May 06, 2020

Wild Strawberries - Heroine (1995)

Country: Canada
Language: English
Genre: Pop Rock
Label Number: W 06700 30099 2 8

© 1995 Nettwerk
*No professional reviews are available for this release.

tags: wild strawberries, heroine, 1995, flac,

Wild Strawberries - Quiver (1998)

Country: Canada
Language: English
Genre: Pop Rock, Trip-Hop
Label Number: 0 6700 30119 2 1

© 1998 Nettwerk
*No professional reviews are available for this release.

tags: wild strawberries, quiver, 1998, flac,

May 04, 2020

Mark Lanegan - Whiskey For The Holy Ghost (1993)

Country: U.S.A.
Genre: Folk Rock, Alternative Rock
Label Number: SP132B
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© 1993 Sub Pop
AllMusic Review by Mark Deming
Mark Lanegan's first solo album, 1990's The Winding Sheet, was a darker, quieter, and more emotionally troubling affair than what fans were accustomed to from his work as lead singer with the Screaming Trees. The follow-up album, 1994 's Whiskey for the Holy Ghost, used The Winding Sheet's sound and style as a starting point, with Lanegan and producer/instrumentalist Mike Johnson constructing resonant but low-key instrumental backdrops for the singer's tales of heartbreak, alcohol, and dashed hopes. While The Winding Sheet often sounded inspired but tentative, like the solo project from a member of an established band, Whiskey for the Holy Ghost speaks with a quiet but steely confidence of an artist emerging with his own distinct vision. The songs are more literate and better realized than on the debut, the arrangements are subtle and supportive (often eschewing electric guitars for keyboards and acoustic instruments), and Lanegan's voice, bathed in bourbon and nicotine, transforms the deep sorrow of the country blues (a clear inspiration for this music) into something new, compelling, and entirely his own. Whiskey for the Holy Ghost made it clear that Mark Lanegan had truly arrived as a solo artist, and it ranks alongside American Music Club's Everclear as one of the best "dark night of the soul" albums of the 1990s.

tags: mark lanegan, whiskey for the holy ghost, 1993, flac,

Mark Lanegan The Winding Sheet (1990)

Country: U.S.A.
Genre: Folk Rock, Alternative Rock
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© 1990 Sub Pop
AllMusic Review by Robert Gabriel
Removing himself for a moment from the rowdy world of grunge, Screaming Trees singer Mark Lanegan put his best solo foot forward with a set of acoustic dirges. His menacing voice haunts each track as the blues come to life throughout the album. Capturing the melancholy mentality of the Pacific Northwest, his words descend like raindrops upon deep puddles of mud. The undeniable beauty of a song such as "Ugly Sunday" obviously comes from reveling in the mire, something that Lanegan has been all too familiar with as a recovering addict. He finds a kindred spirit in Kurt Cobain as the two join forces to present "Down in the Dark." And his version of Leadbelly's "Where Did You Sleep Last Night" is as charged as ever with pent-up frustration and jealousy. An emotional journey through the pains of life, The Winding Sheet is an album that accurately expresses the candid underbelly of the grunge aesthetic.

tags: mark lanegan, the winding sheet, 1990, flac,

Old Man's Child - Slaves of The World (Limited Edition) (2009)

*Limited edition with a different cover. 
Contains 1 bonus track. 
10 tracks total.
Country: Norway
Language: English
Genre: Black Metal
Style: Symphonic Black Metal
Label Number: 9978828

© 2009 Century Media
AllMusic Review by Eric Schneider
Issued in 2009, SLAVES OF THE WORLD, the follow-up to VERMIN, finds the Norwegian act Old Man’s Child working more of its black-metal magic. Fronted by singer/multi-instrumentalist Galder, also of the mighty Dimmu Borgir, OMC excels at ominous, guitar-laden tunes, as best revealed on “Saviours of Doom” and “Unholy Foreign Crusade.”

tags: old mans child, slaves of the world, limited edition, 2009, flac,

Old Man's Child - Vermin (2005)

Country: Norway
Language: English
Genre: Black Metal
Style: Symphonic Black Metal
Label Number: 8258-2

© 2005 Century Media
AllMusic Review by Eduardo Rivadavia
Never quite able to compete with the heaviest hitters of Norwegian black metal (Emperor, Darkthrone, Mayhem, Enslaved), Old Man's Child appeared headed to the also-ran scrap heap when main man Galder decided to join his more successful rivals, Dimmu Borgir, in 2001. But, ironically, it's almost as if accepting second fiddle status was exactly what the multi-instrumentalist needed to ensure that post-Dimmu Old Man's Child records -- of which 2005's Vermin is the second -- would rank among their best works to date. Not earth-shattering or revolutionary, Vermin is nonetheless sturdy, entertaining, and "civilized" Scandinavian black metal featuring semi-symphonic highlights like "Enslaved and Condemned," "The Plague of Sorrow," and "The Flames of Deceit," executed with the clinical precision that OMC fans have come to expect. The very nature of this controlled attack means that some of the genre's more extreme savagery is inevitably forfeited during the delivery, but occasional offerings such as "War of Fidelity" (with its machine-gun riffing) and "Lord of Command (Bringer of Hate)" still manage episodes of near loss of control now and then. Yet it's probably Galder's talents at conjuring endless sinister melodies -- not his competent but less than unique vocal growls, not his admirable but equally sub-Dimmu orchestrating abilities -- that supply Vermin's most frequent distinguishing moments. That and the rotating quasi-folk melody threaded through the rather unusual "Twilight Damnation," which precedes the industrial outro "…As Evil Descends," wrap up a solid, unspectacular, but above-average Old Man's Child album.

tags: old mans child, vermin, 2005, flac,

Meat Loaf - Welcome To The Neighborhood (1995)

Country: U.S.A.
Genre: Hard Rock
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© 1995 Virgin
AllMusic Review by William Ruhlmann
After having scored a surprising commercial comeback with 1993's Bat Out of Hell II: Back Into Hell, his reunion with songwriter Jim Steinman, Meat Loaf tried to make it on his own, just as he had from 1983 to 1993, and with similarly disappointing results. As with albums like Bad Attitude, a couple of Steinman songs were tossed in, in this case the minor "Original Sin" (from 1989) and "Left in the Dark" (from 1980), a song previously cut by Barbra Streisand. But most of the album's songwriting was provided by a team of people, including pop songwriter Diane Warren, Van Halen lead singer Sammy Hagar, and ex-E Streeter Steven Van Zandt, plus producer Ron Nevison, trying to clone the flamboyant Steinman style and failing to do so. The Warren material especially (which sounded more like the kind of thing she tends to write for Michael Bolton) lacked Steinman's gothic excess, sly humor, and lyrical reach. Meat Loaf, as usual, sang like his life depended on it, while a band that was less distinctive than it should have been, given such notable participants as Kenny Aronoff and Kasim Sulton, churned out sub-metal riffs. The resulting sales fall-off was not as great as it had been before, but it remained true that Meat without Steinman was only half a loaf.

tags: meat loaf, welcome to the neighborhood, 1995, flac,

May 03, 2020

Shout - It Won't Be Long (1988)

*U.S. first pressing. 
Contains 9 tracks total.
Country: U.S.A.
Genre: Hard Rock
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© 1988 Frontline Records
Review by Andrew Rockwell for Angelic Warlord.com
Ken Tamplin got his start in the mid-eighties while a member of the melodic metal band Joshua.  After completing a tour of Europe in support of the 1986 release Surrender, Tamplin departed Joshua when he felt the Lord leading him in a different direction.  He proceeded to put together Shout with former Idle Cure guitarist Chuck King (recruited through an ad in a Los Angeles area classified paper) and bassist Loren Robinson (Joshua).  The three arrived at the name Shout, in Tamplin’s own words, due to the fact, "We're supposed to shout and make a joyful noise unto the Lord. We're definitely shouting it out and saying what the Lord wants us to say." It Won't Be Long is Shout's 1988 debut on Intense Records. 
It Won’t Be Long, Shout’s 1988 Frontline Records debut, is a sleekly produced work combining the best aspects of melodic metal and commercial hard rock with pop-rock sensibilities.  All these elements can be found on hook driven pieces “Never Stop” and “Winners Or Losers” in addition to the albums acoustic laced title track.  “Shout”, the bands signature number, comes across in the form of a metal anthem, while “Find A Way” is a piano driven ballad.  The polished “Showdown” highlights Shout’s penchant for lush vocal harmonies.
Tamplin has always been one of my favorite rock vocalists.  His smooth and warm sounding presence – tinctured with occasional touches of grit – aligns well with the music at hand.  He also joins with Chuck King for the albums guitar duties.  The two prove particularly deft with their tight melodies and harmonies but can also cut loose in the lead guitar department, as demonstrated on “Winners Or Losers” and “Showdown”.  Guitarist Lanny Cordola (House Of Lords) makes a guest lead guitar appearance on “Shout”.
Rounding things out is the rhythm section of drummer Dennis Holt (AD) and bassist Loren Robinson.  Mark Hugonberger adds extra texture on keyboards.
Things get underway to the slick hard rocker “Never Stop”.  With its big hook chorus (accented by keyboards) and low-key verses (in which the rhythm guitar plays a reduced role), the song ranks with the albums finest.  “Never Stop” is a song of perseverance:
Now can't you see, Oh that I'm racin' time
It's on with the goal
Another uphill climb
Follow the heart, satisfy the soul
I'm movin' on, headin' along well you know
Never stop, nothin’s gonna stop us now
Aint givin’ up, we hear it calling
Now we know love is gonna show us how
“Winners Or Losers” heads in the heavier direction.  A crunch heavy rhythm guitar drives the song its distance, interweaving with a punchy bass line to put in place an environs bordering on the anthem-like: the chorus is over the top while a blistering guitar solo adds to the resounding feel.  Love and acceptance is the message at hand:
In God's eyes, winners or losers we're all the same
Can't we try loving each other without all the blame
In a world so cold, life’s bought and sold
No time to love, just go for the gold, oh no
Now one man’s loss, is another man’s gain
Counting the cost and it adds up to pain I know
The albums title track begins to a beautiful Spanish influenced acoustic guitar solo.  The rhythm guitar that kicks in after a minute pushes things forward in upbeat fashion, prodigious backing vocals playing a leading role until a polished chorus laced with an acoustic guitar is obtained.  More defined lead guitar is added to a song about the second coming:
No it won't be long,
When all the clouds roll back and we'll be gone
Yeah we'll face it one by one
Oh come on and sing along
It won't be long, when all will be made known
It won’t be long, yeah we'll face it one by one
It won't be long, give your hope to carry on
Are you ready
“Find A Way” is a customary (and very well done) power ballad.  Keyboards make their presence felt on this one, upholding its airy verses while interweaving with a crisp guitar for its commercially influenced chorus.  Tamplin really stretches and exhibits the full range to his voice.  “Find A Way” makes a statement of God’s love:
As I recall the years that all slipped by
I can't deny
My foolish pride
Well someday I'll hold You forever
And never let go
Lord I'll be Yours
Love I know will find a way
I hear it's voice I can't escape the call
Into my heart
Love I know will find a way
Don't make me wait
We'll sail away sail away
Love is gonna find a way, find a way,
find a way
"Dancin' Round The World" fails to cut it.  Yes, the song brings a touch of groove with its upbeat momentum, but a weak pop flavored chorus and trite lyrics hold things back:
There's groovin' dancin' to the beat tonight
And we will set those feet to flight
There's swingin' and swayin' to the music tonight
Get our hands and feet blazin' like a firelight
When performing “Dancin’ Round The World” at Cornerstone 88, Shout pulled members of the audience onstage in order to have them “dance around”.  Think I will pass…
A drum solo gets “Shout” underway.  A powerhouse hard rocker, this one takes an energy-laden propensity and merges it with an upfront guitar sound and Lanny Cordola’s shredding soloing abilities.  It all adds up to a great hook, great performance and ultimately a great song.  “Shout” talks about taking a stand:
We won't take it, Lord we've gotta
shake it
Running for our lives
We'll raise our voices loud n clear
Like thunder n lightning for all to
hear
We'll
Shout it out, never let it take you down
Shout it out, livin's what it's all about
“Showdown” maintains the quality.  Slowing the tempo but not the guitar driven proclivity, “Showdown” projects a refined feel as a result of its abundant backing vocals and scintillating chorus warning of the second coming:
Showdown comin’ round
Runnin’ for cover when the trumpets all sound
Yes, a ghost town’s what’ll be found
We’d better slow down
Tamplin steps to the place with several seconds of the albums best high-octane lead work.
“Timeless Love” can best be described as above average to good mid-paced commercial hard rock.  No, not quite filler but not quite on the same level as the albums better material.  The hook is decent but I cannot bring myself to listen to this on a consistent basis.  “Timeless Love” focuses on God’s faithfulness:
Lay it on the line
You know it had to take some time
Seemed nothin' I could
Oh could get close to You
You never failed
And oh how Your love prevailed
Nothing I could say
I want to be with You someday
Timeless love
Standing against the hearts of pain
Timeless love, Oh, Oh
Faithfully remains
“Without You” ads up to filler track number two.  A restrained feel is put forth by the song, mirrored in its watered down guitar sound and quirky chorus backed by a way to prominent mix of keyboards.  The one bright spot is the instrumental section driven by a seventies influenced blend of guitar and organ.
It Won’t Be Long adds up to six great songs and three that struggle to receive a passing grade.  Yes, the album is a bit inconsistent but its better material more than justifies the final 75% score.  With a few more along the lines of “Showdown”, “Shout” and “It Won’t Be Long” this would easily rate in the 80% or 85% category.  But as it stands It Won’t Be Long still comes recommended and would prove a worthwhile addition to your collection.

tags: shout, it wont be long, 1988, flac,

Shotgun Messiah - Shotgun Messiah (1989) ☠

*U.S. first pressing. 
Contains 10 tracks total.
Country: U.S.A.
Genre: Glam Metal
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☠: Selected by Lass
© 1989 Relativity
Review by Leyla Ford for Metal Sucks.net
When the movie Machine Gun Preacher starring Gerard Butler (an actor know for such serious roles as Dracula in Dracula 2000) came out in 2011, I got very, very pissed. Here was a perfect opportunity to name a movie Shotgun Messiah, and instead they went for that? I didn’t see the movie, much like the general public at large, but still. So, in honor of that missed chance, I dedicate the Album of the Day to people who weren’t too stupid to seize the moment and name not only their first album but also their actual band Shotgun Messiah.
Once upon a time — 1985, to be more exact — in Skövde, Sweden a band was born. They were dubbed “Shotgun Messiah.” Founded by Harry K. Cody and my darling Tim Skold, they started out as a glam band. After two albums and more member rotations than KISS, these two gentlemen were the last original members left. For their final album, they decided to go a different way. An industrial way. Tim Skold later went on to play in other bands of that ilk, like KMFDM, Marilyn Manson, and the disappointing Hank von Helvete ode to Scientology, Dr. Midnight and the Mercy Cult. Shotgun Messiah and Violent New Breed are the bookends to Second Coming, which had the glorious “Heartbreak Boulevarde,” but on this episode, we’re going to focus on their eponymous first album.
Shotgun Messiah is glam, there’s no question of that. But amongst the screeches and tired entendres, there are glimpses of other influences. Released in 1989, it starts off with the very Motley Crue-esque “Bop City,” which has guitars so hooky as to differentiate them from all the other bands of the era. “Don’ Care About Nothin’” is a similar follow-up, but “Shout It Out” is the first song where there’s something a little different going on. With rapid-fire lyrics and hoodrat attitude, it kind of sounds like Faith No More’s “Epic,” if that song had an older brother who hasn’t realized that the scene is dead yet.
“Squeazin’ Teasin’” comes next, because no hair metal album is complete without some sort of rhyme on the word “tease.” (For the record, the Scorpions’ “Squeeze Me, Please Me” is the best.) This song is where you can really see Zinny J. Zan’s vocal range, because he does have a vocal range, and is able to move Faster Pussycat screeches  to a lower Cult-growl. “Dirt Talk,” for example, again sounds like a completely different singer from the rest of the album. Now we edge into L.A. Guns territory. Shotgun Messiah is basically a best of the ‘80s Los Angeles hairmetal scene as imagined by a band 6000 miles away.
The album ends with “I’m Your Love” and “Nervous.” While the former has a nastier edge, complete with a Marq Torien whine (like I said, best of ‘80s LA hair metal), the latter is what a Runaways/Scorpions lovechild would sound like. Angry punk kid chorus chants with a soulful bridge. Probably wouldn’t be the most attractive child (that’s what we’d call “a face made for radio”), but a good listen at any rate. In fact, that’s Shotgun Messiah in a nutshell; not so easy on the eyes, but great personalities all around!

tags: shotgun messiah, shot gun messiah album, 1989, flac,

Warrant - Dog Eat Dog (1992)

*U.S. first pressing. 
Contains 12 tracks total.
Country: U.S.A.
Genre: Hard Rock
Label Number: CK 52584

© 1992 Columbia
AllMusic Review by Stephen Thomas Erlewine
As a reaction to the grunge that had wiped pop-metal off the charts, Warrant spat out the tough Dog Eat Dog. While the majority of the record is more aggressive and powerful than their first two albums, the songwriting isn't as solid, suffering from a lack of memorable hooks.

tags: warrant, dog eat dog, 1992, flac,

Warrant - Belly To Belly: Volume 1 (1996)

Country: U.S.A.
Genre: Hard Rock
Label Number: 0607686200-2

© 1996 CMC International Records
Reviewed by Mark Horvath for Sleaze Roxx.com
1996 left many Warrant fans scratching their heads. The band was down two original members and had finally resurfaced with a new album and no longer on the mighty Sony label to release it. Belly To Belly Volume One (not sure why the Volume One was in the title, to me it’s just another strange thing that didn’t make sense about this album) as it sounded like a completely different band and NOT the Warrant everyone knew and embraced by their fans.
Then again it was 1996. Times changed so quickly for bands like Warrant who seemingly were on top of the world circa 1990-91 selling out 20,000 seat arenas and having to scale back to theaters and clubs of approximately 1,000 people. What the heck happened and where was the Warrant everyone knew?
Warrant‘s strategy was to change their sound with the times and hope the record labels and fans would accept them to allow the band to continue to have a career. While this might have worked for acts like David Bowie and Madonna who moved into a ’80s New Wave scene, the ’80s rock to grunge scene was far, far less kind to all bands like Warrant. Arguably the only band to survive and remain unaffected strangely enough was Van Halen. Not even the mighty Guns N’ Roses came out unscathed and took heat for being ‘cheesy’ and a relic of the ’80s.
Belly To Belly Volume One sports a completely different sound, in an attempt to blend in with grunge and modern sounding bands that were indicative of the mid-1990s. The album was a commercial flop, not only with the industry but also with Warrant fans who were left abandoned by one of their favorite bands and also the fabric of an entire era that was flourishing just five years prior.
Rock journalist Chuck Klosterman in his book Fargo Rock City mentions something interesting:
“In 1996, I went to a concert headlined by Vince Neil (this was during his ill-fated “solo” period) that also featured Slaughter and Warrant. All three acts were at the lowest points in their career. But something happened at this show that I will always remember. After his first song, Warrant‘s Jani Lane promised the crowd he would sing ‘Cherry Pie’ and ‘Heaven’ and all the songs he knew everyone had paid to hear, but he just asked that we sit through a half dozen of the new (and to be honest -horrible) songs he had recorded on the unsuccessful ‘Dog Eat Dog’ record. He didn’t ask this as a self-conscious, self-depreciating way; he was almost begging. Basically, he agreed to deliver all the old songs he hated if we would politely listen to the new stuff he cared about.”
Interestingly enough, the Dog Eat Dog album bared somewhat of a resemblance of the Warrant sound that made them famous, albeit a little harder and angrier. But Belly To Belly Volume One is a completely different animal. Beaten down by a new decade, a new era, new attitudes and new sounds, Warrant went the route of a modern grunge sound that was accepted by nobody. In this author’s opinion, Belly To Belly Volume One is drab, uninteresting and lacking the extremely catchy hooks and melodies that Jani Lane could write.
If you’re looking for the Warrant that lifted your spirits from the hits you remember, you certainly won’t find it here.

tags: warrant, belly to belly, volume one, vol 1, 1996, flac,

May 02, 2020

Barkmarket - Lardroom: E.P. (1994) ☠

Country: U.S.A.
Genre: Grunge
Label Number: 9 45678-2
☠: Selected by Lass
© 1994 American Recordings
*No professional reviews are available for this release.

tags: barkmarket, lardroom, ep, 1994, flac,

Barkmarket - L. Ron (1996) ☠

Country: U.S.A.
Genre: Post Grunge
Label Number: 9 43071-2
☠: Selected by Lass
© 1996 American Recordings
AllMusic Review by Ted Alvarez
Hardcore super-producer Dave Sardy (Helmet, Far, Orange 9mm) fronts New York City's Barkmarket, so it comes as no surprise that the trio serves up some tasty, abrasive rock on their fourth full-length, L Ron. Joined by John Nowlin on bass and Rock Savage on drums, Sardy and co. specialize in taking a melodic idea, scraping it up with sandpaper, and ramming it into the ground repeatedly. It sounds ugly, but it makes for a dynamic hardcore sound. "Visible Cow" opens the album with a detuned acoustic guitar and Sardy's scratchy moan; a tape recorder prattles in the background, almost warning the listener of the impending explosion of distorted slide guitar and pounding drums. Savage beats away on the drums so relentlessly that he must ruin the heads on every track, and Nowlin's low-tuned bass remains a snarling constant in every song. Lyrically, Sardy's distended poetry often has a dark humor about it; lines like "I opened all your mail" ("Feed Me") and "I got a game/it won't take long/we'll list all our beatings in a cursory rhyme" ("How are You") add a dash of laughter to the often humorless scowl across the face of hardcore music. Each song seems to be a unique study in angular, heavy music; "Falling" is a roiling dirge punctuated by stop-start drums, while "Undone" builds a sinister drone off of a surprisingly bluesy core riff. The capper is "Shiner," which starts with a guitar lick that sounds like Sardy is trying to sonically scrape paint off of the hood of his car. Nowlin and Savage tear in behind him and build to a skyrocketing chorus, featuring Sardy wailing at the heaven's, "How do you keep that shine on?" We may never know, but Barkmarket creates quality hardcore rock by keeping the shine distinctly off.

tags: barkmarket, l ron, 1996, flac,

The Buzzhorn - A Complete Package of Action-Packed Tragedies (1999) ☠

Country: U.S.A.
Genre: Post Grunge
Label Number: [none]
☠: Selected by Lass
© 1999 [Not On Label]
*No professional reviews are available for this release.

tags: the buzzhorn, a complete package of action packed tragedies, 1999, flac,

Anouk - Urban Solitude (1999)

Country: Netherlands
Language: English
Genre: Pop Rock, Alternative Rock
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© 1999 Dino Music
*No professional reviews are available for this release.

tags: anouk, urban solitude, 1999, flac,

Anouk - Graduated Fool (2002)

Country: Netherlands
Language: English
Genre: Pop Rock, Post Grunge
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© 2002 Dino Music
*No professional reviews are available for this release.

tags: anouk, graduated fool, 2002, flac,

Anouk - Hotel New York (2004)

Country: Netherlands
Language: English
Genre: Pop Rock, Alternative Rock
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© 2004 Virgin
*No professional reviews are available for this release.

tags: anouk, hotel new york,  2004, flac,

Anouk - Who's Your Momma (2007)

Country: Netherlands
Language: English
Genre: Pop Rock, Alternative Rock
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© 2007 EMI
*No professional reviews are available for this release.

tags: anouk, whos your momma, 2007, flac,

Anouk - For Bitter or Worse (2009)

Country: Netherlands
Language: English
Genre: Pop Rock
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© 2009 EMI
AllMusic Review by Alexey Eremenko
Anouk appears with a serious stare and a beaten face on the cover of For Bitter or Worse, but she's dramatizing there: the record's never dark, just mature. It's also not really groundbreaking, although going platinum in the Netherlands was no fluke: For Bitter or Worse is not even the alt-rock that fueled her sole international hit, "Nobody's Wife," but instead it's a solid blues-drenched album that seems to belong in Georgia, not The Hague. A handful of tunes that set the mood of the album sound like prime Black Crowes fronted by an earnest version of Sheryl Crow with the voice amplified three times compared to the original; good hooks appearing in some songs don't hurt, either -- the lead line in "Woman" is a "heard once, stuck forever" type of chorus if there ever were one. It's not all blues-rock, however -- there are elements of alternative, disco, and that ubiquitous Northern pop in the vein of a-ha all thrown into the fray -- but the result doesn't come out as neat as can be expected: all in all, most compositions are not that catchy, and pop leanings hamper the groove, leaving only Anouk's voice to sell the songs. She handles this job well, utilizing her powerful if slightly accented roar and wail to the max, but she's too good -- too strong and loose -- for her backing music, and so in the end For Bitter or Worse sounds like a jam between Anouk and some nice band that just can't quite match her style, no matter how hard it tries.

tags: anouk, for bitter or worse, 2009, flac,

May 01, 2020

Karyn White - Ritual of Love (1991) ☠

Country: U.S.A.
Genre: Pop, R&B
Label Number: 9 26320-2
☠: Selected by Lass
© 1991 Warner Bros. Records
AllMusic Review by Michael Gallucci
Jimmy Jam and Terry Lewis' production is the real star of White's sophomore album. And while the results aren't nearly as stunning as similar work they did with Janet Jackson around the same time (many of these songs sound like Rhythm Nation leftovers), there is a uniformity to the tracks that makes Ritual a more consistent and enjoyable listen than it should be. Highlights are "Romantic," "The Way I Feel About You," "Walkin' the Dog," and "Do Unto Me."

tags: karyn white, ritual of life, 1991, flac,

Karyn White - Make Him Do Right (1994) ☠

Country: U.S.A.
Genre: R&B
Label Number: 9 45400-2
☠: Selected by Lass
© 1994 Flyte Time/Warner Bros. Records
*No professional reviews are available for this release.

tags: karyn white, make him do right, 1994, flac,

Heather Nova - Siren (1998) ☠

Country: Bermuda
Language: English
Genre: Alternative Rock, Pop Rock
Label Number: OK 67953
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☠: Selected by Lass
© 1998 Work
Review by Allmusic.com
Boasting big, bold pop production that suggests the anthemic-but-personable sound of Natalie Imbruglia, Siren bursts out of the speakers with a giddy rush of emotion. But Heather Nova's not one to wail stridently like some Alanis-come-lately; instead she favors a breathy, delicate style that's nevertheless strong enough to ride comfortably atop the layers of acoustic and electric guitars. (In fact, it's Nova's own guitar that's at the heart of most of the arrangements here.) Throughout Siren, Nova utilizing an intriguing catch in her voice, and ultimately, it's Nova's unique vocal style and winning pop sensibilities that make Siren work as well as it does, doing double duty as substantive singer/songwriter statement and perfect pop-radio product.

tags: heather nova, siren, 1998, flac,