April 21, 2018

Battleaxe - Power From The Universe (2014 Reissue)

*Reissued in 2014 by Steamhammer Records
Contains 4 bonus tracks. 
12 tracks total.
Country: United Kingdom
Genre: Heavy Metal
Label Number: SPV 266352 CD

© 1984-2014 SPV, Steamhammer Records
Review by Matt Karpe for Hard Rock Haven.net
When Battleaxe released Power… back in 1984, they was just another band throwing their name into the NWOBHM hat. It was always going to be hard to compete with the likes of Judas Priest and Motörhead, and share the same success that those British icons have earned, but it is a testament to Battleaxe that, 30 years on, they are able to re-release Power From The Universe, which has found its place in heavy metal history. This re-package contains the original eight tracks, followed by four bonus songs that were recorded back in the mid-eighties. The blistering “Chopper Attack” sounds fresh and revitalized, with the Motörhead style of speed riffs and gritty vocals from Dave King. As good as this song is, you can’t help but imagine this being the sound of a band that would have been born had Priest and Motörhead coupled together and given birth to a heavy metal baby. Along with the groove laden “Metal Rock”, the more straightforward yet aggressive “Over The Top” and the excellent epic that is “Fortune Lady,” you can see why Battleaxe’s second album has stood the test of time. So, knowing what was to be expected with the original track listing, most people will be wondering what the bonus songs are like- before considering whether to buy this or not.
In truth, these songs are sublime additions. Generally shorter and sharper numbers, any of them would have slotted nicely into the original release. “Killer Woman” is fast and heavy, with a Thrashier feel. The drumming from Ian Thompson is prosperous, and the raw feel adds to the effectiveness of this three minute crusher.
“Radio Thunder” is much in the same mould, and the use of backing/gang vocals comes off successfully. There is also a classic guitar solo from Steve Hardy, whose guitar work throughout is a revelation.
“My Love’s On Fire” has a slight glam tinge to it, and “Love Sick Man” is another explosive track full of groovy riffs and immaculate solos. Whilst it may not have garnered the international publicity of other 1984 releases like Maiden’s Powerslave, Priest’s Defenders Of the Faith or some of the quickly rising glam metal bands, Battleaxe went under the radar to make a solid NWOBHM record that is packed with sheer quality. Add in four ‘newer’ songs that are better than much of the original track listing, then it can be considered a good move to give Power From The Universe a happy anniversary.

tags: battleaxe, battle axe, power from the universe, 2014, reissue, flac,

April 20, 2018

Ultravox - Ingenuity (1994)

*European pressing. 
Contains 10 tracks.
Country: United Kingdom
Genre: Pop Rock
Label Number: RES109CD

© 1994 Resurgence
AllMusic Review by François Couture
The new romantic era of the early '80s was long gone by the time Ultravox re-formed and recorded Ingenuity. And truth be told, very little of the group remained -- in body and spirit. Keyboardist/violinist Billy Currie took care of all the writing (except the lyrics) and handled the musical direction and "continuity" with the band's career. He was the only original member left on board in 1993. Gary Williams and Tony Holmes provide a very average rhythm section. Hard rock guitarist Vinnie Burns is kept to the role of provider of rhythm guitar and atmospheric textures; his occasional solos won't convince anyone. The group's best asset is new singer Sam Blue, who really puts all of his guts in the project. He has a great male pop kind of a voice and if the album doesn't sink into pop blandness it is mostly thanks to his powerful delivery in "The Silent Cries," "Distance," "Ideals," and "A Way out, a Way Through." There's a certain likeness to his voice and the whole resurrection project that recalls Ray Wilson's late involvement in Genesis (actually, "Distance" points to the direction the venerable group will take with Calling All Stations -- the similarities are astounding). Currie has not lost all his flair, both as a soloist (he throws in a nice few lines in "Give It All Back") and a composer: "The Silent Cries" and "Distance" rank high in his catalog, all projects considered. But Ingenuity is plagued with let's-get-with-the-times attitude and hook-laden pop songs. "There Goes a Beautiful World," "Who'll Save You," and the like are the reason why cutout bins exist. For Currie completists mostly.

tags: ultravox, ingenuity, 1994, flac,

Kylie Minogue - Fever (2001) ☠

Country: Australia
Genre: Pop
Label Number: 7243 535804 2 1
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☠: Selected by Lass
© 2001 Parlophone
Allmusic Review by Chris True
Fame can be a fleeting mistress, and nowhere more so than in the land of dance-pop divas. Many are lucky enough to have a hit album, much less two or three. What usually takes a one-hit wonder from the singles charts to career diva lies less in catchy hooks than in a combination of talent and the choice of collaborators. Obviously, the master of this technique is Madonna, whose talent and eye for talent in others has made her not only a worldwide pop sensation, but a worldwide icon. Arguably, running a close second is Kylie Minogue. Starting off as not much more than a female voice for the massively successful Stock, Aitken & Waterman hit factory, she moved on to work with some of the most prominent dance producers of the early '90s, making her one of the most visible pop stars outside of the United States. By 1997, she moved on to working with writers outside the genre. While this may have translated into poor record sales, her motives were in the right place. With 2001's Fever, Minogue combines the disco-diva comeback of the previous year's Light Years with the trend of simple dance rhythms which was prevalent in the teen dance-pop craze of the years surrounding the album's release. While on the surface that might seem like an old dog trying to learn new tricks, Minogue pulls it off with surprising ease. The first single, "Cant Get You Out of My Head," is a sparse, mid-tempo dance number that pulses and grooves like no other she's recorded, and nothing on Light Years was as funky as the pure disco closer of "Burning Up." And while it's hard not to notice her tipping her hat to the teen pop sound (in fact, on this record she works with Cathy Dennis, former dance-pop star and writer/producer for Brit-teen pop group S Club 7) on songs like "Give It to Me" and "Love at First Sight," her maturity helps transcend this limiting tag, making this a very stylish Euro-flavored dance-pop record that will appeal to all ages. Not one weak track, not one misplaced syrupy ballad to ruin the groove. The winning streak continues. [The U.S. version, released in early March of 2002, included the hidden tracks "Boy" and "Butterfly" -- a B-side and Light Years album track, respectively.]

tags: kylie minogue, fever, 2001, flac,

New Order - Brotherhood (1986) ☠

*U.K. first pressing.
Contains 10 tracks total.
Country: United Kingdom
Genre: Pop Rock, Pop
Label Number: FACD 150
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☠: Selected by Lass
© 1986 Factory
AllMusic Review by John Bush
New Order had been so good at integrating synth and guitars (often on the same song) that fans who greeted 1986's Brotherhood with the realization that it was split into a rock side and a dance side couldn't help but be a little disappointed. Still, the songs and the band's production had reached such a high level that the concept worked superbly, without calling undue attention to itself. The rock side comes first, revealing more of the emotional side of Bernard Sumner's singing and songwriting, even leading off with acoustic guitar for one song. But Brotherhood was also a little harder than what had come before; Sumner often sang with a come-on sort of brio, matching Peter Hook's seething work on the bass. The songwriting was excellent, and the album was delivered with great pacing, especially on the first four tracks -- sensuous and roiling for "Paradise," bright and emphatic on "Weirdo," reflective for "As It Is When It Was," then back to direct and upbeat on "Broken Promise." The synthesizer side was similarly assured, beginning with one of their brightest singles (and biggest transatlantic hits), "Bizarre Love Triangle." There was no dark side to Brotherhood, as there was with Low-life; after "Bizarre Love Triangle" came only the Middle Eastern fusion of "Angel Dust" and the simple, pastoral synth pop of "All Day Long" and "Every Little Counts." For better and worse, this was a New Order with nothing more to prove -- witness the tossed-off lyrics and giggles on "Every Little Counts" -- aside from continuing to make great music.

tags: new order, brotherhood, 1986, flac,

Bathory - Blood On Ice (1996)

Country: Sweden
Language: English
Genre: Viking Metal
Label Number: BMCD 666-12

© 1996 Black Mark Production
AllMusic Review by Eduardo Rivadavia
Bathory's famed lost album, Blood on Ice, was originally recorded in the late '80s, smack-dab in the middle of the Swedish group's revolutionary transition from its barbaric black metal beginnings to the ambitiously orchestrated Viking metal of its golden era. At the time, the work was deemed far too big a departure by band mastermind Quorthon, who, among other things, shockingly substituted his raspy croak for actual singing throughout -- but, as with any abandoned project, retrospective evidence also suggests that Quorthon was also less than secure about whether his songwriting and musicianship were yet developed enough to fulfill his vision. Shrouded in mystery for the ensuing half-decade, Blood on Ice was finally resurrected and completed (replete with story-advancing sound effects) to Bathory's satisfaction in 1996, at which time it was released to widely deserved critical and fan acclaim, despite a few but distinct shortcomings that placed its overall achievement slightly below that of acknowledged triumphs like Blood Fire Death and Hammerheart. Sliding into gear rather slowly with tentative offerings like the title track, "One Eyed Old Man," and "The Sword" (which sounds way too similar to Manowar's "Blood of My Enemies"), the album eventually reaches cruising speed with outstanding moments like "The Stallion," "The Woodwoman," and the colossal "Gods of Thunder of Wind and of Rain," whereupon Quorthon's vocals (sometimes given to off-pitch variations) sound better than ever before. The gentle acoustic bridge "The Ravens" sets up the epic, nine-minute masterstroke of "The Revenge of the Blood on Ice," which may single-handedly convince even the most cynical of listeners that this long-forgotten work deservingly belongs within Bathory's hallowed canon. Also worth mentioning, the album's lengthy (meaning biblically sized) explanatory liner notes read like a veritable Rosetta Stone for longtime Bathory supporters, shedding unprecedented historical light and perspective upon the group's mysterious history.

tags: bathory, blood on ice, 1996, flac,

Bathory - Octagon (1995)

Country: Sweden
Language: English
Genre: Thrash Metal
Label Number: BMCD 666-11
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© 1995 Black Mark Production
AllMusic Review by David Peter Wesolowski
The Swedish black metal band Bathory have won a lot of respect over the years for their uncompromising style of music. However, a little bit of compromise would have gone a long way on this particular release. Even seasoned metal fans might find Octagon tough to digest. Sure, its harsh sound and extreme lyrics pack plenty of shock value. But most of the tunes are too chaotic, failing to make any sort of a connection even after a good number of spins. In fact, several of them are downright painful. A couple of the numbers try to deal with such serious issues as world politics and pollution, but their message is lost amidst all that chaos and noise. "Deuce" is probably the most worthwhile track of the lot, but that doesn't mean it's anything special. No doubt about it, Octagon is one for the hardcore Bathory fans.

tags: bathory, octagon, 1995, flac,

Bathory - Destroyer of Worlds (2001)

Country: Sweden
Language: English
Genre: Thrash Metal, Viking Metal
Label Number: BMCD666-15

© 2001 Black Mark Production
Review by Makis Kirkos for Metal-Temple.com
Formed in March 1983 by Quorthon, the ex-guitarist of a punk band, with fellow members Hanoi, bass, and Vans, drums, Bathory started for fun and underwent several name changes (Nosferatu, Natas) before finally settling on Bathory. Quorthon knew the head of a record company, Black Mark, whom he persuaded to record 2 tracks for a Scandinavian Metal Compilation LP. At this point he also started to call himself Quorthon, found from a list of Demons names.
Destroyer of Worlds is the tenth studio album in a row for Bathory, and this is an album that many have been anxiously awaiting for quite some time now. I am sad to say that many will be disappointed from the album. I could say that the new studio album is mostly uninspired and boring.
The brutal thrash metal with the clean vocals is bastard-ized with influences from many other genres and styles, and the result is not the one expected. The album features 13 songs and lasts more than 60 minutes. The first three tracks continue the guaranteed Viking saga of which Bathory is known for on HammerHeart and Twilight of The Gods. The rest is just boring.
What's more, the production seems stuck in the 80s and the sound is not as good as we hoped it would be. But at least it is better than the two amazingly crappy thrash albums Octagon and Requiem. After Twilight Of The Gods, the godfather of the death/black metal, I was expecting more tunes of the same kind, but the rest of the stuff totally surprised me, more or less unpleasantly.
Personally, I wanted to hear more tracks based on the epic Viking approach, with great chorus behind, and I am sure many of you wanted to hear this too. But Mr. Quorthon has a different opinion about it. I also think that Bathory have already done greater albums by now, so you better stick to the older albums and forget their new one. I would only recommend this release to Bathory fans.

tags: bathory, destroyer of worlds, 2001, flac,

Fear Factory - Genexus (Limited Edition) (2015)

*Contains 2 bonus tracks. 
12 tracks total.
Country: U.S.A.
Genre: Groove Metal, Industrial Metal
Label Number: 3447-0

© 2015 Nuclear Blast Records
AllMusic Review by James Christopher Monger
On 2012's The Industrialist, Fear Factory offered up a pseudo-sci-fi/apocalypse-driven conceptual album that hit all of the right notes (with extreme prejudice) but did very little in the way of updating the seminal decibel-pushers' relentlessly precision-based brand of industrial metal. Genexus, the group's ninth studio long-player and first outing for Nuclear Blast, largely follows suit, but the inclusion of a live drummer (Mike Heller) on a few key tracks signals that Fear Factory may be a little bit more willing to disengage themselves from the autopilot in the hopes of steering the ship into the sun (in a badass metal way) themselves. More melody-driven than prior outings, Genexus nevertheless retains the band's penchant for pairing bleak science fiction imagery with piston-like, palm-muted guitar riffs and explosive percussion. Working once again with producer Rhys Fulber, the band seems intent on evolving slowly, but evolving nonetheless, with a heavier emphasis on keyboards and a surprisingly deft knack for inserting hooks where there once would have been abject chaos, most notably on the epic closing track "Expiration Date," a soaring alt-rock/shoegaze-blasted anthem to the futility of existence that somehow manages to come off as wearily inspiring. Those moments of surprise mellifluousness grow in number as the album progresses, which means that the meaty, machine-like opener "Autonomous Combat System" and the aforementioned "Expiration Date" serve as bookends for an actual sonic arc, and not just a narrative one. Nine albums in and the band is finally flirting with accessibility, but in true Fear Factory fashion, they're doing it on their own terms and at a very deliberate pace.

tags: fear factory, genexus, limited edition, 2015, flac,

April 19, 2018

Ultravox - Revelation (1993)

Country: United Kingdom
Genre: Pop Rock, Pop
Label Number: DSB 3098-2

© 1993 Deutsche Schallplatten Berlin
AllMusic Review by Aaron Badgley
After Ultravox dissolved in 1988 following the very disappointing album U-Vox, Billy Currie created two very interesting and good solo albums. But, in an attempt to revive his career, he teamed up with relatively unknown guitarist/vocalist Tony Fenelle and first created a new version of the classic Ultravox song "Vienna ("Vienna '92") and then created this album with co-producer Rod Gammons. Quite frankly it is not very good. The songs are predictable and in terms of melody offer few if any surprises or thrills. While it is always nice to hear Currie on violin or viola, it is not enough to sustain this whole album. While he does not try to copy Ultravox's classic sound, he does try to be contemporary, which leads one to very dated music. Fenelle's vocals are weak and the lyrics are juvenile at times. This album is a real shame. Had he not used the name Ultravox, it would earn a high grade, but the fact is that he did attempt to attract fans with this cardboard cutout of a once brilliant band.

tags: ultravox, revelation, 1993, flac,

April 18, 2018

Phantom Blue - Built To Perform (1993)

Country: U.S.A.
Genre: Heavy Metal, Hard Rock
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© 1993 Geffen Records
AllMusic Review by Vincent Jeffries
Boasting impressive performances and arrangements, Built to Perform could be the most instrumentally accomplished all-female melodic hard rock recording ever. After Phantom Blue caused quite a buzz with their 1989 eponymous debut, this follow-up was delayed years, causing the band to loose all commercial momentum as their '80s style had become a hopeless joke to many in the music industry. Vocalist Gigi Hangach is a near-virtuoso in her demanding genre; a technical master with command of raspy and clean phrases. Michelle Meldrum's guitar work is also first-rate, as her chops compare favorable to the monster guest soloists Marty Freidman and John Norum. Despite punchy production courtesy of Max Norman (Ozzy Osbourne, Megadeth, Loudness), Kim Nielson's drumming comes off a little soft. While distracting, the average rhythm work isn't enough to sink Phantom Blue, but their limited writing abilities just about ruins things. Other than the remarkable "Time to Run," all the instrumental fire is suffocated by listless material. While Phantom Blue's vocal and guitar dexterity is impressive, the weak songwriting on Built to Perform leaves the record appropriate only for listeners deeply into obscure '80s melodic rock

tags: phantom blue, built to perform, 1993, flac,

Ultravox - Vienna (1980)

Country: United Kingdom
Genre: New Wave, Synth Pop
Label Number: CCD 1296

© 1980-1983 Chrysalis ‎Records
AllMusic Review by David Jeffries
With the departure of vocalist John Foxx and guitarist Robin Simon behind them, Vienna kicked off Ultravox's second phase with former Rich Kids vocalist Midge Ure at the helm. Trading Foxx's glam rock stance for Ure's aristocratic delivery, Vienna recasts the band as a melodramatic synth pop chamber ensemble with most of the group doubling on traditional string quartet instruments and the synthesizers often serving to emulate an orchestra. It was a bold move that took awhile to pay off (the first two singles, "Sleepwalk" and "Passing Strangers," went unnoticed), but when the monolithic title track was released, the Ure lineup became the band's most identifiable one almost overnight. The simple and instantly recognizable drumbeat of "Vienna" proved infectious, taking the single to the top of the charts in the U.K. and making an impression in a new wave-apprehensive America. Drummer Warren Cann's monotone narration on "Mr X" and the frantic ride that is "Western Promise" give the album just enough diversity and showcase the rest of the group on an Ure-heavy album. There are plenty of pretentious and pompous moments at which Foxx-era purists cringe, but taken as a snooty rebellion against the guitar-heavy climate of the late '70s, they're ignorable. Returning producer Conny Plank's style adapted well to the new group, pitting the stark and the lush against one another. Add Anton Corbijn's photography and Peter Saville's smart cover design and all the ingredients for an early-'80s classic are there. A few albums later, it would all seem like a fluke, but on Vienna, all the pieces come together.

tags: ultravox, vienna, 1980, flac,

Ultravox - Rage In Eden (1981) ☠

Country: United Kingdom
Genre: New Wave, Synth Pop
Label Number: VK 41338
☠: Selected by Lass
© 1981-1987 Chrysalis Records
AllMusic Review by Dave Thompson
Following on from the success of Vienna, Ultravox cemented their position as a New Romantic phenomenon with their follow-up, 1981's Rage in Eden. The martial beats and political undertones of "The Thin Wall" single acted as a potent taster for the album, to be joined in the U.K. Top 20 by the even more powerful message of "The Voice." The latter song opened the album, but nothing that followed equaled its strength, its sequencing a flaw in an otherwise excellent set. That said, propulsive numbers like "We Stand Alone" and "I Remember (Death in the Afternoon)," the rebellious angst of "Accent on Youth," the exotic strains of "Stranger Within," and the haunting "Your Name Has Slipped My Mind Again" all contained their own power. And even if the instrumental "The Ascent" harkened back to "Vienna," it was obvious that with Eden, Ultravox was climbing to grand new heights.

tags: ultravox, rage in eden, 1981, flac,

Ultravox - Quartet (1982)

Country: United Kingdom
Genre: New Wave, Synth Pop
Label Number: CCD1394

© 1982-1983 Chrysalis Records
AllMusic Review by Dave Thompson
With the successes of Vienna and its follow-up, Rage in Eden, Ultravox's position in the music scene was unassailable, further fortified by frontman Midge Ure's foray into solo-dom with the summer 1982 hit cover of the Walker Brothers' "No Regrets." The band's "Reap the Wild Wind" followed it up the U.K. chart that fall, a taster for the band's sixth album. And what a portentous taste it was. While "Wind" buffeted and whooshed once again around nostalgia for a past never lived, "Hymn" (its melody lifted from "Mourning Star" by Ure's last band, the Zones) wrestled with faith in a faithless age and prayed its way up the chart later that fall, while the dirge "Visions in Blue" saw the spring caught in its icy grip. But it was the fourth song spun off the album, "We Came to Dance," that best defined the overall themes of the set. Having helped create a movement renowned for its fashion victims and superficiality, Ultravox recoiled from the Frankenstein they'd birthed. "The Song (We Go)" may have been a cry of welcome, but both "Dance" and "Serenade" make clear the music scene's terrifying capacity to unleash both Dionysian abandon and militaristic conformity. "When the Scream Subsides" further fuels the album's existential angst, which reaches its emotional nadir on the suicidal "Cut and Run." With their toe-tapping rhythms, billowing synths, and rousing melodies, one is often tempted to ignore the darkness of Ultravox's themes, but with Quartet, the band deliberately made that nigh on impossible.

tags: ultravox, quartet, 1982, flac,

Ultravox - Lament (1984)

Country: United Kingdom
Genre: New Wave, Synth Pop
Label Number: CCD 1459

© 1984 Chrysalis Records
AllMusic Review by Dave Thompson
As the title suggests, Ultravox were in a gray mood as they launched into their seventh studio LP, their previous existential angst now pooling around personal anguish. The album's title track was a study in languorous melancholy, where the emotional pain lingered on and on. And why would it ever dissipate, when romance is forever doomed, as "When the Time Comes" exquisitely illustrated? Even "One Small Day," the most musically celebratory song on the set, battles depression but dismally loses the war. No wonder Ultravox were so keen to escape far into the past, with "Man of Two Worlds" taking them back to the gloriously romanticized days of the Celts. The modern world, in contrast, was filled with terrors, both emotional ("A Friend I Call Desire") and global. There was the omnipresent yellow peril to fear; but if "White China" warned of the dangers of creeping communism, the nation sworn to protect its citizens from a Stalinistic embrace proves just as nefarious on "Heart of the Country." Each side is as bad as the other, together threatening the globe with annihilation, with the mini-epic "Dancing with Tears in My Eyes" poignantly pointing out the richness of life the world's leaders hold so carelessly in their hands. This was to be Ultravox's final album, at least in this form, and in many ways, the set was the band's perfect epitaph, as lavish musically as it was desolate thematically.

tags: ultravox, lament, 1984, flac,

Ultravox - U-Vox (1986) ☠

Country: United Kingdom
Genre: Pop Rock, Synth Pop
Label Number: 257 934-222
☠: Selected by Lass
© 1986 Chrysalis Records
AllMusic Review by Alex Ogg
Featuring new drummer Mark Brzezicki (formerly of Big Country), the prosaically titled U-Vox offered more of the same from these by-now-redundant synth stylists. The one exception was the single "All Fall Down," a slightly more imaginative variant on the formula. (The other two singles drawn from the album, "Same Old Story" and "All in One Day," were shallow echoes of the band's earlier releases.) "All Fall Down" was to prove their final chart entry.

tags: ultravox, u vox, u-vox, 1986, flac,

April 17, 2018

Tad - Live Alien Broadcasts (1994)

Country: U.S.A.
Genre: Grunge
Label Number: 11065-2

© 1994 Futurist
AllMusic Review by Eduardo Rivadavia
Like the vast majority of Seattle bands signed by major labels during the music industry's mad rush to mine the city's every last nugget of grunge gold, local scene veterans Tad were one-and-done with Warner Bros. following the relative commercial failure of 1993's Inhaler album. No one was shocked; the members of Tad never were, and, to their credit, they never tried to be Top 40 material. Instead, being grounded, blue-collar work-ethic types, vocalist/guitarist Tad Doyle, guitarist Gary Thorstensen, bassist Kurt Danielson, and drummer Josh Sinder seemed to just take it all in stride, dusted themselves off, and looked ahead. However, first they had to fulfill an old contractual obligation with the independent Futurist label, so a session was booked at Heart's Bad Animals studio where the band knocked out a selection of old and unreleased tunes -- live. The results became 1994's Live Alien Broadcasts: now a frequently forgotten footnote in the band's career boasting roughed-up versions of four Inhaler cuts, two from 8-Way Santa, and four mostly forgettable, previously unreleased outtakes that did little to enhance the album's collectible status -- even after it went out of print just a few years later. Nevertheless, Tad moved on and managed to produce a final, proper studio album in 1995's Infrared Riding Hood, before bowing out for good.

tags: tad, live alien broadcasts, 1994, flac,

Tad - Infrared Riding Hood (1995)

Country: U.S.A.
Genre: Post Grunge
Label Number: 61789-2

© 1995 EastWest Records America
AllMusic Review by Eduardo Rivadavia
Tad's last fart, 1995's Infrared Riding Hood, improbably saw the Seattle grunge stalwarts scoring their second major label contract, but then failing yet again to seize the opportunity to follow in the platinum workboots of the genre's "big four" (Nirvana, Soundgarden, Alice in Chains, Pearl Jam). Mind you, it wasn't for lack of trying, since the new material reflected a similar tack as its 1993 predecessor, Inhaler, in attempting to wipe some blood and gristle off the band's vicious sonic template. But while these more pronounced contrasts between light and dark actually did work out on a few cuts (namely "Bullhorn" and "Bludge"), many others (such as "Ictus," "Red Eye Angel," and "Dementia") sounded forced and unconvincing -- as well as disturbingly derivative of Irish alt-metallers Therapy? Another grouping slowed down the tempo with varying results: "Thistle Suit" merely repeated the game but unfulfilling hybridization cited above, while the exceptionally sludgy "Emotional Cockroach" delivered a secondhand Melvins imitation, but the misleadingly named "Weakling" nearly got the balance right. Then Tad really overstayed their welcome by jamming about four songs too many toward the end of Infrared Riding Hood -- an all too typical fallacy of the CD era. And all these efforts were ultimately for naught, since Tad wound up rudely dropped by EastWest and broke up soon after this release, their caustic grunge stylings having proved far too unsavory for the flannel-toting mainstream to stomach.

tags: tad, infrared riding hood, 1995, flac,

Britny Fox - Britny Fox (1988) ☠

Country: U.S.A.
Genre: Glam Metal
Label Number: CK 44140
☠: Selected by Lass
© 1988 Columbia Records
AllMusic Review by Jeremy Ulrey
One of the brighter debuts to emerge in the late '80s, Britny Fox established themselves early on as hard-hitting contenders, only to expose a glass jaw in subsequent bouts. Often labeled clones of sister band Cinderella (whence they got their image, guitar player, and record contract), the quartet overcame expectations by filling their first album with song after song of top-flight '80s glam, marred only slightly by the cliché-ridden lyrics. The boys each play to their strengths here, which results in killer riffs and licks from Michael Kelly Smith and impassioned howling from Dizzy Dean Davidson. On later platters, they would overextend their talents and become just another struggling bar band, so enjoy the chemistry while it's still there. Among the many highlights are "Long Way to Love," "Girlschool," and a cover of Slade's "Gudbuy t'Jane."

tags: britny fox, britny fox album, 1988, flac,

Britny Fox - Boys In Heat (1989) ☠

 Country: U.S.A.
Genre: Glam Metal
Label Number: CK 45300
☠: Selected by Lass
© 1989 Columbia Records
AllMusic Review by Jeremy Ulrey
Despite the title, the boys seemed to have cooled off substantially since their scorching debut. Dizzy Dean's attempts at singing straight on the majority of these tunes rob the band of its raw edge, and the ultra-clean acoustic guitars backing many of the midtempo tracks are too clearly derived from Poison's "Every Rose Has Its Thorn." Unfortunately, the band tames its strip club mentality for a more mature outlook on relationships, only to find they have nothing to say on the subject. The saving grace of Boys in Heat is the first side, which fires on all cylinders and rarely misses. It's the second half that threatens to sink the ship, with very few of the throwaway tunes holding any water whatsoever. Not a total wash-up, but indicative of the lack of quality control which would soon tank the genre.

tags: britny fox, boys in heat, 1989, flac,

Britny Fox - Bite Down Hard (1991) ☠

Country: U.S.A.
Genre: Hard Rock
Label Number: 7 91790-2
☠: Selected by Lass
© 1991 EastWest Records America
AllMusic Review by Jeremy Ulrey
Having replaced lagging talent Dizzy Dean Davison with soundalike vocalist Tommy Paris, Britny Fox find themselves back in the running. Unfortunately, they're still not fated to bring home the trophy, as their renewed enthusiasm is offset to a large degree by their out-of-shape songwriting. Melodically, songs such as "Louder" and "Over and Out" carry the torch better than anything since the first album, but elsewhere the vocals are left to carry the hooks while the guitars coast on power chord cruise control. Another complaint: sexual innuendo only works when it's clever, which leaves hormone rockers like "Shot from My Gun" coming off as cheap crotch grabbers. There are guest appearances by Zakk Wylde and Rikki Rockett, but you'll need a doctorate in Hollywood Glam to recognize their contributions to this lukewarm affair.

tags: britny fox, bite down hard, 1991, flac,

April 15, 2018

Blondie - No Exit (1999)

Country: U.S.A.
Genre: Pop Rock
Label Number: 74321641142
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© 1999 Beyond
AllMusic Review by Becky Byrkit
Once you've cherished Blondie you never really go back, even if for half of your life you must cherish them out of forgiveness, or just plain heartfelt concern. Debbie Harry loves to make curious decisions about her music, and it's always important to listen to her work carefully and several times (while trying to keep her performance in John Waters' Hairspray either firmly in, or out, of your mind as you do). In the old days, Harry and her guys covered terrific old blues and trippy, backwater pieces, popped up and pretty, punkified, otherwise unremarkable rock tunes, and flat out treated us to a show, whether live or Memorex. No Exit is a gritty downtown incarnation that almost sounds like a cutting room castaway, filled with raw and abject moments and digressions that suggest an improvised, irrelevant feel. The talkative "Screaming Skin" is a lyrically confused, stream of consciousness piece that sounds as if it was written on a paper bag on the subway -- and some people really like this stuff. But some of the instrumental tracks have the veneer of an afterthought, particularly in the percussion department. Miss Debbie is always at her rockin' finest when futzing with the blues (and country, really), which she does on most of the latter half of the disc like the consummate, crazy pro that she is. If nothing else, No Exit is a testament to authentic rock and roll durability, and, well, the abiding "wow" that is Debbie Har

tags: blondie, no exit, 1999, flac,

Blondie - The Curse of Blondie (2003)

Country: U.S.A.
Genre: Pop Rock
Label Number: 06076-84666-2
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© 2003 Sanctuary Records
AllMusic Review by Jason Damas
No Exit was a textbook example of everything a reunion album shouldn't be -- sloppily written, dominated by embarrassing attempts to sound current (especially the Coolio [!] duet in the metallic title track), and calculatedly commercial. So it's no surprise that when Blondie decided to try again five years later -- when Debbie Harry was actually old enough to be a Golden Girl, few were paying attention and The Curse of Blondie didn't even get a U.S. release. But what's shocking is that this, and not No Exit, is what should've been Blondie's big comeback effort. That isn't to say that The Curse of Blondie is a classic Blondie disc, but it's the first good one since at least Autoamerican, and features one of their best-ever singles in "Good Boys." "Good Boys" is prime Blondie the way they should be -- pulsing layers of synthesizers are punctuated by sharp guitar riffs and the whole prize is dressed up in an infectious hook that's one part bubblegum, one part sexy chanteuse. Disco pioneer Giorgio Moroder even mixed the single version, and this alone is a sign that the band is again aware of its strengths and choosing the right collaborators, unlike the turn with Coolio the last time around. The rest of the album doesn't quite live up to the promise of that single, but unlike No Exit, it's largely not embarrassing (opening track "Shakedown" aside -- no one needs to hear Debbie Harry rap the lines "I think I'd have a better chance to see the Pope/I got so bored with his schtick and waving a dick/and all his high and mighty sh*t/I'm a witch"). All 14 songs are dressed up in Steve Thompson's chic, modern production -- while the album sounds contemporary, it also sounds like classic Blondie. Perhaps this had something to do with the cultural shift that took place between this and the last album -- in 1998/1999, rap-metal, trance, and bubblegum pop ruled the charts and all three clumsily found their way onto No Exit. But by 2003, bands like the Sounds and the Rapture were getting big doing virtually the exact same thing that Blondie had done 25 years earlier, and that set the stage for them to release this, their best album in well over 20 years. That doesn't mean The Curse of Blondie is great -- after all, both No Exit and The Hunter were awful -- and without a widespread release even fewer are likely to hear this. But those who do will probably be pleased to find that Blondie still have some life left.

tags: blondie, the curse of blondie, 2003, flac,