arrangement tautly bound by the understated Debrest and Blakey. Griffin's "Purple Shades" is a smartly syncopated blues that is more of a musical platform for the Jazz Messengers than for Monk. That said, his opening solo alternately shimmers and shudders with Debrest as well as the two-piece brass section demonstrating its own pronounced capabilities over Monk's counterpoint. This European release contains an additional three full-length "alternate takes" of "Evidence," "Blue Monk" -- which in some ways bests the released version -- and "I Mean You." These are the same supplementary sides that are included on the Rhino Records 1999 North American domestic CD reissue of this same title.

http://allmusic.com/cg/amg.dll?p=amg...0:apfixqeald0e

[dgb52]

Amazon.com

Thanks to his much-publicized personal travails, it's easy to overlook the multiple talents that originally made Crosby a star in his days with The Byrds and Crosby, Stills and Nash. This, his first solo effort, was recorded in 1971 (following Crosby, Stills, Nash & Young's Deja Vu) and contains some of his most impressive vocal and songwriting work, including the haunting "Laughing," the mantra-like "Music Is Love," and the extended, impressionistic "Cowboy Movie." With guest appearances by such famous friends as Neil Young, Joni Mitchell, Grace Slick, and Jerry Garcia, it's a fascinating chapter in an always-interesting career that's all too often been overshadowed by headlines

[dfkt]

Khanate - Clean Hands Go Foul (2009)

Certain bands are bound to inspire adoration from some listeners and disdain from others; Khanate is such a band. Trying to get Khanate's critics and detractors to comprehend their harsh, caustic, dissonant brand of doom metal is like trying to sell someone who dislikes black metal in general on the merits of Gorgoroth; Khanate's music is, to be sure, an acquired taste. But Khanate's hardcore followers, on the other hand, absolutely adore them -- and those who fall into the hardcore-follower category will be delighted to know how uncompromising they remain on Clean Hands Go Foul. Listeners who enjoyed Things Viral and Capture & Release need not worry about Khanate turning into My Dying Bride, a melodic band with both doom metal and gothic metal appeal; Clean Hands Go Foul doesn't pretend to be melodic or musical. Instead, Khanate proudly stick to their guns and continue to be as abrasive, noisy and thoroughly pessimistic as ever. Of course, those melodic goth/doom bands that are so plentiful in Europe are also quite pessimistic, but they express their pessimism in a darkly romantic, darkly poetic way -- whereas Khanate express their pessimism with sensory assault and in-your-face brutality. Clean Hands Go Foul is the sound of agony and total despair, and there is as much torment on the six-minute "Wings from Spine" and the nine-minute "In That Corner" as there is on the 11-minute "Clean My Heart" and the 32-minute "Every God Damn Thing." This 2009 release clobbers the listener without mercy -- and while that hellbent-for-noise approach won't inspire any of Khanate's detractors to reevaluate their opinion of the band, loyal followers will find these doom metal agitators to be as exciting as ever.

This is the most cheerful album I've ever listened to.

[Dreamnine]