October 29, 2025

Jann Arden - Time For Mercy (1993)

Country: Canada
Language: English 
Genre: Pop Rock
Label Number: 31454 0071 2
 
© 1993 A&M Records
Jann Arden's debut, Time For Mercy, features 11 songs all focused on relationships, but with an uncommon intensity of commitment. When she sings the chorus of the passionate and intriguing "I Would Die For You," you believe every syllable -- just as when she delivers the bad news of "I Just Don't Love You Anymore." Piano and Arden's own acoustic guitar work provide the main backing, with electric instrumentation adding subtle flourishes. Little Village drummer Jim Keltner anchors the rhythm section. A lonesome harmonica wail and the sweet bite of pedal steel color "We Do Strange Things" and "The Way Things Are Going" respectively. Strings are used to heighten the title track's emotional peak rather than drenching it in syrup. 
 
tags: jann arden, time for mercy, 1993, flac,

Ruby - Salt Peter (1995)

Country: U.S.A.
Genre: Trip-Hop
Label Number: OK 67458
 
© 1995 Creation/Work Records
Formerly of the aggressive feminist punk outfit Silverfish, Leslie Rankine renamed herself Ruby in 1995 and changed her musical tactics. Instead of hard-edged post-punk, Ruby's music is a dark, eerie fusion of trip-hop and industrial, with quietly menacing beats and droning synths. Although it could be said that she was simply trend-hopping with Salt Peter, Ruby's music is substantially better than Silverfish -- it's more provocative, as well as better written. Not all of the album works, but Salt Peter remains a promising debut. 
 
 tags: ruby, salt peter, 1995, flac,

October 26, 2025

T. Rex - The Slider (1993 Reissue) ☠

*Reissued in 1993 by Marc On Wax.
This pressing contains 13 tracks total
and non-remastered audio.


Country: United Kingdom
Genre: Glam Rock
Label Number: 00CP-1509
 
☠: Selected by Buccaneer
© 1972-1993 Marc On Wax
Buoyed by two U.K. number one singles in "Telegram Sam" and "Metal Guru," The Slider became T. Rex's most popular record on both sides of the Atlantic, despite the fact that it produced no hits in the U.S. The Slider essentially replicates all the virtues of Electric Warrior, crammed with effortless hooks and trashy fun. All of Bolan's signatures are here -- mystical folk-tinged ballads, overt sexual come-ons crooned over sleazy, bopping boogies, loopy nonsense poetry, and a mastery of the three-minute pop song form. The main difference is that the trippy mix of Electric Warrior is replaced by a fuller, more immediate-sounding production. Bolan's guitar has a harder bite, the backing choruses are more up-front, and the arrangements are thicker-sounding, even introducing a string section on some cuts (both ballads and rockers). Even with the beefier production, T. Rex still doesn't sound nearly as heavy as many of the bands it influenced (and even a few of its glam contemporaries), but that's partly intentional -- Bolan's love of a good groove takes precedence over fast tempos or high-volume crunch. Lyrically, Bolan's flair for the sublimely ridiculous is fully intact, but he has way too much style for The Slider to sound truly stupid, especially given the playful, knowing wink in his delivery. It's nearly impossible not to get caught up in the irresistible rush of melodies and cheery good times. Even if it treads largely the same ground as Electric Warrior, The Slider is flawlessly executed, and every bit the classic that its predecessor is. 

 tags: t rex, the slider, 1972, 1993, reissue, flac,

New York Dolls - New York Dolls (1973) ☠

*U.S. first pressing.
Contains 11 tracks total.
Country: U.S.A.
Genre: Glam Rock
Label Number: 832 752-2
 
 ☠: Selected by Buccaneer
© 1973-1989 Mercury
When the New York Dolls released their debut album in 1973, they managed to be named both "Best New Band" and "Worst Band" in Creem Magazine's annual reader's poll, and it usually takes something special to polarize an audience like that. And the Dolls were inarguably special -- decades after its release, New York Dolls still sounds thoroughly unique, a gritty, big-city amalgam of Stones-style R&B, hard rock guitars, lyrics that merge pulp storytelling with girl group attitude, and a sloppy but brilliant attack that would inspire punk rock (without the punks ever getting its joyous slop quite right). Much was made of the Dolls' sexual ambiguity in the day, but with the passage of time, it's a misfit swagger that communicates most strongly in these songs, and David Johansen's vocals suggest the product of an emotional melting pot who just wants to find some lovin' before Manhattan is gone, preferably from a woman who would prefer him over a fix. If the lyrics sometimes recall Hubert Selby, Jr. if he'd had a playful side, the music is big, raucous hard rock, basic but with a strongly distinct personality -- the noisy snarl of Johnny Thunders' lead guitar quickly became a touchstone, and if he didn't have a lot of tricks in his arsenal, he sure knew when and how to apply them, and the way he locked in with Syl Sylvain's rhythm work was genius -- and the Dolls made their downtown decadence sound both ominous and funny at the same time. The Dolls were smart enough to know that a band needs a great drummer, and if there's something likably clumsy about Arthur Kane's bass work, Jerry Nolan's superb, elemental drumming holds the pieces in place with no-nonsense precision at all times. "Lonely Planet Boy" proved the Dolls could dial down their amps and sound very much like themselves, "Pills" was a superbly chosen cover that seemed like an original once they were done with it, and "Personality Crisis," "Trash," and "Jet Boy" were downtown rock & roll masterpieces no other band could have created. And while New York Dolls clearly came from a very specific time and place, this album still sounds fresh and hasn't dated in the least -- this is one of rock's greatest debut albums, and a raucous statement of purpose that's still bold and thoroughly engaging. 
 
 tags: new york dolls, new york dolls album, 1973, flac,

Bay Laurel - Under a Clouded Sky (1994)

Country: Sweden
Language: English 
Genre: Gothic Rock
Label Number: NOX 003
 
© 1994 Noxious Records
*No professional reviews are available for this release.
 
tags: bay laurel, under a clouded sky, 1994, flac,

October 24, 2025

Suspiria - Tragedy: E.P. (1994)

Country: United Kingdom
Genre: Gothic Rock
Label Number: Night maxi C.D.004
 
© 1994 Nightbreed Recordings
*No professional reviews are available for this release. 
 
 tags: suspiria, tragedy, ep, 1994, flac,

Suspiria - The Great & Secret Show (1995)

Country: United Kingdom
Genre: Gothic Rock
Label Number: NIGHT CD 007
 
© 1995 Nightbreed Recordings
*No professional reviews are available for this release.
 
tags: suspiria, the great and secret show, 1995, flac,

Suspiria - Drama (1997)

Country: United Kingdom
Genre: Gothic Rock
Label Number: NIGHT CD 012;AIW 059;CD 36343
 
© 1997 Nightbreed/Alice In...
*No professional reviews are available for this release
 
 tags: suspiria, drama, 1997, flac,

Shark Taboo - Black Rock Sands (1989)

Country: United Kingdom
Genre: Gothic Rock
Label Number: PLAS CD 021

© 1989 Plastic Head Records Limited
*No professional reviews are available for this release.

tags: shark taboo, black rock sands, 1989, flac,

Downset. - Do We Speak a Dead Language? (1996)

Country: U.S.A.
Genre: Rapcore
Label Number: 314 532 416-2
 
© 1996 Mercury
*No professional reviews are available for this release.

 tags: downset, do we speak a dead language, 1996, flac,

Downset. - Check Your People (2000)

Country: U.S.A.
Genre: Rapcore
Label Number: 6601-2
 
© 2000 Epitaph
It's the subtle things that distinguish Downset from its many rap-metal peers: the fact that hardcore punk plays a greater role in the band's music than heavy metal, that the bandmembers are better riff writers and arrangers than some of the genre's more popular groups, or that Rey Oropeza writes ambitious lyrics, which come across like a less dogmatic Rage Against the Machine. The band's third album, Check Your People, isn't much of a departure from its previous work, but the CD continues to showcase all of the above traits, and it maintains a tight musical and lyrical focus throughout. Oropeza makes the personal political and vice versa, delivering powerful statements about social ills with an almost evangelical zeal. To the uninitiated, the music might seem a little predictable after a while (most of the choruses seem to start with a cathartic roar), but it's certainly on the high end of the rap-metal spectrum. 

 tags: downset, check your people, 2000, flac,

Downset. - Universal (2004)

Country: U.S.A.
Genre: Rapcore
Label Number: HAW 10001
 
© 2004 Hawino Records
When Run-D.M.C. and the Beastie Boys got the rap-metal ball rolling back in 1984 (Run-D.M.C. with "Rock Box," the Beasties with "Rock Hard"), they probably had no idea that rap-metal would still be around 20 years later. They weren't thinking that far ahead; Run-D.M.C. and the Beasties were simply doing something that felt good to them at the time. But rap-metal proved to be impressively durable, and it has since become an extremely crowded field; the late '90s and early 2000s brought listeners a glut of Korn and Limp Bizkit clones, many of them totally forgettable. Nonetheless, the cream still rises to the top in rap-metal -- not always in terms of commercial success, but certainly in terms of creativity -- and on 2004's Universal, Downset continue to offer some of rap-metal's more substantial grooves. Rage Against the Machine is an obvious comparison on this CD; Downset are also a very sociopolitical band. But while Zack de la Rocha and his colleagues are angrily cathartic (even if you find some of their militant politics to be simplistic at times), Downset aren't just angry -- they're also spiritual. If you combine Rage's verbal bombast with a touch of Limp Bizkit's thugishness and a lot of Public Enemy, KRS-One, and Ice-T's spirituality, you get Universal. Calling Downset spiritual isn't saying that the Los Angeles residents are trying to force some religious dogma down listeners' throats; spirituality doesn't have to be about organized religion or sectarianism. Rather, Universal is spiritual in the way that the best PE, KRS, and Ice-T raps were spiritual -- spiritual as in deep-thinking and conscious, spiritual as in seeing how oppressive life in the hood can be and trying to come up with some possible solutions. There is no shortage of mediocrity in rap-metal, but on Universal, Downset avoid the pedestrian and demonstrate that they are still among the more intelligent and creative bands in their field. 
 
 tags: downset, universal, 2004, flac,

October 22, 2025

The Trash Can Sinatras - Cake (1990)

Country: United Kingdom
Genre: Jangle Pop
Label Number: 828 201-2
 
© 1990 Go! Discs/London Records
Long before Travis and Coldplay came along, the Trash Can Sinatras enchanted college-aged Anglophiles with their jangly brand of emotive Brit-pop. Seen as musical fluff by fans of early-'90s pre-Nirvana alternative and ignored by fans of mid- to late-'90s post-Nirvana alternative, these five Scottish lads smoothed the edges but sharpened the hooks of a developing genre. The Trash Can Sinatras' 1990 debut, Cake, mixes intricately intertwined guitars, in the spirit of a more charming, less gritty Johnny Marr, with lush strings and sophisticated harmonies. Touchingly clever wordplay ("You came into my life/Like a brick through a window/And I cracked a smile") abounds, as on "The Best Man's Fall." The clean production -- necessary for such elaborate orchestration -- is extremely warm and inviting. Singles like "Obscurity Knocks" and "Only Tongue Will Tell" as well as "Maybe I Should Drive" prove to be the tastiest pieces of pure pop pleasure. But sugar can be bittersweet and laced with longing, as on "Thrupenny Tears" and "You Made Me Feel." Regardless of the relative mood, this debut is noticeably devoid of musical missteps -- quite a feat for a new artist. Easy on the ears and palate, Cake is as filling and digestible an album as one could hope. Subsequent Trash Can Sinatras releases reach for the same greatness but ultimately fall a little short. This precursor to early 21st century Brit-pop darkens the occasional used record store bin. And it tastes almost as fresh as the day it was made. 
 
 tags: the trash can sinatras, cake, 1990, flac,

Airiel - The Battle of Sealand (2007)

Country: U.S.A.
Genre: Shoegaze
Label Number: HW V-2007
 
© 2007 Highwheel Records
 Chicago quartet Airiel has released a series of EPs, but this is the band's first album, and it is an ambitious one, running over 63 minutes (or over 61, if you subtract the two minutes of silence that separate the end of the final track, "The Big Mash-Up," from an instrumental coda that constitutes a hidden track). It isn't only the length of the CD that's ambitious, it's the music. On each song, Airiel fills the speakers with echoing, shimmering sound, so much so that it is the sheer sound that dominates the experience of listening to the album. The CD booklet contains a lyric sheet detailing the words of group members Jeremy Wrenn and Cory Osborne; without it, the listener wouldn't have a clue what they're singing, since the vocals are buried so far down in the mix that they can barely be perceived and come off as just another sound within the cyclonic musical effects. On their own, they are sometimes despairing, sometimes descriptive, and, in "Stay," romantic to the point of amounting to a marriage proposal. But there's no way to tell that by merely listening to the album. Rather, the musical intention clearly is to create a sense of aural majesty that sometimes devolves down to industrial noise. In such a maelstrom, individual details don't count for much. 
 
tags: airiel, the battle of sealand, 2007, flac,

October 21, 2025

Don Caballero - For Respect (1993)

Country: U.S.A.
Genre: Math Rock
Label Number: EFA 04929-2
 
© 1993 City Slang
Rare is the rock band that can make a strong impression on the listener without the benefit of a vocalist, but Pittsburgh's Don Caballero comes roaring out of the gate on its debut album. The quartet showcases its instrumental wizardry on the opening title cut, a skull-crushing groove monster that finds evocative drummer Damon Che leading the band through a succession of stop-time breaks. The energy builds for the chaotic dissonance of "Chief Sitting Duck," then dissipates on the Slint-like dirge of "New Laws," which shows a subtle mastery of dynamics. Songs like the thundering "Nicked and Liquid," the heavily distorted "Rocco," and the psychotic jamming of "Got a Mile, Got a Mile, Got an Inch" (which reveals the origins of the band's name in an SCTV sketch) reach out and grab you by the cojones, shaking you around like a rag doll without resorting to headbanger clichés. With Midas-touch production from Steve Albini, For Respect is one of the better instrumental rock records of the early '90s. 
 
 tags: don caballero, for respect, 1993, flac,

Don Caballero - Don Caballero 2 (1995)

Country: U.S.A.
Genre: Math Rock
Label Number: TG143CD
 
© 1995 Touch & Go
 The liner notes speak it plain -- "Don Caballero is rock not jazz, Don Caballero is free from solos." But not from complex, ever evolving compositions that never, ever forget to crank up the amps and riff along. The post-rock canard that the group was labeled with somewhere along the line doesn't really make sense, and the math rock label is even more limiting -- too bloodless. If a comparison had to be made or a link established, try Drive Like Jehu, but without vocals. The Williams/Banfield guitar team knows exactly how to play off each other, trading notes, establishing parallel melodies, and hitting full crunch like an evolving beast. Che, meanwhile, sits behind it all and directs everything with equal power and skill. In mainstream terms, the Smashing Pumpkins' Jimmy Chamberlin got the '90s kudos for being a power rock drummer with the skills and fluidity of jazz, but Che is clearly equally skilled, as this album makes perfectly clear. An eight-track release, it splits evenly between shorter and longer pieces, each with amusing titles that established something of an indie rock cliché for later bands like Billy Mahonie. Thus, "Repeat Defender" and "Dick Suffers Is Furious With You," or the hilariously named concluding rip, "No One Gives a Hoot about FAUX-ASS Nonsense." The longer numbers are arguably the better -- not that the short ones stink, but over more time the group gets to showcase even more chops and abilities, often with thrilling results. When "Please Tokio, Please This Is Tokio" hits the midsection, everyone sounds incredibly on top of their game, slamming into a sheet-metal intense drone with fire. "Repeat Defender," meanwhile, builds into a gripping middle section, ripping at high speed before only slightly downshifting into something totally mosh pit worthy. Music with a brain that rocks, full stop. 
 
 tags: don caballero, don caballero 2, 1995, flac,

Super Furry Animals - Dark Days/Light Years (2009)

Country: United Kingdom
Genre: Neo-Psychedelia
Label Number: RTRADECD546
 
© 2009 Rough Trade
Longtime Super Furry Animals album artist Pete Fowler collaborated with Keiichi Tanaami, the designer responsible for their 2007 album Hey Venus!, for the cover art for SFA's ninth album, Dark Days/Light Years, and it's a fitting gesture for an album that connects the focused, revitalized band of the late 2000s with the renegades of the late '90s. A cursory listen reveals Dark Days to be considerably wilder than Hey Venus!, whose primary charm was its streamlined efficiency, showcasing the band at its tight, melodic best. Elements of this remain -- it's hard to strip the Day-Glo pop out of SFA, and they do not deny themselves, or us, this candied pleasure -- but the opener, "Crazy Naked Ladies," makes it plain that this is a buoyant, electrified, psychedelic affair, as much about texture as it is about sound. In that sense, it has a kindred spirit in Guerrilla, the third album that found SFA getting elastically electronic instead of precisely pop, but if anything, the group's two sides are integrated seamlessly here with the band shifting gears almost imperceptibly, transitioning smoothly from fuzz-flaked guitars to pulsating electro beats. This liquid ease distinguishes Dark Days/Light Years as latter-day SFA, as does their continued reliance on showcasing each of their main singer/songwriters, giving this a bit of a democratic heft, but SFA avoid any of the respectable middlebrow bloat that taints the worthy Rings Around the World period. Dark Days is vibrant and alive, an ever-flowing, ever-shifting, carousel of sound -- some might miss the emphasis on song, but it's a ride that's hard to resist. 

 tags: super furry animals, dark days light years, 2009, flac,

October 19, 2025

No Description Given - Game & The Player (1994)

Country: U.S.A.
Genre: Hip-Hop
Style: Hardcore Hip-Hop 
Label Number: 40013
 
© 1994 IEP Record Group
*No professional reviews are available for this release.
 
* Due to past abuse, comments for the Hip-Hop section have been disabled.
 
 
tags: no description, game and the player, 1994, flac,

The Goats - No Goats, No Glory (1994)

Country: U.S.A.
Genre: Hip-Hop, Rapcore
Label Number: CK 64193
 
© 1994 Ruffhouse/Columbia Records
 For the follow-up to their promising debut Tricks of the Shade, the Goats decided to toughen up both their image and sound. Musically, the plan worked: the beats on this record easily surpass those on Shade, incorporating metal and funk seamlessly into a hard, funky swagger that rivals any beats in hip-hop. Lyrically, however, the results are disastrous. The album is bloated with some six or seven songs that seem calculated to cash in on the popularity of Dr. Dre's The Chronic (which had been released a year before), complete with rhymes about gunplay, boasts of thuggish behavior, and endless references to smoking pot. The one-dimensional lyrics don't even work as parodies of gangsta rap -- they are simply dull and monotonous. The turnabout is especially unjustified coming from a group that had previously condemned such cheap gimmickry. Their one artistic gamble, "Revolution 94," an eight-minute sound collage á la the Beatles' "Revolution #9," isn't clever -- it's interminable. Only "Rumblefish" and "Times Running Up" retain the smart, quirky attitude of their debut. For a perfect example of the hip-hop slide -- the notion that an artist's sophomore effort is vastly inferior to the debut -- start here. 
 
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tags: the goats, no goats no glory, 1994, flac,

Various Artists - Ali (Original Motion Picture Soundtrack) (2001)

Country: U.S.A.
Genre: Hip-Hop, R&B, Funk, Soul
Label Number: 069493173-2
 
© 2001 Interscope Records
Michael Mann's film biography Ali had one of the most hyperactive soundtracks in memory. Music underscores nearly every minute of the film, which seems at times to move less from scene to scene than song to song. Ever since Mann's Miami Vice days, his stylistically diverse, richly textured, and often dark musical selections have done as much to set the tone for his projects as the fast-paced editing and invariably "stone-washed" look of the cinematography. Mann and his composers, Pieter Bourke and Lisa Gerrard, masterfully set the emotional tone of each scene without resorting to emotionally manipulative clichès. But the sheer volume of the music in Ali sometimes overwhelms the substance of the story. The ice-cool style and the constant barrage of music keep the audience gliding on the surface without ever truly revealing the emotional core of the film's fascinating subject. And yet, despite all that music, the producers of this soundtrack album (the first of two released by Interscope) somehow felt the need to add songs that were never used in the movie. Unfortunately, they favored a pair of schmaltzy R&B-pop ballads by R. Kelly ("The World's Greatest" and "Hold On") over the fine Bourke/Gerrard score, which is represented here only by the trancey ambient song "See the Sun." But there are several strong tracks here that were used in the film, including Truth Hurts' soulful Motown ballad "For Your Precious Love," Everlast's moody half-rap "'The Greatest," and especially Selif Keita's powerful African anthem "Tomorrow," which was used powerfully in two of the film's more important moments. 
 
tags: various artists, ali, original motion picture soundtrack, ost, 2001, flac,

Various Artists - Beats From The Underground (2000)

*This is a U.K. compilation consisting of 
British and North American rap acts. 
Contains 15 tracks total.
Country: United Kingdom
Genre: Hip-Hop
Label Number: BBEATSCD001
 
© 2000 Breakin Beats
*No professional reviews are available for this release.
 
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tags: various artists, beats from the underground, 2000, flac,

Various Artists - Rap-A-Lot's Underground Masters (1992)

Country: U.S.A.
Genre: Hip-Hop
Style: Gangsta Rap 
Label Number: P2 57168
 
© 1992 Rap-A-Lot Records
*No professional reviews are available for this release.
 
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 tags: various artists, rap a lots underground masters, 1992, flac,

DJ Honda - Ⅳ (2009)

Country: Japan
Language: English 
Genre: Hip-Hop
Label Number: DHCY-17
 
© 2009 DJ Honda Recordings
*No professional reviews are available for this release.
 
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tags: dj honda, iv, iv album, 2009, flac,

LL Cool J - The DEFinition (2004)

Country: U.S.A.
Genre: Hip-Hop
Style: Pop Rock 
Label Number: B0002939-02
 
© 2004 Def Jam/Rock The Bells
It's great to hear LL Cool J so unrestrained and so inspired on "Hush," one of the fantastic tracks on the more hit than miss The DEFinition. The track segues into the much lesser "I'm gonna do this to you, I'm gonna do that to you" Penthouse letter that's "Every Sip," but there's more here to bounce to than on 2002's mushy 10, and you can thank Timbaland for that. He's in the producer's chair for the banging kickoff single, "Headsprung," where LL meets the South with crunk beats and a slowed-down, syrup-sipper's chorus. He adds that Art of Noise-styled, mystic pan flute synth to "Can't Explain It" and a buzzing-in-your-ear melody to "Feel the Beat." LL responses to all these fresh sounds with vigor, spitting out the rhymes swiftly, and comes up with a couple things that make you go "dang!" without a trip or stumble. As good as Timbaland's beats are, it's 7 Aurelius who steals the show with his work on "Hush." It's more lovers' rap from LL, but Aurelius' beats and tricks should appeal to XY and XX chromosomes equally. Same goes for his team-up with R. Kelly, "I'm About to Get Her," making "Every Sip" the only romantic yawner. LL offers up "you rap for the thugs/I rap for the ladies" on the album, but there's some tough, near-"Mama Said Knock You Out"'s here, and from any hardcore thug's point of view, he's getting better at splitting the difference. 
 
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 tags: ll cool j, the definition, 2004, flac,