April 30, 2018

Michel'le - Hung Jury (1998) ☠

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Country: U.S.A
Genre: R&B
Label Number: P2 53530
☠: Selected by Lass
© 1998 Death Row Records
AllMusic Review by Jose F. Promis
It took Michel'le nearly a decade to release a follow-up to her hit-laden self-titled debut, and the results on Hung Jury are pleasant, but never really equal her previous heights. To begin with, nothing on this album is as immediate or memorable as "No More Lies" or "Something In My Heart." The title track is catchy, but is weighted down by banal lyrics like "I like to freak seven days a week." "Crazy" comes off as a somewhat tepid update of her hit "Nicety," and some of the other tracks, such as "Wasted My Tyme" and the fun "Tonight Is," sound as though they came straight from 1989. Some songs do manage to hold their own, such as "Can I Get a Witness," the aforementioned "Tonight Is," and "Here 4 U" (the album's best track), but some fall downright flat, such as "No Where 2 Run." Although this album is not without merit, it seems as though Michel'le ran out of steam somewhere between 1990 and 1998.

tags: michelle, michel'le, hung jury, 1998, flac,
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April 29, 2018

Vixen - Tangerine (1998)

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*A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: Post Grunge
Label Number: 06076-86246-2

© 1998 CMC International
AllMusic Review by Jason Ankeny
Eight long years after Rev It Up, Vixen return with a recording of all new material dubbed Tangerine. In the interim, the group's pop-metal sound has changed only imperceptibly, so if you liked Vixen before, Tangerine will be right up your alley; if you didn't, this new record will do nothing to change your mind.

tags: vixen, tangerine, tangerine album, 1998, flac,
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April 27, 2018

Cyndi Lauper - True Colors (1986)

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*A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: Pop Rock, Pop
Label Number: RK 40313

© 1986 Portrait
AllMusic Review by Eugene Chadbourne
There were a few years in the mid-'80s when one couldn't go out for a cup of coffee without encountering Cyndi Lauper in one form or another. Her videos were playing constantly on MTV, her music was everywhere on the radio, and, best of all, children were even dressing up as Cyndi for Halloween. In retrospect, it was a Lauper-ish time but it was all over quite quickly; in fact, the period in the ultra-limelight didn't even span the period covered by two album releases, which means that this follow-up to her smash debut album was relegated to the also-ran pile, with sad results such as only one sort-of hit single (the title track) and nobody apparently interested in imitating the skirt she wore on the back cover photo, which seems like it is made of slashed-up concert posters. Kind of a shame since so much love and attention went into this album. Guest stars and high-dollar session musicians abound, including other '80s icons such as the Bangles and the manic Pee Wee Herman, who provides a great little answering-machine bit at the end of "911." Lauper is a fantastic vocalist, meaning that any record producer worth hiring would be happy to dream up endless settings for her. This album is nothing if not ambitious, and some of the stretches really pay off, such as the ultimately endearing cover of Marvin Gaye's "What's Going On." Other aspects date badly. For example, highly reverberated and artificial sounding drums and keyboards were really popular at the time, but a vocalist with a clear voice such as Lauper sounds much better in the context of real instruments with their warmer sounds. When it comes to tunes such as the nice Cajun number "The Faraway Nearby," drums should have been turned way down and other instrumental colors brought up. Despite these sorts of problems, there really wasn't that much music recorded by this artist during her most popular period, so fans will no doubt want to own it all.

tags: cyndi lauper, true colors, 1986, flac,
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April 26, 2018

Cyndi Lauper - Sisters of Avalon (1996)

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A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: Pop Rock, Pop
Label Number: EK 66433

© 1996 Epic Records
AllMusic Review by Stephen Thomas Erlewine
Cyndi Lauper made a valiant effort to jump start her career with the varied and eclectic Sisters of Avalon. Working with producer Mark Saunders, Lauper attempts to work worldbeat, adult alternative, and even trip-hop influences into her trademark adult contemporary pop, and while the results aren't always successful, the record is the most intriguing and rewarding album she made since True Colors.

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Zebrahead - Waste of Mind (1998)

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Country: U.S.A.
Genre: Punk Rock
Style: Pop Punk
Label Number: CK 69155

© 1998 Columbia Records
AllMusic Review by Jason D. Taylor
Zebrahead's mixture of happy-go-lucky hip-hop drenched with rambunctious pop/rock is quite a formidable adversary, as listening to Waste of Mind it is nearly impossible not to enjoy the songs, even if you find yourself in the darkest of moods. These five young men have seemingly created their own distinct sound amidst hundreds of bland rap/rock knock-offs, and find that their greatest weapon of all is the ability to convey positive thoughts through their music. Waste of Mind never once steers towards the depressing tones that have catapulted many rock bands to stardom during the '90s; instead, every chord emitted from the album savagely strikes for the hidden child inside all of us. One of the most memorable aspects of Waste of Mind are its delightfully catchy melodies. Songs like "The Real Me," "Someday," and "Bootylicious Vinyl" excel at entertaining the listener, feeding off from casual pop references while continuously rocking throughout. Zebrahead do lack much substance, as most of the songs contained within this 14 track release are borderline silly, and lyrically the group aim more for goofiness than trying to cover serious issues. Zebrahead capture the essence of rock entertainment, and if you're looking for an album that focuses on putting a smile on the listener's face, Waste of Mind should be a consideration

tags: zebrahead, zebra head, waste of mind, 1998, flac,
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Zebrahead - Playmate of The Year (2000)

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Country: U.S.A.
Genre: Punk Rock
Style: Pop Punk
Label Number: CK 63817

© 2000 Columbia Records
AllMusic Review by William Ruhlmann
Having failed to score commercially with their debut album Waste of Mind, Zebrahead returns two years later with more of the same, which is to say fast-paced hard rock on which Justin Mauriello's male adolescent musings are augmented by Ali Tabatabaee's aggressive raps. At their best, on the title song (sort of a musical version of a Farrelly Brothers movie in under three minutes), the group approaches the sound of Cheap Trick, with their shimmering guitar lines, furious rhythm playing, and Mauriello's self-deprecating, humorous lyrics. A few other songs, notably "The Hell That Is My Life" and "Wasted," are almost as effective, but much of Zebrahead's music is too busy for its own good, and when they attempt social commentary on "What's Goin' On?" (where have we seen that title before?) the results are embarrassing, while as a change of pace like "Livin' Libido Loco" is more reminiscent of Barry Manilow than Ricky Martin. The hidden track at the end of the album is a prank call made by Mauriello to Sony Music in which he impersonates his mother and demands to know when he is going to start seeing some money from his record contract. It may indicate the band will pack it in unless Playmate of the Year breaks through, but even with a tie-in to Playboy magazine that still seems like a long shot.

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Zebrahead - MFZB (2003)

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Country: U.S.A.
Genre: Punk Rock
Style: Pop Punk
Label Number: WK 76132

© 2003 Columbia Records
Reviewed by Stewart Dowouis for Punk News.org
I can see it now. Review after review will inevitably dismiss the new Zebrahead album (yes, I still call 'em albums), MFZB, as another piece of emotionless garbage by yet another group of trend-hopping, cash hungry, fauxhawk/trucker's mesh hats wearing wannabees. The unfortunate thing about that, however, is that this band is truly amazing. Those who are quick to throw this one in the trash bin are definately depriving themselves of something really special.
Yeah, I know the scene is beginning to overexpose and homogenize a once vibrant and exciting genre of rock music, namely emocore/post-hardcore/pop punk, with countless clone bands like Story Of The Year and Hidden In Plain View and The Starting Line, but if we can for a minute, let's suspend those preconceived notions and take a look at this record.
Those of you who experienced the same sense of musical disarray that I did in the late '90s may remember zebrahead as the band with the cliche' hip hop styled verses, but incredibly bright and ridiculously insane catchy choruses. During a time when bands like the Goo Goo Dolls, Lit, Blink 182, Limp Bizkit and Korn all melded together into one giant, bland, pop musical experience (not taking anything away from those bands individually), Zebrahead showed signs of genius. Yes, they lacked a certain degree of individuality at that time, but they more than made up for it with their dynamic sense of harmony, musicianship and songwriting skills. These guys command their individual instruments and compose some of the most awe inspiring melodies in rock today.
Four years since their last full length release, they return with MFZB, 15 tracks of growth and creative maturity unmatched by most current 'major label' bands. By toning down the "hip hop" thing a bit without completely selling that aspect of their sound out, they've fashioned together 15 songs that come across with the same speed and intensity of the most pop "punk" punk bands out there these days AND the crisp choruses of classic bands like Boston and Def Leppard. Those of you who write music know just how difficult a combo like this can be to pull off successfully. Not only did Zebrahead do it here on this record, but they pulled it off in mindblowing fashion. It's hard to hold what they lack slightly in the originality department against a group that's just so damn talented.
Songs like 'Type A' would give NOFX a run for their money. The chorus to 'Into You' would leave Christopher Cross scratching his head in disbelief. LL Cool J would be jealous of their "flow."
This record also pulls off politically themed songs without alienating listeners who may not be all that concerned with the current mess created by the Bush administration. There are plenty of tracks on MFZB that deal with heartbreak and self reflection like 'The Set-Up' to match the politically charged (yet mild in content) messages of others like 'Rescue Me' and 'Strength,' a song that I personally think should be the liberal anthem of '04. Simply put, there is a little something here for all of us. It is the perfect capsulation of this moment in rock music history. Unless you're a maniacal punk purist (unfortunately, most of you probably are) I'd suggest that you give it a shot. I promise you that you will not be disappointed. Don't be afraid of the whole hip hop thing. This time around the rap parts are much more rock than "gangsta"; much more Rage Against The Machine/Red Hot Chili Peppers than Limp Bizkit/Linkin Park. I think they've finally found their sound by melding all of these different influences together in one smoothly flowing package. Nothing on this album sounds forced. Every single moment of it sounds energetic and sincere. It's scary to imagine how much better these guys will get with each passing album.

tags: zebrahead, zebra head, mfzb, 2003, flac,
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Mary J. Blige - Share My World (1997)⚓

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*A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: R&B
Label Number: MCD 11619

© 1997 MCA Records
AllMusic Review by Alex Henderson
The hype that surrounded Mary J. Blige in the beginning was simply ridiculous. When What's the 411? was released in 1992, she was exalted as "the new Chaka Khan"-- a definite exaggeration, considering how uneven that debut album was. But Blige did show promise, and by the time she recorded her third album, Share My World, she had developed into a fairly convincing soul/urban singer. Her strongest and most confident effort up to that point, Share had much more character, personality, and honesty than most of the assembly line fare dominating urban radio in 1997. For all their slickness, emotive cuts like "Get to Know You Better," "Love Is All We Need," and "Keep Your Head" left no doubt that Blige was indeed a singer of depth and substance. Although high tech, the production of everyone from R. Kelly (with whom she duets on the inviting "It's On") and Babyface to Jimmy Jam and Terry Lewis doesn't come across as forced or robotic, but, in fact, is impressively organic. With Share My World, Blige definitely arrived.

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April 25, 2018

Ultravox - Ultravox! (1977)

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Country: United Kingdom
Genre: New Wave
Label Number: IMCD 146 (846 159-2)

© 1977-1992 Island Masters, Island Records
AllMusic Review by Dave Thompson
Depeche Mode claimed to be punks with synthesizers, but it was Ultravox! who first showed the kind of dangerous rhythms that keyboards could create. The quintet certainly had their antecedents -- Hawkwind, Roxy Music, and Kraftwerk to name but a few, but still it was the group's 1977 eponymous debut's grandeur (courtesy of producer Eno), wrapped in the ravaged moods and lyrical themes of collapse and decay that transported '70s rock from the bloated pastures of the past to the futuristic dystopias predicted by punk. Epic tales of alienation, disillusion, and disintegration reflected the contemporary holocaust of Britain's collapse, while accurately prophesying the dance through society's cemetery and the graveyards of empires that were to be the Thatcher/Reagan years. "Satday Night in the City of the Dead," "Wide Boys," "The Wild, the Beautiful and the Damned," "Dangerous Rhythm," and "Slip Away" all simultaneously bemoaned and celebrated the destruction of Western culture while swaggering boldly through the wreckage; "I Want to Be a Machine" and "My Sex" warned of and yearned for technology's triumph. And it was these apposites and didactic emotions that so pierced the zeitgeist of the day, and kicked open a whole new world of synthesized music. Dangerous rhythms indeed.

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Ultravox - Ha!-Ha!-Ha! (1977)

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Country: United Kingdom
Genre: New Wave
Label Number: 74321 11292 2

© 1977-1992 Island Records
AllMusic Review by Dave Thompson
Ha! Ha! Ha! is a bruising album, a tsunami of a set that epitomized the fire and fury of its age. Icy to its core, producer Steve Lillywhite brilliantly captured both the band's urgency and the brittleness of their sound. Like the implosion of gases that ignited the Big Bang, Ha!-Ha!-Ha! hangs in the millisecond before the ensuing explosion, trembling with ferocious tension and fierce anticipation of the coming storm. Much of the set seems frozen in this moment in time and space, lyrically reflected in "Hiroshima Mon Amour," "Man Who Dies Every Day," and "Frozen Ones." Unlike the celebration of destruction that defined their debut set, Ultravox! now stood staring aghast into the abyss, with the manic exuberance of "Rockwrock" emerging not as the exhilarating dance through the death of civilization that many listeners assumed, but the band's panicked response to its collapse. And as fear took hold in the Western world, the band battered themselves against its crumbling walls, ravaged by the artificiality of the society rising amongst its ruins. Even decades on, the sheer ferocity of this set continues to impress.

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Ultravox - Systems of Romance (1978)

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Country: United Kingdom
Genre: New Wave
Label Number: 74321 11293 2

© 1978-1992 Island Records
AllMusic Review by Dave Thompson
With 1978's Systems of Romance, Ultravox left punk behind and single-handedly blueprinted the entire new romantic movement to come -- well, with a little help from co-producers Conny Planck and Dave Hutchins. Gone was the brittleness of Ha!-Ha!-Ha!, replaced by a rich lushness of sound that would define the forthcoming genre. Shifting from the political to the interpersonal, gone too was the overwhelming sense of looming Armageddon, replaced by more generalized (and mundane) feelings of alienation, "Dislocation," and unease. "Quiet Men" is a Lowry painting brought to life, the chorus of "Slow Motion" a swaying field painted by Renoir, "I Can't Stay Long" a Degas ballet, while "Maximum Acceleration" is as lavish in sound as Botticelli was with paint. The rhythms still remained dangerous, however, and Robin Simon's guitar gives the set a tough edge, but it's the swirling, swooping synths and keyboards that predominate within.

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Ultravox - Brilliant (2012)

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Country: United Kingdom
Genre: Synth Pop, Pop Rock
Label Number: 5099962397520

© 2012 Chrysalis Records
AllMusic Review by Jon O'Brien
28 years have passed since the most successful incarnation of Ultravox (vocalist Midge Ure, bassist Chris Cross, keyboardist Billy Currie, and drummer Warren Cann) have recorded together, but their first studio album since 1984's Lament shows that nothing much has changed. Co-produced with Stephen Lipson (Annie Lennox), the rather confidently titled Brilliant offers little to explain what took them so long. Every single one of its 12 tracks, from the chest-thumping pomp rock of opener "Live" to the dreary soul balladry of closer "Contact," feels like they've been dug up from the Vienna era rather than the byproduct of a new, creative second wind. The album begins, intriguingly enough, with "Flow" throwing everything from shimmering shoegazey riffs to bagpipes into the stadium rock mix, while the title track's rubbery, synth basslines, glacial piano chords, and Gregorian chants help create an engaging slice of slightly sinister synth pop. But after such a lengthy absence, it's disappointing to find that Brilliant runs out of steam so soon, with a string of plodding, proggy ballads ("Remembering," "Hello," "One") which are far more West End than New Wave. Of course, there's always been a sense of the theatrical about Ultravox, but here it's so po-faced and over-earnest that it's difficult to sit through. It's by no means an embarrassment of a comeback, but an embarrassment would arguably have been more fun than most of Brilliant's self-indulgent, monotonous fare.

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April 24, 2018

Tank - Power of The Hunter (1982)

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*Original first pressing on C.D.
Originally released in 1982 on Vinyl.

Country: United Kingdom
Genre: Heavy Metal
.FLAC via Mega (Link)
.AAC 256 kbps via Mega (Link)

© 1982-1991 Repertoire Records
AllMusic Review by Eduardo Rivadavia
Although they had spent much of the previous year supporting a famously devastating debut, Filth Hounds of Hades, while touring in tandem with some of Britain's heaviest bands (Girlschool, Diamond Head and their inspirational rabbis Motörhead), Tank inexplicably delivered an astonishingly restrained and civilized sounding sophomore effort in Power of the Hunter, their second album of 1982. To be fair, the until-recently sharp-fanged power trio almost recalled their recklessly irrepressible former selves on the hard-hitting title track, the refreshingly frantic "Red Skull Rock," and the instrumental "T.A.N.K."; but it was really rather telling that so much of the their suddenly scarce allowances of high-speed adrenalin were squandered on an instrumental, with two songs shoved all the way to the back of the album. Meanwhile, repetitive opener "Walking Backwards over Glass" (whatever the hell that means) seriously overstayed its welcome, a cover of the Osmonds' "Crazy Horses" was curious to say the least, the ridiculously named, bass guitar heavy "Set Your Back on Fire" sounded like second-rate Kiss with a leering Gene Simmons at the helm, and the misleadingly named "Pure Hatred" was only salvaged by a stellar guitar solo from Pete Brabbs doing his best Ritchie Blackmore imitation. And it's not even that the members of Tank were suddenly rediscovering their late-'70s punk roots because, if tedious dross like "Biting and Scratching," "Some Came Running," or the seemingly chart-minded (but still dumb-as-nails) "Used Leather" were any indication, they actually seemed to have regressed even further back to some sort of mid-'70s pub rock! In any event, and in the end, Power of the Hunter's uneven sum total didn't quite qualify as an all out disaster -- there have been far more egregious sell-out operations in the long history of heavy metal -- but the band's sonic emasculation process was nevertheless drastic enough that Power of the Hunter sold half as many copies as their furious debut. Tank would manage to recover from their unfortunate sophomore slump with an unqualified return to heavy metal on 1983's This Means War, but not before being jolted to attention by Power of the Hunter's commercial failure, their record company's bankruptcy, and the loss of the both Pete and Mark Brabbs brothers in the painful process.

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10,000 Maniacs - The Wishing Chair (1987) ☠

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Country: U.S.A.
Genre: Folk Rock, Rock
Label Number: 9 60428-2

© 1985 Elektra Records
AllMusic Review by Johnny Loftus
While Natalie Merchant's elastic vocal cords are the obvious centerpiece of 10,000 Maniacs' lilting folk-pop, what becomes apparent early on in The Wishing Chair is that the band would likely dry up and drift away like a dandelion if it weren't for the inventive, wiry guitar playing of Robert Buck. It's Buck's instrument that acts as a constant (tin) foil for the spicy mustard goodness of Merchant's vocal cords, whether he's laying down the Johnny Marr-style spider riffs of "Grey Victory" and "Scorpio Rising," or inspiring a thousand private college-based cover bands with "Maddox Table"'s chorus pedal dynamics. While The Wishing Chair ends up being a little too long, it is nevertheless a sparkling major-label debut, and even bares its incisors a bit alongside more pastoral fare like "Cotton Alley." The shining "My Mother the War" bounces along on a tensile, new wave-inspired groove that even includes what can only be described as a mirthful whoop from the normally opaque Merchant. The majority of The Wishing Chair underpins the sound that came to define the Maniacs and Merchant's later solo flight. But when its hackles are raised, it's like finding out that the teacher's pet smokes cigarettes behind the school bus.

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10,000 Maniacs - In My Tribe (1987)

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Country: U.S.A.
Genre: Folk Rock, Rock
Label Number: E2 60738

© 1987 Elektra Records
AllMusic Review by Chris Woodstra
10,000 Maniacs's breakthrough album and creative high point, In My Tribe offers a survey of social concerns, including child abuse ("What's the Matter Here"), illiteracy ("Cherry Tree"), war ("Gun Shy"), and the environment ("Campfire Song") -- all tackled subtly and tastefully without too much preaching or pretension and in believable, real-life situations. Producer Peter Asher, whose credits include James Taylor and Linda Ronstadt, provides the perfect sheen -- the group's pleasant folk-pop lends itself nicely to the '70s-styled singer/songwriter production. In the end, the album proves powerful not for the ideas (they've been covered before) but rather for the graceful execution and pure listenability. In My Tribe has served as one of the soundtracks for P.C. living and was required listening on college campuses in the late '80s.

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10,000 Maniacs - Blind Man's Zoo (1989) ☠

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Country: U.S.A.
Genre: Rock
Label Number: 60815-2

© 1989 Elektra Records
AllMusic Review by Chris Woodstra
After the success of In My Tribe, it would be expected that hordes of bands would take a stab at the market with their own second-rate versions of the album -- it's disappointing that 10,000 Maniacs would be one of them, churning out not only In My Tribe, Pt. 2, but an inferior copy at that. It's not that the album is bad -- certainly they've perfected their sound, and in many cases, the songs are catchier this time out -- but in handling the issues (there's no shortage of them), Natalie Merchant has become more direct and obvious. For all of its earnestness and good-intentioned teachings, Blind Man's Zoo ultimately fails in its heavy-handed and generally uninteresting approach.

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10,000 Maniacs - Our Time In Eden (1992) ☠

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Country: U.S.A.
Genre: Rock, Folk Rock
Label Number: E2 61385

© 1992 Elektra Records
AllMusic Review by Kelly McCartney
Pushing through the jinx that gave Blind Man's Zoo its preachy feel, 10,000 Maniacs offer up a baker's dozen of wonderful folk-pop songs with hard-hitting messages, nearly matching the brilliance of In My Tribe, their major-label debut. Natalie Merchant is a few years older here, a few tribulations wiser, and a few shakes looser, although that's not to say she doesn't have a point (or 13) to make. Whether with old-school R&B horns ablaze or the simple elegance of a piano and strings, she glorifies, condemns, and cherishes the world she witnesses, not excusing herself or anyone else from the part they play. The rest of the band, Rob Buck, Dennis Drew, Steve Gustafson, and Jerome Augustyniak, gives her the superb musical roots and wings from which to grow and soar. The subject matter of the songs is sometimes subtle, sometimes overt, but always graceful. For instance, "These Are Days" is left open to interpretation, though the upbeat tone is unmistakable, while "I'm Not the Man" is a very pointed and poignant story of a jailed man falsely accused and awaiting his death. Merchant's poetry shimmers and tugs at your heart and head. The prophetically titled Our Time in Eden spawned modest hits with "These Are Days" and "Candy Everybody Wants," but turned out to be the final chapter for this maniacal five-some, as Merchant departed the band shortly after touring in support of the album. A finer swan song has seldom been heard.

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10,000 Maniacs - Love Among The Ruins (1997)

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Country: U.S.A.
Genre: Rock, Pop Rock
Label Number: GEFD-25009

© 1997 Geffen Records
AllMusic Review by Stephen Thomas Erlewine
Most observers considered 10,000 Maniacs dead in the water following the departure of vocalist Natalie Merchant. Instead of calling it quits, the remaining members hired the jangle-folk duo John & Mary, whose guitarist, John Lombardo, played in one of the original incarnations of the Maniacs. The revamped group's first album, Love Among the Ruins, illustrated that the band could replicate their signature, gently jangly sound without too much effort, but it also illustrated that the group lacked focus without Merchant. Love Among the Ruins is a pleasant listen, but Mary Ramsey's thin voice occasionally grates, the songs are uniformly slight, and the cover of Roxy Music's "More Than This" is an outright embarrassment. Even with those flaws, the album isn't a disaster, and the surviving 10,000 Maniacs have demonstrated that they can continue with dignity, even if their inspiration is somewhat lacking.

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10,000 Maniacs - The Earth Pressed Flat (1999)

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Country: U.S.A.
Genre: Rock
Label Number: AHAON-106

© 1999 Bar/None Records
AllMusic Review by Heather Phares
1999's The Earth Pressed Flat finds 10,000 Maniacs exploring similar musical terrain as their previous album, Love Among the Ruins, on which singer Mary Ramsey debuted. Ramsey sounds less like a stand-in and more like a frontwoman on The Earth Pressed Flat, which was released on the indie label Bar None. Fittingly, the album sounds more folky and down to earth than some of their previous albums. The album was recorded over the course of four years at the group's home studio, on the road, and in traditional studios; it also incorporates recordings of found sounds and rehearsals for a dreamlike, fluid continuity. Ramsey's vocals sound at home in The Earth Pressed Flat's rustic, stripped-down settings, particularly on the Sandy Denny cover "Who Knows Where the Time Goes?" The title track and "On and On" also allow her vocals to breathe, with understated accompaniment from her fellow Maniacs on guitars and keyboards; Ramsey's own viola playing completes the picture. The Earth Pressed Flat blends old and new, ethereal and folky sounds into a style that is distinctively, yet differently, 10,000 Maniacs.

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April 22, 2018

Europe - The Final Countdown (1986)

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Country: Sweden
Language: English
Genre: Hard Rock
Label Number: CDEPC 26808

© 1986 Epic Records
AllMusic Review by Doug Stone
One of the most glorious launches in history, the title track for the thrice-platinum The Final Countdown is so bombastically brilliant, such glorious garbage, that this nuclear hair assault could only spew from the vacuous '80s. But the full-tilt follow-up "Rock the Night" rules also: "You know it ain't easy/Running out of thrills." "Carrie" comes off a consummate butane ballad. Meanwhile, the rest of the disc packs so much power that Swedish superheroes Europe get away with all the processed pretension. In fact, the lofty ambition of "Danger on the Track," "Ninja," and "Cherokee" (each as tasty as its title) combines with heated drive and hot delivery to meld The Final Countdown into a unique portrait of propulsive prog and a worthy addition to any hard rock collection. This is the story; this is the legend told by Teutonic guitars and predictable keyboards ringing pure and hurtling through each and every convention perfectly. The quintet's big-boy Epic inaugural, The Final Countdown deftly combines the Valhalla victory of Europe's heroic debut with the American poodle pomposity that devoured the band. You could live without The Final Countdown, but why?

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April 21, 2018

Battleaxe - Power From The Universe (1984)

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*This is an unofficial repress. 
Contains 8 tracks total.
Country: United Kingdom
Genre: Heavy Metal
Label Number: RR 9845

© 1984 Roadrunner Records
Review by Matt Karpe for Hard Rock Haven.net
When Battleaxe released Power… back in 1984, they was just another band throwing their name into the NWOBHM hat. It was always going to be hard to compete with the likes of Judas Priest and Motörhead, and share the same success that those British icons have earned, but it is a testament to Battleaxe that, 30 years on, they are able to re-release Power From The Universe, which has found its place in heavy metal history. This re-package contains the original eight tracks, followed by four bonus songs that were recorded back in the mid-eighties. The blistering “Chopper Attack” sounds fresh and revitalized, with the Motörhead style of speed riffs and gritty vocals from Dave King. As good as this song is, you can’t help but imagine this being the sound of a band that would have been born had Priest and Motörhead coupled together and given birth to a heavy metal baby. Along with the groove laden “Metal Rock”, the more straightforward yet aggressive “Over The Top” and the excellent epic that is “Fortune Lady,” you can see why Battleaxe’s second album has stood the test of time. So, knowing what was to be expected with the original track listing, most people will be wondering what the bonus songs are like- before considering whether to buy this or not.
In truth, these songs are sublime additions. Generally shorter and sharper numbers, any of them would have slotted nicely into the original release. “Killer Woman” is fast and heavy, with a Thrashier feel. The drumming from Ian Thompson is prosperous, and the raw feel adds to the effectiveness of this three minute crusher.
“Radio Thunder” is much in the same mould, and the use of backing/gang vocals comes off successfully. There is also a classic guitar solo from Steve Hardy, whose guitar work throughout is a revelation.
“My Love’s On Fire” has a slight glam tinge to it, and “Love Sick Man” is another explosive track full of groovy riffs and immaculate solos. Whilst it may not have garnered the international publicity of other 1984 releases like Maiden’s Powerslave, Priest’s Defenders Of the Faith or some of the quickly rising glam metal bands, Battleaxe went under the radar to make a solid NWOBHM record that is packed with sheer quality. Add in four ‘newer’ songs that are better than much of the original track listing, then it can be considered a good move to give Power From The Universe a happy anniversary.

tags: battleaxe, power from the universe, 1984, flac,
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Battleaxe - Burn This Town (1983)

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*This is an unofficial repress.
Contains 10 tracks total.

Country: United Kingdom
Genre: Heavy Metal
Label Number: RR 9900

© 1983 Roadrunner Records
Review by Kultmetal.com
Battleaxe are a NWOBHM band coming from England, Wearside area. Their sound combines rougher edge of NWOBHM (New Wave of British Heavy Metal) music and rock'n'roll attitude together rather splendidly on "Burn This Town" album. They remind me a bit of bands such as Motörhead, TANK and Rogue Male, perhaps also Spartan Warrior, especially with bass lines. Dave King's vocal delivery is raspy rock'n'roll-ish hitting mostly the mid-range (but not as deep and raspy as Lemmy or Algy Ward), which fits atmosphere of their music perfectly, as "Burn This Town" lyrics focus mainly on rebellious anthems and rock'n'roll life. Riffs in general are quite simple, straightforward, flashy and upbeat - perhaps without exceptional frills, but bursting with energetic attitude and vibes. Guitar sound has that nice 80's crunch and overdrive, not sounding so bottom-heavy, but tasty as hell, although lacking perhaps few additional interesting lead-melodies. Otherwise everything is almost perfect. Drum work on the album by Ian Thompson is notably good, as well. Pounding bass lines are rather audible in the mix, adding the final flavor to the in-your-face songs on "Burn This Town". Production is slightly on a thin side having a lot of treble (but very clear, nevertheless), but considering it was released way back in 1983 it's definitely on the better side.
"Burn This Town" is certainly something you would want to crank up while driving on highway. The album just does have that feel to it. Sort of a great biker style heavy metal, that borders the definition of "classic", being almost up there, depending of do you seek for something truly exceptional, or just is "just" a damn good but straight-forward NWOBHM-record enough for you to define something as "a classic". The album's presentation is strong throughout. Upbeat and rebellious "Overdrive" and rock'n'roll-flavored "Dirty Rocker" belong to among the best tracks on the album. Mid-fast raise-your-fist-anthems "Ready To Deliver" and "Burn This Town" also leave strong foot mark on anyone who's into some NWOBHM. Then there are more laid-back moments with mid-paced drifter "Her Mama Told Her" with that pounding (bass) rhythm. My favorite, however, has to be carefree and upbeat rocker "Running Out Of Time", with few flashy guitar leads, strong driving rock'n'roll-influenced rhythm-section, and pounding bass lines, not forgetting vocal delivery by Dave King which, in my opinion, is strongest on this track, with the great sing-along chorus. Guitar solo is also fine on "Running Out of Time".
All the rest of the songs not mentioned previously hold up, as well. The first six songs on the album just raise above the rest, but the four last ones stand their ground, dropping quality just very slightly. Same good attitude runs through whole album, being straightforward, rebellious, NWOBHM/Rock'n'roll that does indeed deliver! In my opinion, as an overall record this beats TANK's debut "Filth Hounds Of Hades" (being bit more stable through-out) as well as Rogue Male's "First Visit", which both are great records. Majority of praise on "Burn This Town" album comes just from it's awesome overall attitude and highly energetic performance, which the band successfully projects into their musical presentation. NWOBHM-era albums very rarely were full of exceptional technical guitar shredding, and they didn't contain high quality production values, but what made many of them memorable was their catchy, rebellious, and raw musical presentation - whereas "Burn This Town" presents a prime example of that. A few more interesting lead guitar melodies is all it would take to make this album a full blooded classic, but I rate "Burn This Town" so high in my books anyway, that I'll give borderline classic score of
tags: battleaxe, battle axe, burn this town, 1983, flac,
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