June 30, 2022

Dynamic Syncopation - Dynamism (1999) ☠

Country: United Kingdom
Genre: Hip-Hop
Label Number: ZEN CD43
☠: Selected by Sentinel
© 1999 Ninja Tune
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tags: dynamic syncopation, dynamism, 1999, flac,

Joe Jackson - Look Sharp! (2001 Remastered Edition)

*Reissued and remastered in 2001 by A&M Records
Contains 2 bonus tracks. 13 tracks total.
Country: United Kingdom
Genre: New Wave
Label Number: 314 586 194-2

© 1979-2001 A&M Records
A brilliant, accomplished debut, Look Sharp! established Joe Jackson as part of that camp of angry, intelligent young new wavers (i.e., Elvis CostelloGraham Parker) who approached pop music with the sardonic attitude and tense, aggressive energy of punk. Not as indebted to pub rock as Parker and Costello, and much more lyrically straightforward than the latter, Jackson delivers a set of bristling, insanely catchy pop songs that seethe with energy and frustration. Several deal with the lack of thoughtful reflection in everyday life ("Sunday Papers," "Got the Time"), but many more concern the injuries and follies of romance. In the caustic yet charming witticisms of songs like the hit "Is She Really Going Out With Him?," "Happy Loving Couples," "Fools in Love," and "Pretty Girls," Jackson presents himself on the one hand as a man of integrity seeking genuine depth in love (and elsewhere), but leavens his stance with a wry, self-effacing humor, revealing his own vulnerability to loneliness and to purely physical attraction. Look Sharp! is the sound of a young man searching for substance in a superficial world -- and it also happens to rock like hell.

tags: joe jackson, look sharp, 1979, 2001, flac,

Freddie Foxxx - Freddie Foxxx Is Here (1989)

Country: U.S.A.
Genre: Hip-Hop
Label Number: MCAD-6352

© 1989 MCA Records
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tags: freddie foxxx, freddie foxxx is here, 1989, flac,

Cloak N Dagga - Def Con Zero (2005)

Country: U.S.A.
Genre: Hip-Hop
Label Number: FKCD 8813

© 2005 Head Trauma/First Kut Organization
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tags: cloak n dagga, def con zero, 2005, flac,

Orchestral Manoeuvres In The Dark - The Best of OMD (1988)

*European pressing. 
Contains 18 tracks total. 
Country: United Kingdom
Genre: Synth Pop
Label Number: CDOMD 1

© 1988 Virgin Records
Andy McCluskey and Paul Humphreys make up Orchestral Manoeuvres in the Dark, who were responsible for some of the catchiest and brightest synth pop that the '80s had to offer. O.M.D.'s material was a step above other keyboard pop music of the time, thanks to the combination of intelligently crafted hooks and colorful rhythms that bounced and jittered with pristine charm. Their squeaky-clean brilliancy initiated by both their synthesizers and subdued yet attractive vocal styles gave them a more mature sound over bands like Duran Duran and A Flock of Seagulls, who were attracting a younger audience. The Best of O.M.D. is an excellent compilation of their polished music, starting out with less provocative material like the basic electronic wash of "Electricity" and the bare but ebullient fervor of "Enola Gay." As this set moves along, so does the craftiness of their work, which is evident on tighter sounding songs like "Tesla Girls" and "Locomotion," where the intricacy of their formula begins to take a more resounding shape. O.M.D.'s best work came from 1985's Crush album, which harbored the midnight airiness found in "So in Love" as well as the adolescent innocence that streamed its way through "Secret," which are two of the best tracks on this set. Even though "If You Leave" was the highlight of Pretty in Pink's soundtrack, its adult feel and smooth transition from stanza to chorus makes it their most memorable song. With only four singles reaching the Top 40 in the '80s, all included here, the 18 tracks that make up this compilation prove that O.M.D.'s music was far more consistent and illuminating than the charts represent.

tags: omd, the best of omd, 1988, flac,

O.G. Funk - Out of The Dark (1993)

Country: U.S.A.
Genre: Rapcore, Funk
Label Number: RCD 10303

© 1993 Rykodisc
In contrast to the multiple side projects that involve Parliament-Funkadelic alumni (such as Slave Master and Hardware), O.G. Funk is actually a P-Funk project through and through. Some of P-Funk's most legendary graduates -- Bernie WorrellBilly "Bass" Nelson, Jerome "Bigfoot" Brailey, and Gary "Mudbone" Cooper, along with such collaborators as Grandmaster Melle Mel and Bill Laswell -- construct a sound that's very close to mid-period Funkadelic records such as Let's Take It to the Stage and Cosmic Slop. The music ranges from the "Maggot Brain"-like epic "Music for My Brother," an instrumental tribute to Eddie Hazel, to the thundering funk-rock of "Yeah Yeah Yeah" (which recasts the intro to Funkadelic's "Music for My Mother") to "I Wanna Know" (a reworking of "I Wanna Know If It's Good to You"). Unfortunately, such borrowing does highlight the album's one noticeable flaw -- frequently, it seems that Nelson and Brailey are simply resting on their laurels by rehashing their earlier, more successful Funkadelic songs. It is certainly true, though, that Worrell, Nelson, and Brailey have every right to reaffirm their connection to a past they had a big part in creating. (It doesn't hurt that the musicianship is top-notch.) The album also has enough original tracks, such as "Don't Take Your Love From Me" and the title track, to be worth one's while. Out of the Dark should be required listening for P-Funk fans, but even newcomers will find plenty to enjoy here.

tags: og funk, out of the dark, 1993, flac,

Milk - Never Dated (1994)

Country: U.S.A.
Genre: Hip-Hop
Label Number: AMCD-3021

© 1994 American/First Priority Music
The Never Dated EP lays out decent hip-hop that puts a more urban spin on Beastie Boys-style rhyming. Ad Rock guests on "Spam," and Rick Rubin even turns up as executive producer.

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tags: milk, never dated, 1994, flac,

AG - The Dirty Version (1999)

Country: U.S.A.
Genre: Hip-Hop
Label Number: AG8888

© 1999 Silva Dom Records
Though billed as A.G.'s first solo effort, The Dirty Version is actually a collaborative effort between A.G. and his Ghetto Dwella affiliates (D-Flow and Party Arty). Wherever A.G. emerges, beats are sure to follow, and the production (ShowbizPremierBuckwildDiamond D, and Lord Finesse) is the LP's backbone. Even though A.G.'s frequent collaborations with the Ghetto Dwellaz create disconcerting gaps in continuity, there's no disputing the groupings between A.G. and his esteemed D.I.T.C. cohorts, "Drop It Heavy" featuring KRS-One and Big Pun, "Weed Scented" featuring Guru and O.C., and "Underground Life" featuring Fat Joe and G.D. While A.G. runs the risk of overexposing himself before the highly anticipated D.I.T.C. project, this serves as an adequate appetizer before the impending feast.

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tags: ag, the dirty version, 1999, flac,

Pearl Jam - Lost Dogs (2003)

Country: U.S.A.
Genre: Grunge, Post Grunge
Label Number: E2K 85738

© 2003 Epic Records
At the peak of alt-rock in the '90s, Pearl Jam were the biggest band in the world. Nirvana may have kick-started the alt-rock explosion, but not long after Nevermind knocked Michael Jackson's Dangerous off the top of the charts, Pearl Jam overtook their fellow Seattleites, selling many more copies of Ten than Nevermind, as the album achieved saturation play on radio and MTV, thereby setting off a wave of imitators, ranging from Stone Temple Pilots to Seven Mary Three and scores of bands that have been lost to time. They defined the sound of the decade, at least in terms of mainstream alt-rock. But, like all their fellow grunge rockers (though not like Smashing Pumpkins), they bristled at the notion of stardom, and ducked the spotlight. After following Ten with the effectively scattershot Vs. in 1993, each subsequent record played to a smaller audience, partially because the group decided to follow an idiosyncratic muse while shutting out the outside world by doing few videos and interviews and then sinking into a long rather futile battle with Ticketmaster that sapped their strength, as well as their popularity. By the end of the decade, they were selling far fewer records and they had the occasional hit -- such as the fluke Top Ten "Last Kiss" (included on Lost Dogs) -- but they were a far cry from being the biggest band in the world, even if they retained a passionate following.

The shift from world's biggest band to world's biggest cult band was a deliberate move, of course, one that came about through their precisely crafted, often humorless, deliberately idiosyncratic records that came after Vs.. If a song didn't fit the specific mood of an album, it was shelved. This meant that there was a lot of material that was never heard (apart from the occasional concert or bootleg, naturally), or some of it drifted out on singles released through their fan club. Then, it being the '90s, the golden age of the multipart international single and benefit compilation albums, there were a number of officially released songs that never made it to a proper Pearl Jam album. These two things meant that a Pearl Jam rarities collection was necessary, and when they reached the end of their contract with Epic ten years after Ten, the group assembled the double-disc, 30-track set Lost Dogs. Completists, who likely have much of this material anyway, should note that this is not a complete collection of B-sides and non-LP tracks -- there's nothing from the Singles soundtrack, the Merkinball EP is absent, scores of live B-sides are thankfully left behind. Instead, this is a selection of the best B-sides, stray singles, and compilation tracks, enhanced by no less than 11 previously unreleased cuts and presented in a non-chronological sequence. This approach has a considerable benefit for the band, since, for one, it doesn't play like a dumping ground for rarities; like all Pearl Jam albums, it follows its own internal logic and has its own flow. Better still, the album benefits from what it chronicles: the loosest, hardest-rocking, most relaxed, and most intimate music the band cut. Since their proper albums are so somber and tightly controlled, it seemed as if the band didn't have a sense of humor, or even gave themselves a chance to breathe. These songs not only prove that assertion false; they capture what the band sounded like at its peak -- they capture their passion, their open-heartedness, their stance as true believers. This spirit was damped on the albums since they deliberately shied away from it and obscured it with ventures into experimentalism, but here, they not only sound committed but also eclectic and alive. This is where the nonchronological sequencing is a plus -- everything here sounds like it could date from their heyday of the first of the '90s, even though much of it dates from later. This is further proof that Pearl Jam consciously turned away from the big, anthemic sound and spirit that won them a mass audience with Ten -- they still had the songs and sound, they just chose to bury it. Lost Dogs crackles with that passion and it has another advantage: unlike most of Pearl Jam's album, it's a fun, compulsive listen. More than any other album in its catalog, Lost Dogs captures what Pearl Jam stood for and what it felt like at their peak. It may not have any of their defining songs -- apart from concert favorite "Yellow Ledbetter," that is -- but it does define their spirit, which is why, against all odds, it's the best album Pearl Jam has yet released.

tags: pearl jam, lost dogs, 2003, flac,

June 29, 2022

Pearl Jam - Lightning Bolt (2013)

Country: U.S.A.
Genre: Alternative Rock
Label Number: B0018982-02

© 2013 Monkeywrench/Republic Records
Perhaps it's destined that a band who considered the Who and Neil Young idols would have no quarrel with middle age; nevertheless, the settled nature of Pearl Jam's Lightning Bolt comes as a bit of a jolt. Long ago, Pearl Jam opted out of the rat race, choosing to abandon MTV and album rock radio, ready to take any fans who came their way, and in a way, Lightning Bolt -- their tenth studio album, arriving 22 years after the first -- is a logical extension of that attitude, flirting with insouciance even at its loudest moments. Often, this record seems to ignore the very idea of immediacy; even when the tempos are rushed and the amplifiers are revved up, Pearl Jam never quite seem to be rocking with abandon, choosing to settle into comforting cacophony instead. Then again, nothing on Lightning Bolt -- not the wannabe breakneck rocker "Mind Your Manners," not the tightly coiled title track, not the glam stomp of "Let the Records Play" -- proceeds with any manner of urgency, with even the loudest rockers unveiled at a measured pace that allows plenty of space for solos by Mike McCready. The guitarist has room to roam and the band has a supple, natural interplay that only comes from almost 30 years of collaboration, but here more than ever, all the emotional notes seem to derive from Eddie Vedder, who is not only the chief songwriter/lyricist but a spiritual touchstone. Eying the milestone of 50, Vedder is very comfortable in his skin: he's no longer raging against the dying light or tilting at windmills, he's choosing his battles, knowing when to lie back so he can enjoy the rush of rock pushed out from his familiar, but never lazy, colleagues. This unhurriedness may seem to run counter to the rebellious spirit of rock & roll, but for all their insurrectionist acts, Pearl Jam weren't upstarts: they eagerly accepted the torch of arena rock when it was handed to them. On Lightning Bolt, they've grown into that classic rock mantle, accentuating the big riffs and bigger emotions, crafting songs without a worry as to whether they're hip or not and, most importantly, enjoying the deep-rooted, nervy arena rock that is uniquely their own.

tags: pearl jam, lighting bolt, 2013, flac,

Chali 2na - Fish Market (2004)

Country: U.S.A.
Genre: Hip-Hop
Label Number: CHF-1001

© 2004 Movement
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tags: chali 2na, fish market, 2004, flac,

KRS‐One - The Mix Tape (2002)

Country: U.S.A.
Genre: Hip-Hop
Label Number: KOC-CD-8458

© 2002 Koch Records
KRS-One found himself in a war of words in 2002, as the young prince of mainstream hip-hop Nelly sought out a battle of epic proportions; little did he know what he had gotten himself into. Although KRS-One has built a reputation for releasing quality, reggae-tinged hip-hop over the last decade, on The Mix Tape he allows his thoughts to be shared with the masses, including the sensational retaliation on "Ova Here." While the album is 13 tracks long, there is very little material actually offered up, as more or less the intended goal was to release the lead single as soon as possible and let KRS-One's opinions be aired. Even with his scathing assessment of the current rap scene, this respected MC handles himself with dignity and class, using his intelligence to spark the war of words instead of his ego. As of such, The Mix Tape is a great, albeit brief, trip through the mind of KRS-One, and a thoroughly enjoyable listen.

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tags: krs one, the mix tape, 2002, flac,

Temple of The Dog - Temple of The Dog (Deluxe Edition) (2016)

*Reissued in 2016 by A&M Records
This pressing contains a new mix by Brandon O' Brian 
and has been remastered by Billy Joe Bowers at Casa De Amor. 
This is a 2 disc set. Disc 1 contains 13 tracks total. 
Disc 2 contains 12 tracks total.

Country: U.S.A.
Genre: Grunge
Label Number: B0025509-02
.FLAC via Florenfile (Disc 1)
              *****
.AAC 256 kbps via Florenfile


© 1991-2016 A&M Records
AllMusic Review by Steve Huey
Featuring members of Soundgarden and what would soon become Pearl Jam, Temple of the Dog's lone eponymous album might never have reached a wide audience if not for Pearl Jam's breakout success a year later. In turn, by providing the first glimpse of Chris Cornell's more straightforward, classic rock-influenced side, Temple of the Dog helped set the stage for Soundgarden's mainstream breakthrough with Superunknown. Nearly every founding member of Pearl Jam appears on Temple of the Dog (including the then-unknown Eddie Vedder), so perhaps it isn't surprising that the record sounds like a bridge between Mother Love Bone's theatrical '70s-rock updates and Pearl Jam's hard-rocking seriousness. What is surprising, though, is that Cornell is the dominant composer, writing the music on seven of the ten tracks (and lyrics on all). Keeping in mind that Soundgarden's previous album was the overblown metallic miasma of Louder Than Love, the accessibly warm, relatively clean sound of Temple of the Dog is somewhat shocking, and its mellower moments are minor revelations in terms of Cornell's songwriting abilities. It isn't just the band, either -- he displays more emotional range than ever before, and his melodies and song structures are (for the most part) pure, vintage hard rock. In fact, it's almost as though he's trying to write in the style of Mother Love Bone -- which makes sense, since Temple of the Dog was a tribute to that band's late singer Andrew Wood. Not every song here is directly connected to Wood; once several specific elegies were recorded, additional material grew quickly out of the group's natural chemistry. As a result, there's a very loose, jam-oriented feel to much of the album, and while it definitely meanders at times, the result is a more immediate emotional impact. The album's strength is its mournful, elegiac ballads, but thanks to the band's spontaneous creative energy and appropriately warm sound, it's permeated by a definite, life-affirming aura. That may seem like a paradox, but consider the adage that funerals are more for the living than the dead; Temple of the Dog shows Wood's associates working through their grief and finding the strength to move on.

tags: temple of the dog, temple of the dog album, deluxe edition, 2016, flac,

Temple of The Dog - Temple of The Dog (1991)

*First pressing. 
Contains 10 tracks total.
Country: U.S.A.
Genre: Grunge
Label Number: 75021 5350 2
.FLAC via Florenfile
.AAC 256 kbps via Florenfile


© 1991 A&M Records
AllMusic Review by Steve Huey
Featuring members of Soundgarden and what would soon become Pearl Jam, Temple of the Dog's lone eponymous album might never have reached a wide audience if not for Pearl Jam's breakout success a year later. In turn, by providing the first glimpse of Chris Cornell's more straightforward, classic rock-influenced side, Temple of the Dog helped set the stage for Soundgarden's mainstream breakthrough with Superunknown. Nearly every founding member of Pearl Jam appears on Temple of the Dog (including the then-unknown Eddie Vedder), so perhaps it isn't surprising that the record sounds like a bridge between Mother Love Bone's theatrical '70s-rock updates and Pearl Jam's hard-rocking seriousness. What is surprising, though, is that Cornell is the dominant composer, writing the music on seven of the ten tracks (and lyrics on all). Keeping in mind that Soundgarden's previous album was the overblown metallic miasma of Louder Than Love, the accessibly warm, relatively clean sound of Temple of the Dog is somewhat shocking, and its mellower moments are minor revelations in terms of Cornell's songwriting abilities. It isn't just the band, either -- he displays more emotional range than ever before, and his melodies and song structures are (for the most part) pure, vintage hard rock. In fact, it's almost as though he's trying to write in the style of Mother Love Bone -- which makes sense, since Temple of the Dog was a tribute to that band's late singer Andrew Wood. Not every song here is directly connected to Wood; once several specific elegies were recorded, additional material grew quickly out of the group's natural chemistry. As a result, there's a very loose, jam-oriented feel to much of the album, and while it definitely meanders at times, the result is a more immediate emotional impact. The album's strength is its mournful, elegiac ballads, but thanks to the band's spontaneous creative energy and appropriately warm sound, it's permeated by a definite, life-affirming aura. That may seem like a paradox, but consider the adage that funerals are more for the living than the dead; Temple of the Dog shows Wood's associates working through their grief and finding the strength to move on.

tags: temple of the dog, temple of the dog album, 1991, flac,

Chase Phoenix - Cut To The Chase (2004)

Country: Canada
Language: English
Genre: Hip-Hop
Label Number: BAX 9008

© 2004 Underworld Inc.
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tags: chase phoenix, cut to the chase, 2004, flac,

Agallah - You Already Know (2006)

Country: U.S.A.
Genre: Hip-Hop
Style: Gangsta Rap, Pop Rap
Label Number: BBG-CD-40

© 2006 Babygrande
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tags: agallah, you already know, 2006, flac,

June 28, 2022

Joe Jackson - Night & Day (1982)

*U.K. first pressing. 
Contains 9 tracks total.
Country: United Kingdom
Genre: Pop
Label Number: CDA 64906

© 1982 A&M Records
1982 will forever be known as the year that the punks got class -- or at least when Joe Jackson and Elvis Costello, rivals for the title of Britain's reigning Angry Young Man -- decided that they were not just rockers, but really songwriters in the Tin Pan Alley tradition. (Graham Parker, fellow angry Brit, sat this battle out, choosing to work with Aerosmith producer Jack Douglas instead.) Both had been genre-hopping prior to 1982, but Jackson's Night and Day and Costello's Imperial Bedroom announced to the world that both were "serious songwriters," standing far apart from the clamoring punkers and silly new wavers. In retrospect, the ambitions of these two 27-year-olds (both born in August 1954, just two weeks apart) seem a little grandiose, and if Imperial Bedroom didn't live up to its masterpiece marketing campaign (stalling at number 30 on the charts without generating a hit), it has garnered a stronger reputation than Night and Day, which was a much more popular album, climbing all the way to number four on the U.S. charts, thanks to the Top Ten single "Steppin' Out." Night and Day had greater success because it's sleek and bright, entirely more accessible than the dense, occasionally unwieldy darkness of Imperial Bedroom. Plus, Jackson plays up the comparisons to classic pop songwriting by lifting his album title from Cole Porter, dividing the record into a "night" and "day" side, and then topping it off with a neat line drawing of him at his piano in a New York apartment on the cover. All of these classy trappings are apparent on the surface, which is the problem with the record: it's all stylized, with the feel eclipsing the writing, which is kind of ironic considering that Jackson so clearly strives to be a sophisticated cosmopolitan songwriter here. He gets the cosmopolitan, big-city feel down pat; although the record never delivers on the "night" and "day" split, with the latter side feeling every bit as nocturnal as the former, his blend of percolating Latin rhythms, jazzy horns and pianos, stylish synths, and splashy pop melodies uncannily feel like a bustling, glitzy evening in the big city. On that front, Night and Day is a success, since it creates a mood and sustains it very well. Where it lets down is the substance of the songs. At a mere nine tracks, it's a brief album even by 1982 standards, and it seems even shorter because about half the numbers are more about sound than song. "A Slow Song" gets by on its form, not what it says, while "Target" and "Cancer" are swinging Latin-flavored jams that disappear into the air. "Chinatown" is a novelty pastiche that's slightly off-key, but nowhere near as irritating as "T.V. Age," where Jackson mimics David Byrne's hyper-manic vocal mannerisms. These all fit the concept of the LP and they're engaging on record, but they're slight, especially given Jackson's overarching ambition -- and their flimsiness is brought into sharp relief by the remaining four songs, which are among Jackson's very best. There is, of course, the breakthrough hit "Steppin' Out," which pulsates anticipatory excitement, but the aching "Breaking Us in Two" is just as good, as is the haunting "Real Men" and the album opener, "Another World," a vibrant, multi-colored song that perfectly sets up the sonic and lyrical themes of the album. If all of Night and Day played at this level, it would be the self-styled masterpiece Joe Jackson intended it to be. Instead, it is a very good record that delivers some nice, stylish pleasures; but its shortcomings reveal precisely how difficult it is to follow in the tradition of Porter and Gershwin.

tags: joe jackson, night and day, 1982, flac,

Approach - Ultra Proteus (2004 Reissue)

*Reissued in 2004 by © 2002-2004 Coup d'État/Datura Records
This pressing contains 18 tracks total.
Country: U.S.A.
Genre: Hip-Hop
Label Number: CDE17

© 2002-2004 Coup d'État/Datura Records
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tags: approach, ultra proteus, 2002, 2004, flac, reissue,

Mentake - Mentake (2006)

Country: U.S.A.
Genre: Alternative Rock
Label Number: TOXCD-3056

© 2006 Tox Records
*No professional reviews are available for this release.

tags: mentyake, mentake album, 2006, flac,

Various Artists - A Testimonial Dinner: The Songs of XTC (1995)

Country: U.S.A.
Genre: Alternative Rock, Salsa, Pop
Label Number: THI 57019.2

© 1995 Thirsty Ear
Though most tribute albums aren't worth the cost of the packaging, A Testimonial Dinner deserves a listen simply because the artists involved appear to have been selected more for their love of XTC than for their MTV appeal. Spacehog's take on "Senses Working Overtime" captures the perky but warped pop sensibilities perfectly, while Sarah McLachlan's haunting acoustic version of "Dear God" is, even by Andy Patridge's admission, arguably better than the original. Ruben Blades' invigorating Latin spin on "The Man Who Sailed Around His Soul" is simply magical, and They Might Be Giants lend their quirky style to a cover of "25 O'Clock," a song originally recorded by XTC's side-project the Dukes of Stratosphear. To top it all off, even XTC shows up (disguised as Terry & the Lovemen) to contribute "The Good Things," a lilting, psychedelic track reminiscent of the Summer of Love's groovy, harmony-laden pop. With nary a dud to be found, A Testimonial Dinner is the rare tribute album that does its subjects proud.

tags: various artists, a testimonial dinner, the songs of xtc, 1995, flac,

Various Artists - We Will Fall: The Iggy Pop Tribute (1997)

Country: U.S.A.
Genre: Punk Rock, Alternative Rock, Garage Rock
Label Number: ACD 1492

© 1997 Attic
Pieced together with newly recorded cuts and previously released tracks, We Will Fall: The Iggy Pop Tribute is an average tribute record that will only be of interest to hardcore Iggy fans. Boasting an artist roster divided between the obscure (Blanks 77), the predictable (Joey RamoneJoan Jett), the superstar (Red Hot Chili Peppers), and the arcane (Jayne County), the record has a handful of good cuts, but no song comes close to matching the intense, crazed fury of Iggy's original version, nor does We Will Fall offer significantly new interpretations of warhorses like "Search and Destroy," "1969," and "Funtime." So, it's another tribute album designed for collectors, either of the saluted artist or the featured bands, since the performances will make casual, curious listeners wonder what the big deal is.

tags: various artists, we will fall, the iggy pop tribute, 1997, flac,