June 30, 2021

Das EFX - Straight Up Sewaside (1993)

By 
 
*U.S. pressing with censored lyrics. 
Contains 14 tracks total.
A photo of the disc is included in the RAR file.

Country: U.S.A.
Genre: Hip-Hop
Label Number: 92265-2

© 1993 EastWest Records America
By the time Sewaside saw the light of day, the public hadn't fully absorbed Das EFX's innovative debut, Dead Serious. The hardcore rap game had barely caught up with the brilliance of their rapid-fire vocal delivery and sample-laden beats. But then again, another crew from Staten Island emerged in 1993 and took the rap game by total storm, leaving the genius of Sewaside somewhat overshadowed by their dominance. However, this change in climate shouldn't overshadow Sewaside as a crucial record in the Das EFX canon. While the duo's methods of madness were slowly emulated by a large plethora of MCs, Das EFX stayed with the same effective blueprint laid down in Dead Serious. By maintaining this consistency, Sewaside lacks the punch in the gut that Dead Serious delivered, but it's still a solid record that completists and newfound fans will equally enjoy.

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Hurricane #1 - Hurricane #1 (1997)

By No comments
 
*U.S. pressing. 
Contains 12 tracks total.
Country: United Kingdom
Genre: Alternative Rock
Style: Britpop
Label Number: 9 46763-2

© 1997 Sire/Warner Bros. Records
Instead of pursuing Ride's shimmering waves of guitar distortion, Andy Bell decided to go Britpop with Hurricane #1. In other words, Hurricane #1's eponymous debut sounds a bit like Oasis, only with a fondness for Madchester rhythms, trancy interludes and extended jams. When the group does pull it all together, they can sound monstrous -- "Let Go of the Dream" and "Stand in Line" have powerful psychedelic overtones, and the jangly "Strange Meeting" is charming. However, too much of Hurricane #1 finds the group struggling with Noelrock, and while it's clear that the band simply doesn't have the brash hooks or intoxicating arrogance of the Gallaghers, they keep fighting ahead. Only when the group opens up toward the end, letting their own blend of trad-rock and psychedelic space-rock come forward, do Hurricane #1 sound like a storm.

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Aldo Nova - Blood On The Bricks (1991)

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Country: Canada
Language: English
Genre: Hard Rock
Label Number: 848 513-2

© 1991 Jambco/Mercury
After a six-year absence, pop-metal pioneer Aldo Nova released Blood on the Bricks in 1991. His self-imposed exile occurred after his unhappiness with 1985's Twitch. It's a bit ironic that Nova, whose splendid self-titled 1982 debut album and single "Fantasy" were hits, had to return with the help of Jon Bon Jovi. Nova helped lay the foundation for the superbly crafted pop-metal sound that Bon Jovi rode to superstardom. Bon Jovi and Nova co-produced the album and co-wrote eight of the ten songs. Blood on the Bricks was also issued on Bon Jovi's vanity label, Jambco, part of Mercury. Unfortunately, the album is generally overproduced and noisy and most of the choruses are shout-along affairs. When Nova produced himself, the songs had rumbling power, but there was a smoothness to them. Nova plays the guitars and virtually all the keyboards and is assisted by the likes of respected bass guitarist Randy Jackson and drummer Kenny Aronoff. "Blood on the Bricks" has a relentless, catchy groove but the lyrics starkly examine a gang fight. A spunky, swaying beat, a nice chorus hook, and a bluesy guitar solo make "Medicine Man" one of the best cuts. "Someday" is a typical power ballad. "Young Love" (co-written by Bon Jovi, Nova, and song doctor Jim Vallance) and "This Ain't Love" are redeemed by Nova's guitar runs -- especially the tones. The bombast is kept to a minimum on "Touch of Madness," and sonically it could have fit on one of Nova's first three albums. The album's highlight is "Bright Lights" and it speaks volumes that this is the only song Nova wrote by himself. At nearly six and a half minutes, Nova is able to stretch out with some wild guitar riffing and a light-speed organ solo. Blood on the Bricks should have been better.

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The Montrose Avenue - Thirty Days Out (1998)

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Country: United Kingdom
Genre: Power Pop
Label Number: 491659 2
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© 1998 Columbia
*No professional reviews are available for this release.

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Teenage Fanclub - Songs From Northern Britain (1997)

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Country: United Kingdom
Genre: Alternative Rock
Label Number: CK 68202

© 1997 Creation/Columbia Recods
No longer the brash, slightly grungy flavor of the month they were in 1992, Songs From Northern Britain finds Teenage Fanclub's trio of singer/songwriters -- Gerard Love, Raymond McGinley, and Norman Blake -- addressing adulthood and responsibility with a bright optimism that sets them apart from many of their contemporaries. From the cheeky yet heartfelt title to the gorgeous cover photographs taken by the band with photographer David Milne in the Scottish Highlands, Songs From Northern Britain is ostensibly a concept album about home and love. Much like the Byrds, the Eagles, and Crosby, Stills, Nash & Young identified themselves with Los Angeles and Topanga Canyon, Teenage Fanclub has become intrinsically linked to Glasgow and rural Scotland. On "Planets," Blake sings, "We're going over the country/And into the highlands/To look for a home." Similarly, on "I Don't Want Control of You," one of the most beautiful affirmations of fidelity in a relationship, Blake writes, "Everyday I look in a different face/Feelings getting stronger with every embrace." The overall effect is a feeling that the members of Teenage Fanclub are happy with who they are and who they love and see these notions as universal ideals. Musically, the album is more arranged than past releases and delves further into a folky, acoustic sound that fleshes out their Big Star fascination with some sweet harmonies à la the Byrds. There is even a slight bit of country twang mixed into these eminently hummable songs. This isn't to say that Teenage Fanclub has gone completely acoustic, though, as "Planets" features the sonic rush of a Moog synthesizer and fuzzy electric guitars rock pleasantly throughout much of the album. While Songs From Northern Britain may be too gentle and subtle for those listeners not willing to give it more than one spin, it is a resolutely beautiful album that will most likely stand as Teenage Fanclub's masterpiece.

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June 29, 2021

The Inbreds - Kombinator (1994) ☠

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*A photo of the disc is included in the RAR file.
Country: Canada
Language: English
Genre: Alternative Rock
Label Number: 92606-2
☠: Selected by Lass
© 1994 Tag Recordings
Kombinator starts with a typically Canadian approach to mellow, melodic, mid-tempo pop, adds a nicely stratchy recording technique and few twangy, rustic touches, and then runs through some appealingly written songs -- the result is entirely pleasant, achieving a clear, friendly, and unironic tone that can be greatly appreciated. It's not the sort of album that will be flying off of record store shelves and getting listeners' attention, but it accomplishes its goals solidly enough to deserve a good deal of credit.

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Shaquille O'Neal - You Can't Stop The Reign (Promo CD) (1996)

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*Promotional disc. 
Contains 19 tracks total. 
A photo of the disc is included in the RAR file.

Country: U.S.A.
Genre: Hip-Hop
Style: Pop Rap
Label Number: INTD-90087

© 1996 T.W.IsM. Records
Released a week after The Best of Shaquille O'Neal, You Can't Stop the Reign demonstrates that the basketball player is continuing to improve as a rapper. Of course, he is helped by a bevy of guest stars, including Mobb Deep, the Notorious B.I.G., Fat Joe, Bobby Brown and Jay-Z, but what makes the album noteworthy is how Shaq's rapping has improved. Of course, even his improved speed and versatility can't excuse the occasional pedestrian funk of the backing tracks, but You Can't Stop the Reign remains enjoyable, nevertheless.

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Various Artists - Raw Materials (Joints From The UK Hip-Hop Underground) (1999)

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*A photo of the disc is included in the RAR file.

Country: United Kingdom
Genre: Hip-Hop
Label Number: STONECD103

© 1999 Stonegroove Recordings
*No professional reviews are available for this release.

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Kula Shaker - Peasants, Pigs & Astronauts (1999)

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Country: United Kingdom
Genre: Alternative Rock
Style: Britpop
Label Number: COL 493142 2
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© 1999 Columbia
AllMusic Review by Stephen Thomas Erlewine
Fame was not kind to Kula Shaker, largely because Crispian Mills could not keep his mouth shut. Speaking like the child of privilege he is, Mills alienated a fair segment of the British pop audience and music press with presumptuous, misguided comments about mysticism and spirituality, as well as a general arrogance. A mere eight months after the release of their debut, K, Kula Shaker was dreadfully overexposed and the group's hippy-dippy neo-psychedelicism and rock classicism were falling out of favor, leaving them with little choice but to retreat to work on their second record. It wasn't quite as easy as that. After rejecting their original producer, John Leckie, and George Drakoulias, they brought Bob Ezrin aboard and began a lengthy recording process. By the time their second record, Peasants, Pigs & Astronauts, was released in the spring of 1999, it had been two-and-a-half years since K appeared in stores -- enough time to regulate the group to footnote status for many observers. You wouldn't know that from the grand, theatrical sound of Peasants, however. The record comes on as a blockbuster, deluging the listener with layers of psychedelic effects, swirling guitars, appropriated chants, Indian instruments, Deep Purple jams, Beatles references, and mystical babble. On a purely sonic level, it's easy to admire what Kula Shaker achieve. They have no shame in recreating the summer of love in a '90s studio and, with Ezrin's help, they've created some enticing, sugary Technicolor treats. The problem is, the high fades away pretty quickly, leaving very little of substance behind. As a songwriter, Mills, for all his portentous posturing, doesn't have a whole lot to say and he doesn't really know how to say it. Only a handful of songs -- "Shower Your Love," "108 Battles" -- are memorable outside of their sonic trappings, which leaves Peasants, Pigs & Astronauts in pretty much the same position as K. It's the kind of record that sounds pretty impressive as it plays, but makes almost no lasting impression.

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Kula Shaker - Strangefolk (2007)

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Country: United Kingdom
Genre: Neo-Psychedelia
Label Number: SFKS001CD
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© 2007 EMI
AllMusic Review by Stephen Thomas Erlewine
Tommy Duncan once sang time changes everything but he never lived to hear Kula Shaker. The British quartet is impervious to time just as they are immune to criticism; they are what they are and nothing will change them, as their 2007 album Strange Folk proves. Ten years on from their briefly successful Noel-rock era debut K, the band sounds exactly the same -- an ungainly mix of early Deep Purple, Small Faces and Traffic spiced with a hint of Beatles, apparent in both swirling psychedelic hooks and George-ian mysticism. They are deeply, inadvertently silly -- "Great Dictator (Of the Free World)," a stab at anti-Bush criticism, is powered by the unforgettable chorus of "I'm a dick/I'm a dick/I'm a dictator" -- their jams are mushy and rudderless, and they never quite seem aware that their inability to resist clichés turns their exceptional taste in '60s rock & roll into something terribly tacky, but their gangly grotesqueness is the key to their limited charm. It is hard not to listen to Kula Shaker and their banal, blissfully insulated retro-rock and not be a little amazed that a band can get so many right elements so wrong. If you share some of their taste, there are two options: to get offended or to enjoy their ongoing quest at public embarrassment as they prove the truth in what Neil Innes once sang: "How Sweet to Be an Idiot."

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Pete Rock - Soul Survivor II (2004)

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Country: U.S.A.
Genre: Hip-Hop
Label Number: RR0032CD
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© 2004 Rapster Records
AllMusic Review by John Bush
Though by the mid-'90s he had earned his status as one of the finest producers in hip-hop, Pete Rock's solo career didn't get off to a good start. He split with C.L. Smooth in 1995 and moved back into independent production for several years, occasionally getting together a project with personal appeal, like his brother's group, InI. Finally signed to Loud/RCA for his first solo album in 1998, Rock called in fans and friends from Wu-Tang Clan to Kool G Rap to Beenie Man for a very promising record. Despite some great material, it wasn't a commercial success and he was unceremoniously dropped from the label (with one final disrespect: five years later, the Loud website was still proclaiming the release of Soul Survivor on November 10, 1998). More productions followed before he signed to Rapster, which treated him more like an artist than a meal ticket, and reissued some old projects (Lost and Found) before following through with the sequel to Soul Survivor. Surprisingly, Soul Survivor II is a much better record than the original, and the best production album Rock's ever done on his own. He's less reliant on hooks than in the past, instead content to simply recruit a cast of great rappers and give them enough to run with. And with more focus (i.e., fewer tracks) this time out, the quality level has gone up. On the second track, "We Good," Kardinal Offishall gets the high honor of Rock's best production (or at least, the most immediately gratifying), and doesn't let it slip with a barrage of dense but freewheeling rhymes. Next on the mike is Pharoahe Monch, the recipient of a classic Rock track (airy effects and slightly stuttered beats) called "Just Do It," on which he preaches self-reliance with informed lyrics. Pete Rock's two-song reunion with C.L. Smooth, "It's a Love Thing" and "Appreciate," illustrate that Smooth still has plenty of what originally gave him his name but hasn't come too far from ten years ago. More than any of his other records, Soul Survivor II displays Rock crafting his productions to fit the rappers -- just compare the tense track that drives the politicized "Warzone" for Dead Prez to the smoothed-out '70s samples and horns laid underneath GZA and RZA for "Head Rush."

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Pete Rock - PeteStrumentals 2 (2015)

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Country: U.S.A.
Genre: Hip-Hop
Style: Instrumental
Label Number: MMG-00071-2
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© 2015 Mellow Music Group
*No professional reviews are available for this release.

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Purple City - Road To The Riche$: The Best of The Purple City Mixtapes (2005)

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*A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: Hip-Hop
Style: Gangsta Rap, Pop Rap
Label Number: BBG-CD-50
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© 2005 Babygrande
Review by Allmusic.com
Purple City is more an attitude created and cultivated by rapper/producer/entrepreneur Shiest Bub than any particular location (although it does embody the spirit of the Harlem and Washington Heights sections of New York City where it originated). As he rose in the hip-hop mixtape world, Shiest Bub routinely adorned himself in purple, producing an indelible image as he joined up with Agallah and Un Kasa, and aligned with the powerful Diplomats crew to become one of the strongest East Coast mixtape producers.

ROAD TO THE RICHES, a title recalling the like-minded seminal 1989 hit by Kool G. Rap, brings Purple City's underground world out into the daylight, collecting the strongest tracks from the group's numerous mixtapes for its official debut. The result is anything but patched together, as the tracks blend almost supernaturally for a hazily enjoyable record. The Purple City sound combines a 1990s bass-heavy, stripped-down vibe with an odd pop sensibility for a sinister and strange aesthetic. On tracks like "Winning" and "Purple City Byrdgang," the raps are laid down hard, yet somehow drift above the unearthly melodies for a unique listening experience. With its inventive 21 tracks, ROAD TO THE RICHES is a strong coming-out party for the Purple City set.

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Helloween - Helloween (2021)

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*A photo of the disc is included in the RAR file.
Country: Germany
Language: English
Genre: Power Metal
Label Number: 6013-2
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© 2021 Nuclear Blast
Review by Gareth Williams for Wall of Sound AU.com
As with any band who has had lineup changes though their history fans all have their favourite. Dio era Black Sabbath v Ozzy era, Van Roth v Van Hagar or Paul Dianno v Bruce Dickinson v Blaze Bailey era Iron Maiden – just kidding no one prefers Blaze era Maiden… Helloween are no different. The masters and pioneers of the European power metal sound have had their share of line-up changes, but one thing every fan can agree on regardless who was lead vocals the band delivered some truly great music. They’ve never shied away from doing things their own way and getting the pumpkins united for a tour (and a song) was one thing, but this is a new era for the band.

Firstly, and most importantly this album is pure unadulterated 100% Helloween. The band have in the past strayed from the power metal path on occasion with varying degrees of success, not so this time. The first track Out For Glory is a perfect example of this. The united pumpkins collaboration is on full show with this Michael Weikath composition. The veteran guitarist gives a vehicle for each lead vocalist to shine. Andi Deris’ harsher style is in perfect contrast to the great Michael Kiske’s soaring smooth operatic vocals, throw in the triple threat NWOBHM galloping guitars courtesy of Weikath, Sascha Gerstner and the legendary Kai Hansen, a touch of atmospheric synth, the driving rhythm section of Markus Grosskopf and Daniel Loeble and you get a feel for what is in store on the hour long self-titled release. But wait there’s more! Let’s be honest, when it comes to power metal more is always more, in this case the more is in the form of OG vocalist and guitarist Kai Hansen. On first listen his vocal delivery had me reaching for the media release to check if these crazy Germans hadn’t grabbed Judas Priest’s Rob Halford for a guest appearance. No mention of the Metal God just Hansen taking it to the next level. This is as strong an opening of any Helloween album in recent memory.

From that blistering opening, things calm down a little with the second track and latest single Fear of the Fallen. This song is pure Deris, the vocalist put pen to paper and produced an absolute banger! It’s beautiful and complex from the acoustic intro, the chugging riffs into the double threat of Deris and Kiske delivering a rousing chorus, all wrapped up in an orchestral arrangement. On initial listen its hard not to think the band has gone out too strong too early in the album, but subsequent tracks put any doubts to bed. The third cut is fun and uplifting, it delivers positive vibes by the truckload. It’s hooky as anything, the perfect antidote for a world gone mad … “yesterday is history, tomorrow is a mystery”  At a time when things change daily and hourly the best thing we can do is stay positive, help those around us who’re struggling and have the Best Time.

If there’s one thing we know about Helloween, they don’t do filler, even the B-sides are killer, such is the case for the Markus Grosskopf composition ‘Indestructible’. The idea for the song came from the energy the band soaked up on the Pumpkins United Tour, the seven together on stage for over two hours, eight feet tall, bullet proof and indestructible. It’s a four minute and forty three second fun ride, oozing positivity. On an album where each track is stronger than the last it still manages to be a standout.

Speaking of standout’s, the final track is an absolute belter! Released as the first single, only Helloween would run with a track nearly thirteen minutes long. I’m not going to use the E word as it’s overused and doesn’t do this song justice. But it is in every sense of the word. ‘Skyfall’ is like four songs in one, at least. It’s the tale of an alien who crash lands on Earth, a rollicking science fiction joy ride of massive proportions. With more layers than Shrek’s onion, the song twists and turns like a heavy metal rollercoaster. It should be noted the single and subsequent video is only a measly seven minutes long, so there’s five minutes of pumpkin spice missing, and believe me to truly appreciate this song for what it is, you have to hear the full album version.

If Helloween made their mark on that other thirteen minute opus ‘Keeper Of The Seven Keys’ with ‘Skyfall’, their authority is without question. There’s no meandering bridge here, each section of the song is deliberate and with purpose, as a listener you’re taken on an enthralling journey. Indeed this can be said for the album in general, I don’t want to use the word masterpiece but this self-titled release can take its place alongside the best albums metal has to offer. Helloween have released some staggeringly great music over the last few decades, this is up there with the best, if not the best.

Happy happy Helloween, this is the perfect pumpkin 10/10

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June 28, 2021

Somethin' For The People - Somethin' For The People (Promo CD) (1995) ☠

By , No comments
 
*Promotional disc. 
Contains 16 tracks total. 
Country: U.S.A.
Genre: R&B
Label Number: 9 46060-2
☠: Selected by Lass
© 1993-1995 Warner Bros. Records
*No professional reviews are available for this release.

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Quo - Quo (1994) ⚓

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*A photo of the disc is included in the RAR file.
Country: Australia/U.S.A.
Genre: Hip-Hop
Style: G-Funk, Pop Rap
Label Number: EK 57689
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© 1994 MJJ Music
*No professional reviews are available for this release.


 
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Kula Shaker - K (1996)

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Country: United Kingdom
Genre: Alternative Rock
Style: Britpop
Label Number: SHAKER 1CDK
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© 1996 Columbia
AllMusic Review by Stephen Thomas Erlewine
By the mid-'90s, most bands had abandoned the sounds and sensibilities of late-'60s psychedelia, which is what makes Kula Shaker's debut album, K, such a weird, bracing listen. The band doesn't simply revive the swirling guitar and organ riffs of psychedelia, it embraces the mysticism and Eastern spirituality that informed the music. On both "Tattva" and "Govinda," lead singer Crispian Mills has adapted portions of Sanskrit text for the lyrics, chanting Indian mantras without a hint of embarrassment. Similarly, Kula Shaker are unashamed about their devotion to Hendrix, Traffic, and the Beatles, cutting their traditionalist tendencies with an onslaught of volume, overdriven guitars, and catchy melodies -- though they have a song called "Grateful When You're Dead," all of their psychedelic sensibilities derive from British rock, not the more experimental American counterpart. Kula Shaker may play well -- they have a powerful rush that makes you temporarily forget how classicist their music actually is -- but they still have trouble coming up with hooks. About half the record ("Hey Dude," "Tattva," "Govinda," "Grateful When You're Dead") has strong melodies, while the rest just rides by on the band's instrumental skills. Consequently, much of K doesn't stick around once the record is finished, but the singles remain excellent blasts of colorful neo-psychedelia.

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Noisy Mama - Everybody Has One (1991)

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Country: U.S.A.
Genre: Hard Rock
Label Number: 7 91399-2

© 1991 ATCO Records
*No professional reviews are available for this release.

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Tipsy Wit - Songs & Dreams (1991)

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Country: France
Language: English
Genre: Hard Rock
Label Number: 582 902 

© 1991 Semetery Records
*No professional reviews are available for this release.

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Xzibit - At The Speed of Life (1996)

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Country: U.S.A.
Genre: Hip-Hop
Label Number: RADV 66816-2

© 1996 Loud Records
Xzibit's debut album, At the Speed of Life, is an excellent mixture of hardcore showcases for his lyrical virtuosity and ruminative, reflective hip-hop ballads. Though his rhyming skills are impeccable, the production from tha Alkoholiks' E-Swift, Muggs, and Diamond D gives the album the musical weight it needs to keep it interesting throughout the album.                 

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Xzibit - 40 Dayz & 40 Nightz (1998)

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Country: U.S.A.
Genre: Hip-Hop
Label Number: 1840-2

© 1998 Loud/RCA Records
The dysfunctional member of the Likwit Crew once again re-emerged to lyrically decapitate fake MCs. Xzibit's verbal asperity and rough, blunted diction is unmistakable. The sophomore jinx is null and void as Xzibit rips line after line over a grab bag of sizzling tracks. Sir Jinx and Xzibit combine production duties on the haunting "Torture Chamber," which incorporates elements of Ice Cube's "When Will They Shoot." The propensity at which Rass Kass, Saafir, and Xzibit drop bombs over "3 Card Molly" is sick, with each flipping an exceptional verse. Another gem is the marvelously crafted, Jesse West-produced "What U See Is What U Get" in which Xzibit touches all bases over a fluctuating piano and synthesizer track. On "Handle Your Business," Xzibit and Defari coalesce to show and prove for Cali over an expansive well-constructed track from DJ Pen One. In addition, Xzibit gives you a survival guide for the City of Angels with "Los Angeles Times." When the Likwit Crew convenes on a cut, the results are usually splendid, and "Let It Rain" is no exemption to that rule. The Liks, King T, and Xzibit drench this E-Swift track, with Tash shining in grand fashion. A newcomer to the Likwit family, Montageone touches down on the flame-broiled "Recycled Assassins." Also, Xzibit brings the heat in ridiculous ways on "Focus" and "Deeper." 40 Dayz and 40 Nightz is sure to whet your appetite with a nonstop accumulation of lyrics and a prolific variety of production.                 

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June 27, 2021

Icon - Right Between The Eyes (1989)

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Country: U.S.A.
Genre: Hard Rock
Label Number: 7 82010-2
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© 1989 Megaforce/Atlantic
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Rosanna's Raiders - Clothed In Fire (1989)

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Country: Australia
Genre: Hard Rock
Label Number: SPCN7900604316
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© 1989 Refuge Records
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The Four Horsemen - Nobody Said It Was Easy (1991)

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*First pressing. 
Contains 12 tracks total.
Country: U.S.A.
Genre: Hard Rock
Label Number: 9 26561-2
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© 1991 Def American Recordings
AllMusic Review by Eduardo Rivadavia
For a brief moment at the start of the '90s, everyone seemed to be doing the retro-rock thing, and while most bands were digging back to the late '60s for inspiration, the Four Horsemen's ambitions went no further than the late '70s -- more specifically AC/DC. There's not a single original riff on all of their first full album, Nobody Said It Was Easy, mind you, but the band's raunchy guitars and gritty delivery make up for this in spades. And had he not been arrested seemingly every six months for one misdemeanor or another, outlaw frontman Frank Starr may have even challenged Axl Rose for his "king of the bad boys" crown. Starr's whiskey and broken glass vocal style literally ignites the album's best moments, including the title track, "Can't Stop Rockin'," and the incredible "Rockin' Is Ma' Business." And while "Hot Head lifts its main riff directly from AC/DC's "Rock'n'Roll Damnation," the slightly more original "Tired Wings" actually received some MTV rotation thanks to its mellower Southern rock vibe and slide guitars. Rounded out by the easy strut of "Moonshine," the all-out fury of "Lookin' for Trouble," and the lazy jamming of "I Need a Thrill/Somethin' Good," this album scores low on originality, but high on honesty and charisma. A sure winner for lovers of no-image, no-class rock & roll.

tags: the four horsemen, nobody said it was easy, 1991, flac,
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