January 31, 2023

Elvis Costello & The Attractions - Blood & Chocolate (1986) ☠

*U.S. first pressing. 
Contains 11 tracks total.
Country: United Kingdom
Genre: Pop Rock
Label Number: CK 40518
☠: Selected by Lass
© 1986 Columbia Records
Elvis Costello returned to the Attractions as quickly as he abandoned them, hiring the band and old producer Nick Lowe to record Blood & Chocolate, his second record in the span of one year. Where King of America was a stripped-down roots rock affair, Blood & Chocolate is a return to the harder rock of This Year's Model. Occasionally, there are hints of country and folk, but the majority of the album is straight-ahead rock & roll: the opener, "Uncomplicated," only has two chords. The main difference between the reunion and the Attractions' earlier work is the tone -- This Year's Model was tense and out of control, whereas Blood & Chocolate is controlled viciousness. "Tokyo Storm Warning," "I Hope You're Happy Now," and "I Want You" are the nastiest songs he has ever recorded, both lyrically and musically -- Costello snarls the lyrics and the Attractions bash out the chords. Blood & Chocolate doesn't retain that high level of energy throughout the record, however, and loses momentum toward the end of the album. Still, it's a lively and frequently compelling reunion, even if it is a rather mean-spirited one.

 tags: elvis costello and the attractions, blood and chocolate, 1986, flac,

Jackyl - Jackyl (1992)

Country: U.S.A. 
Genre: Hard Rock
Label Number: GEFD-24489

© 1992 Geffen Records 
 Forever confined to infamy as the authors of the one and only "Lumberjack" song, Jackyl nonetheless did have more to offer than that one chain saw-wielding song and its sightly video. In fact, their self-titled debut album has a good share of above-average early-'90s hair metal, making it one of the few albums of its era (and, yes, there were many) that stands out in retrospect. First off, Jackyl isn't your typical hair metal band by any measure. They're not from Los Angeles, aren't glammed up, and don't offer the obligatory power ballad; rather, they're Southern rockers by nature and, perhaps uncoincidentally, have more than a passing resemblance to Brian Johnson-era AC/DC. Even so, their singalong choruses are, for the most part, unmistakingly hair metal styled, as is the glossy sheen of their production, so the songs on Jackyl are easily accessible to all. Edgy music this is not. The opening run of songs -- "I Stand Alone," "Dirty Little Mind," "Down on Me," and "When Will It Rain" -- go down especially smoothly, pretty much as smoothly as anything offered by the likes of Warrantthe BulletboysSlaughterTrixterLove/Hate, ad infinitum. From here, the band tones down the singalong factor a bit and showcases its eccentric side: songs like "Redneck Punk," "She Loves My Cock," and of course, "The Lumberjack" definitely aren't your typical hair metal fare and are essentially what set Jackyl apart from their innumerable contemporaries. In the end, they haven't done anything too remarkable on their debut album. They've simply offered an above-average hair metal album with a couple highlights and a fun touch of novelty. Yet that in itself is somewhat remarkable. As a result, Jackyl is one of those few early-'90s hair metal albums you can return to with a sly grin rather than a disowning cringe. As for what came after afterward, that's a good question that few can answer, as Jackyl disappeared as suddenly as they surfaced, confined forever to "Lumberjack" infamy.

 tags: jackyl, jackyl album, 1992, flac,

Maker - Shooting The Breeze (2005)

Country: U.S.A. 
Genre: Hip-Hop, Hip-Hop, Instrumental
Label Number: G4CD0031

© 2005 Galapagos4
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 tags: maker, shooting the breeze, 2005, flac,

Teenage Fanclub - Endless Arcade (2021)

Country: United Kingdom
Genre: Alternative Rock
Label Number: MRG742

© 2021 Merge Records
Teenage Fanclub's 11th studio album and first without founding member bassist/singer Gerard Love, 2021's Endless Arcade is a gentle and lyrically textured production. With the departure of Love in 2018, the band's iconic songwriting triumvirate was pared down to a duo, leaving Norman Blake (guitars/vocals) and Raymond McGinley (guitars/vocals) to carry the group's melodic legacy forward. Since their beginnings in the Scottish rock scene in the late '80s, all three singer/songwriters have contributed material to each album, leading to a balance of their complementary, but still distinctive styles. Although Love is missed, his absence has thankfully resulted in only a subtle shift, and Teenage Fanclub still sound like the beloved purveyors of vintage-inspired guitar pop that they've always been. Recorded in Hamburg and at McGinley's home in Glasgow (with some additional recording at Rockfield Studios near Monmouth), Endless Arcade is one of their most relaxed and unassuming albums. Interestingly, it also nicely reflects their sound as a live band, showcasing their touring lineup with former Gorky's Zygotic Mynci member Euros Childs (keyboards/vocals), Francis Macdonald (drums/vocals), and David McGowan (bass/vocals). Early in their career, Teenage Fanclub might have underpinned these songs with fuzztone grunge guitars and moments of dissonant noise-rock bombast. Here, they craft a shimmering, late-'60s-inspired folk-rock sound, marked by supple vocal harmonies, sparkling guitar arpeggios, and ringing organ lines, a signature sound that has grown even more refined since they signed with Merge Records for 2005's Man-Made.

There's a feeling of tender resignation that runs through much of Endless Arcade, a soft-focus energy that's reflected in songs like "Home," "The Sun Won't Shine on Me," and the delicate psychedelic groove of "Come with Me." In these poignant songs, the band seems to be searching for communal solace and understanding in an increasingly fractious and angry world. It's a sentiment they address head-on with "Everything Is Falling Apart," a glistening Velvet Underground-esque anthem in which McGinley takes a zen-like stance on trying to stop worrying and savor the moment. He sings, "Walk, don't run, but run from the miserablites/Who believe in no fun/Unless it's what they think is right/Relax, find love/Hold on to the hand of a friend/But hey, have fun, 'cause everything is going to end." A similarly romantic optimism drives Blake's sparkling "I'm More Inclined," as he admits, "I didn't find religion/I never needed to/I'm more inclined to put my faith in you." It's easy to imagine he's singing about a person, but for longtime Teenage Fanclub fans, he could just as easily be voicing their devotion to the band. There's often an urgency to a rock band's career, and a constant conjecture over how long they'll last. Over 30 years into their career, Teenage Fanclub are well past such hand-wringing. They are pop journeymen who can bid a fond farewell to one member as they look forward to where the music and the Endless Arcade will take them next.

 tags: teenage fanclub, endless arcade, 2021, flac,

All Natural - Elements|Fire (2008) ☠

Country: U.S.A. 
Genre: Hip-Hop 
Label Number: AN-051
☠: Selected by Lass
© 2008 Dragon's Breath/All Natural Inc.
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 tags: all natural, elements fire, 2008, flac,

Rita J - Artist Workshop (2009)

Country: U.S.A. 
Genre: Hip-Hop 
Label Number: AN052

© 2009 All Natural Inc.
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 tags: rita j, artist workshop, 2009, flac,

Teenage Fanclub - Thirteen (1993) ☠

*U.K. pressing. 
Contains 13 tracks total.
Country: United Kingdom
Genre: Power Pop
Label Number: CRECD 144
☠: Selected by Lass
© 1993 Creation Records
Unjustly savaged by fans and critics alike upon its initial release, with the benefit of hindsight Thirteen has revealed itself an eminently worthy follow-up to the classic Bandwagonesque; though not as consistent or refreshing as its predecessor, the album takes simultaneous steps backward and forward, retreating to a darker, sludgier guitar sound reminiscent of their debut effort A Catholic Education even as it blossoms to incorporate lilting string arrangements and glowing harmony vocals. Despite taking its title from Big Star's most gentle and optimistic moment, the record not only expands its horizons far beyond Alex Chilton-inspired pop but also maintains an emotional tenor that's largely bitter and disillusioned -- titles like "Song to the Cynic," "120 Mins," and, especially, "Commercial Alternative" reflect the band's disenchantment with both its former flavor-of-the-month status and the growing creative malaise rampant throughout the alt-rock community (then at its commercial zenith). Although Gerard Love and Raymond McGinley make memorable contributions, Thirteen is first and foremost a showcase for the peerless pop genius of Norman Blake -- the should-have-been hits "Norman 3" and "Ret Liv Dead" boast a crunchy, lumbering sound heavily indebted to Neil Young's records with Crazy Horse, while the soaring "Commercial Alternative" evokes vintage Byrds, a reference point further driven home by the epic closer "Gene Clark." [Original pressings of Thirteen included no fewer than six unlisted bonus cuts assembled from British singles -- the material is consistently excellent, highlighted by the McGinley original "Golden Glades" as well as reverent covers of Phil Ochs' "Chords of Fame" and the Flying Burrito Brothers' "Older Guys."]

 tags: teenage fanclub, thirteen, 1993, flac,

Teenage Fanclub - Howdy! (2000)

Country: United Kingdom
Genre: Power Pop
Label Number: 500622 2

© 2000 Columbia Records
For better or worse, the only thing that truly sticks out on Teenage Fanclub's sixth studio record is the title. It's the worst since Ass. However, "howdy" is a fitting way to sum up these 12 simple, humble pop songs, most of which are light-hearted and cheery. It would be easy -- and understandable to a certain degree -- if die-hard Fanclub fans felt letdown with the band flying in a stylistic holding pattern, though the influences on this one tend to point toward the hushed side of the Hollies more than the previous indebtedness to the Byrds and Big Star. Those feeling robbed should look at it this way: Just how many bands can last over a decade and continue to make completely non-cynical, non-cloying pop as well as Teenage Fanclub? Not many. There is zero flash. No blazing distortion, no extreme emotion, no showiness whatsoever. What's apparent is top-drawer craft, lovely three-part harmonies, delicately strummed guitars, and flawless arrangements. Nothing here is going to knock you off your feet, but is that such a bad thing? One of the best charms of Howdy is how you can put it on and have your mood improved without having to put much thought into it. It doesn't take many plays to get your head around it, but it's anything but disposable or throwaway. They set out to make a good pop record, and they succeeded. It's by no means a landmark, and it's not close to their best; it's just well-done. There's nothing wrong with turning it up to five every now and then, is there?

 tags: teenage fanclub, howdy, 2000, flac,

Iron Man - Generation Void (1999)

*A photo of the disc is included in the RAR file.
Country: U.S.A. 
Genre: Doom Metal
Style: Traditional Doom
Label Number: BTR-007

© 1999 Brainticket Records
Maryland-spawned doom titans Iron Man seemed to drop off the face of the earth after their first two albums, 1993's Black Night and 1994's The Passage, shook the heavy metal world by the scruff of its neck and forced it to bang any head that didn't already bang, as Metallica would have put it. With little rhyme or reason, all of five years would elapse until the group's return to activity via 1999's Generation Void LP, squandering any upward momentum Iron Man might have attained, but belatedly proving that they remained a force to be reckoned with when they actually showed up. So let's take it from the top: most fans and critics would agree that Iron Man's strengths always lay in energized doom templates, and the latest songs cut from that cloth on this album, such as "On the Mountain," "Boston Strangler," and "As the Gods Have Spoken," definitely didn't disappoint this time around, either. At the same time, less orthodox new offerings like "Forever Yours" and "Shadows of Darkness" continued to broaden Iron Man's creative resources with leaner heavy metal styles (the N.W.O.B.H.M., for example) and rock-based qualities, revealing that the intervening years of inactivity didn't elapse without some sonic transformation. In fact, stately metal ballads like "Winds of Change" and the album's title track recalled classic mid-‘70s efforts by Judas Priest like "Beyond the Realms of Death" (with the added benefit of Morris' transcendent soloing), and, alongside tougher numbers like "Survivor" and "King of Kings," which could very well have passed for Stained Class outtakes, they qualified Generation Void as the first Iron Man album where the band's deep-seated Black Sabbath influences were dethroned by another band's. But, given the typically strong material that resulted, there was little cause for complaint, especially from Iron Man's long deprived fan base, which would amazingly have to put up with another Rip Van Winkle-like ten years before getting their gauntlets on the band's fourth studio album, 2010's I Have Returned.

 tags: iron man, generation void, 1999, flac,

January 30, 2023

Elvis Costello & The Attractions - Armed Forces (1993 Remastered Edition) ☠

Reissued and in remastered in 1993 by Ryodisc
Contains 21 tracks total.
Country: United Kingdom
Genre: New Wave 
Label Number: RCD 20273
☠: Selected by Lass
© 1979-1993 Rykodisc
After releasing and touring the intense This Year's Model, Elvis Costello quickly returned to the studio with the Attractions to record his third album, Armed Forces. In contrast to the stripped-down pop and rock of his first two albums, Armed Forces boasted a detailed and textured pop production, but it was hardly lavish. However, the more spacious arrangements -- complete with ringing pianos, echoing reverb, layered guitars, and harmonies -- accent Costello's melodies, making the record more accessible than his first two albums. Perversely, while the sound of Costello's music was becoming more open and welcoming, his songs became more insular and paranoid, even though he cloaked his emotions well. Many of the songs on Armed Forces use politics as a metaphor for personal relationships, particularly fascism, which explains its working title, Emotional Fascism. Occasionally, the lyrics are forced, but the music never is -- the album demonstrates the depth of Costello's compositional talents and how he can move from the hook-laden pop of "Accidents Will Happen" to the paranoid "Goon Squad" with ease. Some of the songs, like the light reggae of "Two Little Hitlers" and the impassioned "Party Girl," build on his strengths, while others like the layered "Oliver's Army" take Costello into new territories. It's a dense but accessible pop record and ranks as his third masterpiece in a row.

 tags: elvis costello and the attractions, armed forces, 1979, 1993, flac, remaster,

The Jam - Setting Sons (1979) ☠

*U.S. first pressing. 
Contains 10 tracks total.
Country: United Kingdom
Genre: New Wave
Label Number: 831 314-2
☠: Selected by Lass
© 1979-1987 Polydor
The Jam's Setting Sons was originally planned as a concept album about three childhood friends who, upon meeting after some time apart, discover the different directions in which they've grown apart. Only about half of the songs ended up following the concept due to a rushed recording schedule, but where they do, Paul Weller vividly depicts British life, male relationships, and coming to terms with entry into adulthood. Weller's observations of society are more pointed and pessimistic than ever, but at the same time, he's employed stronger melodies with a slicker production and comparatively fuller arrangements, even using heavy orchestration for a reworked version of Bruce Foxton's "Smithers-Jones." Setting Sons often reaches brilliance and stands among the Jam's best albums, but the inclusion of a number of throwaways and knockoffs (especially the out-of-place cover of "Heat Wave" which closes the album) mars an otherwise perfect album.

 tags: the jam, setting sons, 1979, flac,

Dooley-O - Watch My Moves 1990 (2003)

Country: U.S.A. 
Genre: Hip-Hop 
Label Number: SLD 1004

© 2003 Solid Records
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 tags: dooley o, watch my moves 1990, 2003, flac,

January 29, 2023

Something For Kate - Beautiful Sharks (1999) ☠

Country: Australia
Genre: Alternative Rock
Label Number: MATTCD085
 ☠: Selected by Lass
 © 1999 Murmur
*No professional reviews are available for this release.
 
 tags: something for kate, beautiful sharks, 1999, flac,

Something For Kate - The Official Fiction (2003)

Country: Australia
Genre: Alternative Rock
Label Number: MATTCD130

© 2003 Murmur
*No professional reviews are available for this release. 

 tags: something for kate, the official fiction, 2003, flac,

Dooley-O - I Gotcha (2005)

Country: U.S.A. 
Genre: Hip-Hop 
Label Number: LEWIS011CD

© 2005 Lewis Recordings
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 tags: dooley o, i gotcha, 2005, flac,

Big Shug - Otherside of The Game (2008)

Country: U.S.A. 
Genre: Hip-Hop 
Label Number: TEG 2453

© 2008 Traffic Entertainment/Team Shug
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 tags: big shug, otherside of the game, 2008, flac,

January 27, 2023

Young Marble Giants - Colossal Youth (1980) ☠

*U.S. first pressing. 
Contains 21 tracks total.
A photo of the disc is included in the RAR file.
Country: United Kingdom
Genre: Post Punk, New Wave
Label Number: ROUGH US 89
☠: Selected by Lass
© 1980-1990 Rough Trade
As punk rock was quickly morphing into post-punk at the end of the '70s, Welsh trio Young Marble Giants went against the amplified aggression and stylistic chaos of many of their peers, instead creating new worlds of expression through subtraction. The band's vacuous sound was almost jarringly minimal, with incredibly catchy songs consisting of Alison Statton's stoic vocals, fluid electric bass, unwavering skeletal drum machine rhythms, and the occasional stab of guitar or haunted organ sounds. The group were short-lived, leaving behind only a few EPs, demos, and Colossal Youth, their sole full-length album from 1980, but their influence would ripple out to inform the sounds of future independent music creators from Nirvana to Belle and Sebastian. Colossal Youth perfectly captures the band's unique approach, with 15 short songs of their stark but rough-edged pop. Before forming Young Marble Giants, Statton and brothers Philip and Stuart Moxham had all played together in a band called True Wheel, who took their name from the title of a song on Brian Eno's 1974 outing Taking Tiger Mountain (By Strategy). While Eno's flirtations with funk and Kraftwerk's bare-bones electronic rhythms were reference points for Young Marble Giants' sound, it's hard to locate many other implicit influences on Colossal Youth. The sinister crawl of "N.I.T.A." and lonely riffing of "Music for Evenings" could serve as foundations for the songs of other post-punk bands, but few dared to present something so intentionally empty. The album's most conventionally structured songs -- tunes like atmospheric opener "Searching for Mr. Right" or the would-be rock & roll of "Credit in the Straight World" -- are defined by the sharp tension created by their unfinished-feeling arrangements. That moody tension co-exists with relatively cheery songwriting throughout Colossal Youth, maintaining a strange balance between the two contrasting energies for the entire album. Young Marble Giants weren't the only band to explore pop minimalism, but no one else during their time or afterwards quite captured the eerie beauty that floats through every moment of Colossal Youth. Its songs sound like a private party in an empty house, with every facet of the sound aiming to take up as little space as possible. Listening to Colossal Youth, it's easy to see how this introverted album full of tiny sounds made such an enormous impact.

 tags: young marble giants, colossal youth, 1980, flac,

Society - Yes 'N' Deed (The E.P.) (1994)

*A photo of the disc is included in the RAR file.
Country: U.S.A. 
Genre: Hip-Hop 
Label Number: XR-777-2

© 1994 Luke Records
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 tags: society, yes n deed the ep, 1994, flac,

Iron Man - The Passage (1994) ⚓

Country: U.S.A. 
Genre: Doom Metal
Style: Traditional Doom 
Label Number: H 0034-2

© 1994 Hellhound Records
Much had changed in the Iron Man camp during the short year separating their sophomore album, 1994's The Passage, from its rightfully acclaimed predecessor, Black Knight. On the personnel front, drummer Ron Kalimon had been replaced by Gary Isom (later of UnorthodoxSpirit Caravan, and Pentagram) and first album vocalist Rob Levey deposed (on the Hellhound label's insistence!) for the technically more accomplished Dan Michalak, but the latter's histrionic vibrato (think a junior Messiah Marcolin) could come off a little comically forced at times, ironically making him an acquired taste, just like his precursor. At least on the musical front, however, the band's guitarist and creative mastermind Alfred Morris III could still be counted upon to guide Iron Man (rounded out by returning bass player Larry Brown) down the (mostly) straight and narrow doom path without commercial dilution or unnecessary distractions. Resulting highlights included the LP's emphatic opener "The Fury" (an homage to Black Sabbath's "Neon Knights" in more ways than one), the short, sweet, and savage "Iron Warrior," and the memorable instrumental "Tony Stark" (which of course borrows the alias for that iron-plated Marvel Comics superhero; get it?). Meanwhile, the discreet synthesizers fleshing out "Waiting for Tomorrow"'s intro showed that Iron Man weren't entirely averse to modernization, either, but they sure as hell weren't leaping to embrace it. Also, The Passage put a little more emphasis on slower doom numbers -- see "Unjust Reform," "Harvest of Earth," and the rather toothless "Time of Indecision" -- which, while more authentically traditional in nature, didn't pack nearly as much of a punch as the band's speedier efforts. Nevertheless, The Passage helped establish Iron Man's mighty reputation far and wide to doom-loving hordes across the globe, and it was indeed a shame that the group would wait half-a-decade before capitalizing on this with a third album, 1999's Generation Void.

 tags: iron man, the passage, 1994, flac,

January 26, 2023

Dokken - Under Lock & Key (1985) ☠

*U.S. first pressing. 
Contains 10 tracks total.
Country: U.S.A. 
Genre: Glam Metal
Label Number: 960458-2
☠: Selected by Lass
© 1985-1986 Elektra
After getting off to a patchy start with their thrown-together 1982 debut, Breaking the Chains (recorded mere weeks after they'd become a band), Dokken replaced departed bassist Juan Croucier (bound for Ratt) with Jeff Pilson, and really seemed to gel as a proper musical unit on their impressive sophomore album, Tooth and Nail. But notwithstanding a minor European hit achieved with that record's single, "Into the Fire," the quartet had yet to experience a commercial breakthrough back home in America, a breakthrough that would finally arrive after the release of Under Lock and Key in November 1985. However, Dokken's third album was hardly a monster hit, peaking at number 32 and only gradually marching toward gold, then platinum certifications, thanks to a string of successful but hardly explosive singles, the band's grueling touring schedule (supporting AC/DCJudas PriestDio, etc.), and, let's be frank, some crucial "tarting up" of the musicians for the extremely image-conscious MTV generation. Take Under Lock and Key away from these temporal sales drivers, though, and one still has quite possibly Dokken's most "complete" album, with a little something for every type of fan -- including memorable singles like "In My Dreams" and "It's Not Love" (which rode effectively cornball videos into the Top 40 chart), fist-pumping headbangers like "Lightnin' Strikes Again" and "Til the Livin' End," and saccharine ballads like "Slippin' Away" and "Jaded Heart" (never the band's strongest suit, it should be noted). Most importantly, Under Lock and Key also boasts two almost peerless examples of Dokken's best songwriting template -- bittersweet mid-paced rockers -- in the opening tandem of "Unchain the Night" and "The Hunter," both of which also pack fantastic solos from guitar wizard George Lynch. Along with the aforementioned diversity of styles, it's ultimately these two defining tracks that still make Under Lock and Key the best introduction to Dokken's sound -- even though heavy metal purists tend to prefer Tooth and Nail for its combined aggression and consistency.

 tags: dokken, under the lock and key, 1985, flac,

Dokken - Dysfunctional (1995)

Country: U.S.A. 
Genre: Hard Rock
Label Number: CK 67075

© 1995 Columbia
Dokken's 1995 album was more of a marketing move than an inspired musical collaboration. All of the members from the group's highwater mark in the '80s returned for Dysfunctional, but they sound as if they haven't resolved their differences yet. None of the songs are fully-formed or feature memorable hooks. Don Dokken's voice has worn away over the years, and he can no longer sell mediocre material on the basis of his charisma. George Lynch plays fine, but his solos sound as if they were pasted on after the original track was recorded. While it's good to have the guitarist back in action, he deserved a better platform than the songs on Dysfunctional.

 tags: dokken, dysfunctional, 1995, flac,