December 30, 2019

Rodney O & Joe Cooley - F__k New York (1993)

Country: U.S.A.
Genre: Hip-Hop
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© 1993 Psychotic Records
*No professional reviews available for this release.

tags: rodney o and joe cooley, fuck new york, 1993, flac,

Smokin Suckaz Wit Logic - Playin' Foolz (1993)

Country: U.S.A.
Genre: Hip-Hop
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© 1993 Epic
*No professional reviews available for this release.

tags: smokin suckaz wit logic, smoking suckers with, suckas, 1993, flac,

Visionaries - Galleries (1998)

Country: U.S.A.
Genre: Hip-Hop
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© 1997 Up Above Records
*No professional reviews are available for this release.

tags: visionaries, galleries, 1998, flac,

Boot Camp Click - The Chosen Few (2002)

Country: U.S.A.
Genre: Hip-Hop
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© 2002 Duck Down
AllMusic Review by John Bush
Five years after their first full-length, Boot Camp Clik came together again with an LP that finally delivered on the promise that'd kept hip-hop fans hoping for an album to rank with incredible singles from the collective like Black Moon's "How Many Emcees" and Smif-N-Wessun's boot-camp anthem "Bucktown." Featuring the combined talents of members of Black Moon and Cocoa Brovaz (the reincarnated Smif-N-Wessun), plus Originoo Gun Clappaz, The Chosen Few is one of the tightest rap albums of the year. Better yet, it succeeds by keeping it simple: the production, the beats, and the themes -- nearly everything except the rapping. The productions come from a parade of family members (da Beatminerz, Hi-Tek, Coptic) with nothing to prove on their own, instead simply concentrating on constructing tough beats and kinetic tracks. The crew set it off with a pair of openers, "And So" and "Let's Get Down 2 Bizness," that top anything heard on 1997's For the People. From there, Boot Camp Clik cycle through everything that fans could've asked for; a crazy party track ("That's Tough [Little Bit]"), a classic beat-down on "Whoop His Ass," and a rough-and-rugged "Bucktown" sequel ("Welcome to Bucktown U.S.A."). Considering nearly all of them have their own projects on the front burner, it may be awhile for another full LP from Boot Camp Clik, but the collective have left listeners with plenty to keep them happy.

tags: boot camp click, the chose few, 2002, flac,

December 29, 2019

Griffin - Flight of The Griffin (1984) ⚓

Country: U.S.A.
Genre: Heavy Metal
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© 1984-1988 Steamhammer
AllMusic Review by Eduardo Rivadavia
Like the mythical beast that inspired their name and graced the cover of this 1984 debut album, Flight of the Griffin, San Francisco's Griffin was something of a rare, almost mystical creature within their native habitat. While the majority of their San Francisco Bay Area brethren were busy formulating the nascent thrash metal style (bands like Metallica, Exodus, Forbidden Evil, and the Legacy, among others), the members of Griffin clearly looked up to the more traditional heavy metal tenets and sword and sorcery themes handed down by British powers such as Black Sabbath, Rainbow, and Iron Maiden. That's not to say that Flight of the Griffin lacked for modern metal sounds, though, or even thrash's energy -- just its punk-based rawness -- and this is why it has since gone down as an American proto-power metal classic, chock-full of enthusiastic anthems like "Hawk the Slayer," "Judgment Day," "Traveling in Time," and the title track. Even the scant weaker songs on offer ("Fire in the Sky," "Hell Runneth Over") were eventually rescued by the reliably stunning fretwork of guitarists Mike Jastremski and Rick Cooper, who were probably also responsible for getting the album released through the shredder-loving Shrapnel Records. In any case, Griffin's "unique" style in their hometown unfortunately caused them to miss the proverbial thrash metal boat where fame and popularity were concerned, and after Jastremski defected to upstart thrashers Heathen the following year (to be their bassist, of all things!), the group never really recovered. The remaining members of Griffin still managed to cobble together one more LP, but 1986's Protectors of the Lair turned out terribly disjointed and disappointingly subpar when compared with Flight of the Griffin

tags: griffin, flight of the griffin, 1984, flac,

Griffin - Flight of The Griffin (1986) ☠

Country: U.S.A.
Genre: Speed Metal
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☠: Selected by Buccaneer
© 1986-1988 Steamhammer
AllMusic Review by Eduardo Rivadavia
Heavy metal, like all forms of rock & roll, is capable of achieving great genius and great stupidity in equal measure -- sometimes simultaneously! Don't try to understand it; just call it "magic" (Ronnie James Dio would!) and know that no album better illustrates this magical conundrum than 1986's Protectors of the Lair, the sophomore effort by San Francisco metal heads Griffin. Based on the evidence at hand, it would seem that the band (recently hobbled by the exits of some key personnel) got so caught up trying to explore a series of convoluted concepts historical ("Eulogy of Sorrow/Awaken"), religious ("Curse the Deceiver," "Truth to the Cross"), fantastical ("Hunger," "Tame the Lion"), and metaphysical ("Infinite Voyage") that the music composed to support them simply dissolved into an incoherent mess, when not resorting to dated heavy metal clichés. OK, so some of the above flashed momentary glimpses of the majestic metal talents displayed on Griffin's stellar debut, Flight of the Griffin (usually during Rick Cooper's marvelous guitar solos, as well as his acoustic conclusion for "Tame the Lion"), only now these served as stark contrasts exposing the surrounding failures. Cap it all off with a very shoddy production job, simply not befitting the (failed) musical ambitions at hand, and it's no wonder that Protectors of the Lair was the straw that broke the Griffin's back and sent this once promising band into an early grave.

tags: griffin, protectors of the lair, 1896, flac,

K-Solo - Tell The World My Name (1992)

Country: U.S.A.
Genre: Hip-Hop
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© 1990 Atlantic Records
*No professional reviews available for this release.

tags: k solo, k-solo, tell the world my name, 1992, flac,

Zhigge - Zhigge (1992)

Country: U.S.A.
Genre: Hip-Hop
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© 1992 Polydor
*No professional reviews available for this release.

tags: zhigge, zhigge album, 1992, flac,

Chi-Ali - The Fabulous Chi-Ali (1992) ⚓

Country: U.S.A.
Genre: Hip-Hop
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© 1992 Relativity Records
AllMusic Review by Chris Witt
While Chi-Ali isn't completely lacking in talent, his youth certainly shows. The contrast between his still boyishly high voice and his rhymes about drinking, sexing up girls, and gun toting is sometimes unnerving, but more often it's just absurd. Chi-Ali makes his case on "Age Ain't Nothin' But a #" when he states that he has no time for younger women (13-year-olds); he wants an older woman (a 17-year-old). Unfortunately, Chi-Ali, with his high voice and at times uneven flow, just can't carry an entire album. Tellingly, on the best song here, "Let the Horns Blow," Chi-Ali is shunted aside by guest rappers and fellow Native Tongues, Dres (Black Sheep), Phife (A Tribe Called Quest), and Dove (De La Soul). He's a boy among men. The album's only saving grace is the hot, sample-crazy production from the Beatnuts. The Queens duo make The Fabulous Chi-Ali bearable but of little interest except perhaps to Native Tongue completists.

tags: chi ali, chi-ali, the fabulous chi ali, 1992, flac,

R.B.L. Posse - A Lesson To Be Learned (2002 Reissue)

*Reissued in 2002 by Right Way Productions with a different "Parental Advisory" logo. 
Mastering, track list and total remain unchanged from the original 1992 pressing. 
Contains 10 tracks total.
Country: U.S.A.
Genre: Hip-Hop
Style: Gangsta Rap
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© 1992-2002 Right Way Productions
Review by Steve 'Flash' Juon for Rap Reviews.com
Bargain bins (and by extension the people who fill them) don't know shit. I picked up R.B.L. Posse's "A Lesson to Be Learned" out of one for $3 - so says the "clearance" price sticker still on the cover. These days the cheapest copy for sale on eBay is $10.99 and some resellers want as much as $75 for it. There are two good reasons this Ruthless By Law Posse debut album is in demand. The first is that the label In-A-Minute Records was run by Music People, a local distributor almost entirely in the state of California. The second reason is tied to the first - R.B.L. Posse is a seminal rap group from San Francisco that were on the cutting edge of the Bay Area revolution. Founding members Mr. Cee (not related to the one from New York) and Black C saw their group blow up almost entirely due to the influence of local radio station KMEL, home to DJ's like Davey D (sadly no longer there) and programs like Sway & King Tech's "Wake Up Show" which believed in promoting local artists along with national hip-hop acts. It was through KMEL tapes sent to me by my friend Seoul Sistah that I first discovered R.B.L. Posse and their local hit song "Don't Give Me No Bammer (Weed)":
Mr. Cee: "Once knew a girl named Brenda
Smokin that bammer was her everyday agenda
She used to laugh and giggle
Until Mr. Cee moved next to her building
I tried to get her but she acted kinda shob
So I shared my dank, I got her real high
She followed me up to her room
And for you bitches, honey boom, honey boom
We smoked mo' dank without a pause
And later that night I was in them drawers
See, Frisco niggaz ain't no punks
Puttin guts in our way and they're gonna get bucked
Oh and Brenda's now hoe'n in the Point
Couldn't handle the dank, the reason - bammer joints"

Black C: "Don't gimme no bammer joint
It's the Black C, nigga, gettin straight to the point
I was chillin outside on a hot day
It was me and my niggas, just check what I say
Let's fade, let's go see the dank man
They'll fade if they is my friends
A few niggas pitched in
(Let's go to the store so I can get some gin)
Oh no, straight Hen-dog on mine
With a little dab of Coke and a nigga doin fine
So now we got a nitro
We up, yeah, let's go hit the indo"

I rank this song right up there with "I Got 5 On It" as Cali smokeout anthems go. Although both members of R.B.L. hail from the Hunters Point district, Cee in particular reminds me of Oakland's own Too $hort in terms of his accent and delivery - and that's definitely a positive comparison. Despite their affection for getting smoked out, it's not all fun and games on "A Lesson to Be Learned." Songs such as "Sorta Like a Psycho" sadly foreshadowed what would become of the crew later on:
Black C: "Sorta like a psycho, a nigga just might go
Spray the whole town cause a nigga is a schitzo
Little freaky bitch try to say a nigga mean
But I'm sprayed her punk ass with my uzi machine
(What you gonna do that shit fo'?)
Lay your punk ass on the flo' since you wanna be Captain Save-A-Hoe
Rat-a-tat rat-a-rat rat-a-tat-tat
(Is that a cap gun?) No it was my motherfuckin mac
Or my deuce deuce, motherfucker call it what you want to
(Man I call my shit a gun) Well I call my shit the make-room
Motherfucker motherfucker motherfucker please
Since you're on my fuckin penis, why don't you drop to your fuckin knees
Bow wow wow yipee yo yipee yipee yeah
Bark like a dog and just make my motherfuckin day, nigga
Ya fuckin wit the wrong one
A psycho ass lunatic nigga that is on one
B-L-A-C-K C, my motherfuckin name
I put up the deuce deuce and pull out my 12 gauge
Boom boom boom I watch the nigga head falled off
Then I hit the guts with my motherfuckin sawed off
Duck while the body rot, nigga still on the plot
But next time, I use my motherfuckin glock"

First impression from the topic matter (graphical to the point of comedy) and the bassline (same as 3rd Bass' "Steppin to the A.M.") is that R.B.L. is probably exagerrating their penchant for violence to make an impression. Ironically Black C is the only member of the group still alive, as both Mr. Cee and later addition Hitman have been violently gunned down over the last 15 years. C is still releasing compilation albums here and there under the RBL Posse name but it would be hard to argue the group as such really exists any more. It's a shame Mr. Cee and Hitman aren't around to reap the benefits of being Bay Area pioneers and arguably legends, but it's also a shame that due to being locally owned and distributed R.B.L. Posse albums like "A Lesson to be Learned" are so hard to find. There's plenty to like on this debut album, from the P-Funk beats and Rakim samples of "Ain't No Joke" to the hilariously unapologetic "Bitches on the Ding Dong." Their love of hip-hop from coast to coast is confirmed by the title track of "A Lesson to Be Learned," which blatantly samples "Rappers Delight" and starts off the same way only to totally flip the rap Cali style. "A Lesson to be Learned" is without question three of the best dollars I've ever spent.

tags: rbl posse, a lesson to be learned, 1992, flac, 2002, reissue,

R.B.L. Posse - Ruthless By Law (1994) ☠

Country: U.S.A.
Genre: Hip-Hop
Style: Gangsta Rap, G-Funk
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☠: Selected by Lass
© 1994 In-A-Minute Records
AllMusic Review by John Bush
With fist-pumping beats, the Posse (RBL stands for Ruthless By Law) raps about the gangsta life with more of a kidding pose ("Niggas on the Jock," "Pass the ZigZags") than the straitlaced genre usually allows. "Bounce to This" and "FunkDaFied" are solid G-funk jams, and though the album isn't quite a revolution in sound, it does make for a lot of fun.

tags: rbl posse, ruthless by law, 1992, flac,

December 28, 2019

K-Solo - Times Up (1992)

Country: U.S.A.
Genre: Hip-Hop
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© 1992 Atlantic Records
AllMusic Review by Alex Henderson
Because K-Solo was a longtime friend of EPMD's Parrish Smith, some people assumed that his Atlantic releases would favor an EPMD-like flow. But in fact, Time's Up doesn't emulate EPMD, although Smith serves as executive producer. While Smith and Erick Sermon (the other half of EPMD) were known for a deadpan, relaxed style of rapping, K-Solo tends to be a lot more aggressive. Arguably, K-Solo's rapping style is closer to LL Cool J or Big Daddy Kane than EPMD. The thing that K-Solo has in common with Smith and Sermon is an unmistakably East Coast approach; in 1992, no one would have mistaken K-Solo for a Southern or West Coast rapper. And the production is as East Coast-sounding as K-Solo's flow. The producers (who include Sam Anderson and Sermon, among others) favor the minimalist, sample-heavy format that was big in the Northeastern U.S. in the early '90s -- none of the producers show any awareness of either the sleek, keyboard-heavy G-funk sound that Dr. Dre popularized on the West Coast or the hyper bass music that was coming out of Florida. Lyrically, Time's Up is fairly diverse. While EPMD spent much of their time attacking "sucker MCs," K-Solo raps about everything from prison life ("Premonition of a Black Prisoner") to black-on-black crime ("Who's Killin' Who"). Although K-Solo isn't afraid to discuss the harsh realities of urban life, he doesn't get into gangsta rap at all -- when he raps about black-on-black crime, the New Yorker is speaking out against thug life. Time's Up falls short of remarkable, but it's a solid, enjoyable outing from an EPMD ally who was a talented MC in his own right.

tags: k solo, k-solo, times up, 1992, flac,

Rough House Survivers - Straight From The Soul (1992) ☠

Country: U.S.A.
Genre: Hip-Hop
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☠: Selected by Sentinel
© 1992 Relativity Records
AllMusic Review by Stanton Swihart
One might surmise that an album produced by Tony Dofat and including guest appearances from C.L. Smooth, Sadat X, and Grand Puba Maxwell, all at the height of their rapping powers, would be a solid hit waiting to happen. Such was not the case with the Rough House Survivors' sole record, Straight From the Soul, but it is not for lack of appeal. Indeed, the album disappeared without leaving any vestiges despite the fact that it was incredibly catchy and artistically successful. The work of Pete Rock seems to have exerted quite an influence on Dofat's strong production, especially in the rocksteady drum and cymbal patterns, mellow Saturday-afternoon organ, creamy basslines, and the goofball shouts and horn loops that percolate disorientedly beneath the music on stellar cuts such as "Take a Trip," "Can U Dig It?," "We Come to Get Wreck," and the straight burner "Once Again." Although this almost plays as a lost Rock production, the music deviates enough from the template to develop its own alternately upbeat and mellow, distinctly New York City vibe, and Straight From the Soul further distances itself through the loose, insouciant flows of rappers Kev, Roberto, and Dread One (DJ Swinn being the fourth member of the crew). They borrow the give-and-take rhyming of Leaders of New School and the buoyant, all-for-one lyrical energy of Brand Nubian's first album; then they step on the accelerator just slightly and blend it all into an incessantly contagious and singular style. Only the group's foray into ragamuffin reggae ("Rough House") doesn't quite come off. But in the freestyle-like session of "Check Da Back Pack" and the legitimately swinging "So! Survivors We Can Rhyme," Rough House Survivors create a duo of songs which can easily stand with anything from the era in hip-hop, and the rest of the songs aren't far behind. Unfortunately, only a few people ever seemed to find that out.

tags: rough house survivors, straight from the soul, 1992, flac,

The Nation of Ulysses - 13-Point Program To Destroy America (1991) ☠

Country: U.S.A.
Genre: Post Hardcore
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☠: Selected by Buccaneer
© 1991 Dischord Records
AllMusic Review by Brandon Gentry
A raging collection of songs preaching an ideology of insomnia, teenage rebellion, and sharp dressing, the Nation of Ulysses' 13-Point Program to Destroy America comes across as a blueprint for the complete overthrow of adult society in favor of one ruled entirely by the cool kids. Nearly every track on the album is played at breakneck speed, and the overall message is one of uprising. "A Kid Who Tells on Another Kid Is a Dead Kid" and "Cool Senior High School (Fight Song)" extol the virtues of kids sticking together to exclude those not fit for the glorious new society, namely grown-ups and squares. All the songs are punk gems, and after a couple of listens the revolutionary rhetoric starts to sounds pretty damn exciting, maybe because it's not entirely clear whether or not the Nation of Ulysses is serious or just playing a joke on all the indie rock hipsters. Either way, it's hard for anyone to not enjoy songs like "Look Out! Soul Is Back" and "Today I Met the Girl I'm Going to Marry." The revolution might not be here quite yet, but when it comes, be sure to have this album as proof to your worthiness.

tags: the nation of ulysses, 13 point program to destroy america, 1991, flac,

The Nation of Ulysses - Plays Pretty For Baby (1992) ☠

Country: U.S.A.
Genre: Post Hardcore
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☠: Selected by Buccaneer
© 1992 Dischord Records
AllMusic Review by Blake Butler
This is genius. This is a revolution, of both thought and sound. The Nation of Ulysses is unmatchable by any band ever; they have created a dialectic, a movement, and a youthful assault of the mind and senses. Like Greek to a Caucasian child, most will never understand even partially the spirit that lurks in these movements for it is about something higher than mere music. There is something that moves beyond the lingoes of "The Aspirin Kid" Ian Svenonious, the complicated scriptures that fill the liner notes, the infamous reputations of insane and overwhelming live performance. A warped hybrid synthesis of trashy garage rock, spastic jazz, and creative freedoms. Languages created and swallowed amidst the words and discordant melodies. Full of fervor, anger, wit, and remorse. Solid spastic percussion, swirling distorted guitars, droning bass, and swollen horns. Rambling exploding vocals spitting words of animosity and love, of rebellion and unity, of awakening and medicine. The Nation of Ulysses must prevail.

tags: the nation of ulysses, plays pretty for baby, 1992, flac,

The Nation of Ulysses - The Embassy Tapes (2000)

Country: U.S.A.
Genre: Post Hardcore
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© 2000 Dischord Records
AllMusic Review by Blake Butler
The Nation of Ulysses were seminal in a modern way, transcending easy definition. They obviously affected many bands, both in their body-shattering live performance reputation (mimicked by acts such as At the Drive-In and XBXRX) and in their rambling sonic attacks and flawless revolutionary songwriting. Nothing can touch the unending spout of energy and passion contained within their movements, as their cacophonous passion was put into the ridiculous, the childish, the pure. The Nation of Ulysses disbanded in 1992 after a short career that produced two full-length albums, and many people continued to romanticize the band, creating an underground cult following that has continued to spread partially via post-NOU projects of the band members, most notably the Make-Up and the Fucking Champs. Fortunately for listeners, a few of the NOU's later tracks written after their last album, Plays Pretty for Baby, were recorded inside the comfort of the Embassy, the band's group home. Although their second guitarist, Steve Kroner, was absent, these tapes still contained the everlasting youthful explosion of the NOU, including arguably some of their most well-written songs, such as "A.P.E. Embassy" and "Hex-Proof," and some reworked versions of their older songs, including "Shakedown" and "Last Train to Cool." Although the tape quality was quite low due to the volume of the music and the subpar recording process, The Embassy Tapes still commands an obvious value -- a remaining trace of the much-loved, much-adored Nation of Ulysses.

tags: the nation of ulysses, the embassy tapes, 2000, flac,

Wreckx‐N‐Effect - Hard or Smooth (1992) ☠

Country: U.S.A.
Genre: Hip-Hop
Style: Pop Rap
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☠: Selected by Lass
© 1992 MCA Records
AllMusic Review by Johnny Loftus
Together with "Baby Got Back," Wreckx-N-Effect's "Rump Shaker" helped to blur the line between decency and debauchery that, in the early '90s at least, was allegedly still intact. But unlike Sir Mix-A-Lot, who capitalized on his 1991 monster hit with a seemingly endless cache of goofy double entendres, lurid song ideas, and bombastic productions, W-N-E was unable to reprocess the elements of its single into additional hits. Nothing on Hard or Smooth is as infectious as the single, mainly because Markell Riley and Aqil Davidson repeatedly exaggerate particular parts of that song without applying anything very interesting around the pieces. Davidson is appropriately jocular on "Knock-N-Boots," but the song's gang vocals are identical to those of "Rump Shaker," without its addictive beat. "Wreckx Shop" features effective production, but the lyrics are raunchy without being particularly inventive. Additionally, the album's irritating habit of naming songs after portions of the W-N-E moniker doesn't help matters any, either. Despite these faults, when its songs expand on the sonic and lyrical themes of its single, Hard or Smooth is able to make some progress. "New Jack Swing II" employs an over-used sample, but Davidson and Riley's intertwining flow turns the song into a success. "My Cutie"'s lighter beat and hints of soul give the MCs some much-needed breathing room. But the album's dominating, insistent tempo returns with "Wreckx-N-Effect," and continues through the final three tracks. This gritty, grinding percussion definitely helps Hard or Smooth succeed as a party album. But it's also where it falls short, since the permeating beat and interwoven samples only suggest "Rump Shaker" without really complementing or bettering it.

tags: wreckx n effect, hard or smooth, 1992, flac,

Arid - Little Things of Venom (1999) ☠

*Belgian first pressing. 
Contains 10 tracks total.
Country: Belgium
Language: English
Genre: Alternative Rock
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☠: Selected by Lass
© 1999 Double T Music
AllMusic Review by William Ruhlmann
As applied to music, the word "arid" means lifeless. One assumes that the Belgian rock quartet who adopted Arid as its name intended the more popular climatic definition, meaning lacking in moisture. (Probably they are unaware that Arid is also a brand of deodorant.) Or maybe they just meant to be ironic, since Arid's music is neither dull nor dry. On the contrary, it is dynamic and works up quite a sweat. The group develops compelling repeated musical figures on which the basic rock instrumentation is often augmented by a string quartet or other instruments, and then lead singer Jasper Steverlinck emotes over them, his rich tenor, which occasionally suggests U2's Bono or Van Morrison. It can be stirring stuff, though as you listen more closely to what Steverlinck is singing (or follow along on the lyric sheet that takes up nearly all of the CD booklet), you may begin to wonder what he's so upset about. Love comes up frequently, but the singer's English as a second language lyrics can be impenetrable even when they aren' t awkwardly constructed. "She'll soon fled the town," he tells us in "World Weary Eyes," and in "Me and My Melody" asks, "Do you fail to understand what is heartily now?" Well, now that you mention it ...

tags: arid, little things of venom, 1999, flac,

December 27, 2019

Various Artists - Pretty In Pink (The Original Motion Picture Soundtrack) ☠

*A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: Pop, Pop Rock
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☠: Selected by Lass
© 1986 A&M Records
AllMusic Review by Stephen Cook
As the auteur of post-punk suburban adolescence, director John Hughes appropriately enhanced his '80s movies with relatively harmless new wave soundtracks. Where earlier films like The Breakfast Club and Sixteen Candles included the occasional Wang Chung or Simple Minds track, though, 1986's Pretty in Pink boasted a full lineup of "rock of the '80s" highlights. Foremost, of course, is the Psychedelic Furs' breakout remake of their 1981 college radio favorite "Pretty in Pink"; while it pales in relation to the raw and electric original, this new version still holds up even with some added horns and a general glossing over of the once hard-driving guitar and drum parts. Even better are tracks by OMD ("If You Leave"), Echo & the Bunnymen ("Bring on the Dancing Horses"), and the Smiths ("Please Please Please Let Me Get What I Want"). These era-defining sides certainly help make lukewarm additions like New Order's "Shell-Shock," INXS' "Do Wot You Do," and Belouis Some's "Round, Round" easy to get through. And for more marginal new wave fare, there's Jesse Johnson's Prince-inspired "Get to Know Ya" and Danny Hutton's pop/rocker "Wouldn't It Be Good." Topped off by Suzanne Vega's respectable reworking of her hit "Left of Center," Pretty in Pink qualifies as one of the more relevant youth culture soundtracks.

tags: various artists, pretty in pink, the original motion picture soundtrack, ost, soundtrack, 1986, flac,

Shades Apart - Eyewitness (1999) ☠

Country: U.S.A.
Genre:Alternative Rock, Pop Rock
Style: Power Pop
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☠: Selected by Lass
© 1999 Universal Records
AllMusic Review by Steve Huey
In the five years between their debut album and 1999's Eyewitness, it's obvious that Shades Apart have learned how to write consistently catchy melodies. Eyewitness is a little too polished to be a straight-up punk rock record, and it sounds a little too indie to fall into the generic post-grunge category -- it falls somewhere in between. But even if they aren't exactly treading musical territory that's uncommon for the '90s, what matters most is that the band has written a strong set of songs, and that's ultimately what pushes the record over the top.

tags: shades apart, eyewitness, eye witness, 1999, flac,