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The musically agile trio Blonde Redhead's combination of the eccentric art rock of 1960s underground cult favorites like the United States Of America with the downtown no-wave-ism of late 1970s bands like the Contortions may do the band no favors in the commerciality stakes. But their second album for the Chicago independent label Touch & Go is a tour de force of amiable eccentricity.
The band's searching, energetic explorations are much in evidence from the outset, with their singer Kazu Makino's free-form vocals underpinned by an angular, unsettled rhythm section on the title track, and the whole band tumbling down a post-rock wormhole on the chaotic "This Is For Me and I Know Everyone Knows." The stuttering rhythms of "Luv Machine" lead that song into prog-rock territory, though the slightly more staid "Distilled" shows that they're capable of keeping up with their more rock-oriented contemporaries, and "Led Zep" displays an airiness that's more a tribute to that band's musical flights of fancy than a homage to its bombast.
Personnel: Amedeo Pace, Kazu Makino (vocals, guitar); Simone Pace (keyboards, drums).
Liner Note Author: Blonde Redhead.
Recording information: Jolly Rogers Studios (02/1998).
Blonde Redhead: Kazu Makino, Amedeo Pace (vocals, guitar); Simone Pace (keyboards, drums).
Additional personnel: Guy (vocals).
4th Rel
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Recalling the no wave movement of the late '70s, the self-titled debut of New York City's Blonde Redhead is a glorious piece of dense, art-damaged noise, with songs that move from drifting melodicism to raging aural assaults in the course of a few measures. Taking their cues most directly from Sonic Youth (Steve Shelley produced the album), Blonde Redhead ...
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M.I.A. was one of the 50 best So-Cal punk bands of the great early-'80s second wave explosion, but for some reason never received much lasting acclaim -- while seemingly all their brethren were acknowledged then and since. Sadly, their two best records, Notes From the Underground and After the Fact, are the period directly after this 37-song compendium. But Lost Boys, which captures their faster, harder beginnings, is still worth pursuing. This should have been chronological, as M.I.A.'s first release, the pulverizing, white-hot eight songs on their 1982 split LP, Last Rites for Genocide and M.I.A., is buried on tracks 14-21! Please start with them, as they're the best work here (including their pre-1985 zenith, the classic "Tell ...
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Some vintage recordings from the 1920s and '30s are included on this collection of hillbilly music, which features performances from a number of musicians over the 18 tracks included.
This is all pure country music, before there really was such a thing. This is the folk music of England, Ireland, and Scotland wrapped up in the Smoky Mountains of Tennessee and in the Appalachian plains, and was transformed into something so perversely American it was a freak show to the rest of the country when it finally was released on recordings. These recordings by the Crook Brothers, DeFord Bailey (the first black instrumentalist on the Grand Old Opry stage), the Jackson County Barn Owls, the Riverside Ramblers, Karl & Harty, the Pickard Family, Dr. Humphrey Bate & the Possum Hunters, Lonnie Glosson, and others were the sounds of people telling stories to one another in the confines of their communities, playing the old songs as if they had a secret code not decipherable outside the holler. Music was played by clans for other clans; many of them identifying their "turf" and placing the name "Ramblers" after it (there are four such acts on this disc). This is primarily string band music, unique because of the prominence of the harmonica in the ensembles themselves. Fiddle solos were replaced or at least augmented by harmonica. As an album, it doesn't have the power or the focus that other Trikont compilations have. It feels shoddily snapped together to meet a production deadline, with this theme as its only unifier. That said, it's of more than casual interest because of the material, which is very fine, and ...
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