| | Cheater Slicks Refried Dreams CD Cheater Slicks Discography of CDs
On Refried Dreams, Cheater Slicks dial the distortion down a notch and up the blues quotient considerably -- in other words, less garagey than earlier recordings, but still rockin', still (quasi-) psychedelic. Their take on Lee Hazlewood's "Think I'm Coming Down," for instance -- a highlight of the set -- sounds like a cross between Status Quo's "Pictures of Matchstick Men" and Donovan's "Hurdy Gurdy Man." And it may not be unintentional, as the Slicks certainly know their rock history -- their entire discography is a testament to that premise. "Think I'm Coming Down" probably wouldn't have worked as well on any of their previous releases, but then they're now sounding more like the Rolling Stones -- by way of Royal Trux -- than the Scientists (or the Cramps). Refried Dreams is one of their more accomplished efforts and benefits from the tasteful addition of saxophone to some of the songs. ~ Kathleen C. Fennessy
Personnel: Tom Shannon (vocals, guitar); Bob Starker (saxophone); Jeff Graham (percussion).
Recording information: Diamond Mine, Columbus OH (01/1999).
7th Rel
CMJ (11/22/99, p.20) - "...one of the better albums of the band's decade-plus career, tags a newly located sense of bluesy melancholy onto [their] beloved ramshackle beat." Cheater Slicks Refried Dreams Songs | 1. | In This Town |
| 2. | Another Stab |
| 3. | I Think I'm Coming Down |
| 4. | One Life Story |
| 5. | Munchen Gretchen |
| 6. | Refried Dreams |
| 7. | George Washington |
| 8. | Dejected Soul |
| 9. | Deep Beneath the Sand |
| 10. | Don't Poo Poo Me |
| 11. | Last Call |
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Refried Dreams Review
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Purchase Refried Dreams CD To buy, Click on price to add to cart | Cheater Slicks Forgive Thee CDs (1997)
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Sounding very much like the voice of young conscious Jamaica, 23-year-old Warrior King mashes up the set on his debut album. Like many reggae youths, Warrior King began his career with a bristling hardcore style, mimicking his favorite DJ of the day, the relentlessly gruff Bounty Killa. But as a Rastafarian consciousness developed in him on into his adult years, Warrior favored the "singjay" style for a more emotively striking and message-oriented brand of music. The reggae community exalted the young vocalist after a pair of terrific singles ("Virtuous Woman" and "Never Go Where Pagans Go") ran roughshod ...
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The rating of this six-CD set is no joke -- yes, Bill Haley was supposed to be an irrelevant artist during the 1960s, but he did, in fact, generate well over 100 good and far-better-than-decent sides that are contained in this set. No, there's nothing remotely as earth-shattering or important as his best work for Decca from 1954-1955, and even most hardcore fans of that material may find the cost of this set difficult to justify; but take it from someone who shelled out for this box, it's worth a LOT more than you'd ever guess without hearing it -- Haley and his band still knew how to work a song, as demonstrated several dozen times on this set. The title is actually a bit misleading, since the sides that Haley recorded for Warner Bros. Records amount to less than a third of the contents of this box. Disc one is given over to the principal contents of Haley's two Warner albums and their accompanying singles, which include his versions of a brace of rock & roll oldies (among them recuttings of "Rock Around the Clock" and "Shake, Rattle and Roll," as well as hits identified with Jerry Lee Lewis, et al.) and some excellent country standards. Disc two wraps up the Warner Bros. sides (apart from a series of outtakes that appear on disc six) in surprisingly strong form, including a good version of "Let the Good Times Roll, Creole," and unearths a pair of mysterious recordings -- "Jack in the Box" and "Pistol Packin' Mama" -- by Haley and his band with an unidentified baritone singer; it also offers four songs that he recorded for Gone Records in the early '60s, and an album's worth of tracks (including a hot version of "Yakety Sax") that Haley and company recorded for the Guest Star label in 1962. None of this is bad stuff -- it's often a good deal better than, say, the songs that Elvis Presley was doing in his movies of the era, and it shows that Haley was still a solid, viable performer and musician a good decade after his breakthrough, and six years beyond the point where most pop historians have usually written him off. Franny Beecher was with him until the Roulette sides were done -- and Johnny Kay was a good substitute on the Guest Star sides -- and Rudy Pompilli was there all the way, honking away in generally fine style. Disc three is largely devoted to Haley's sides for the Newtown and Nicetown labels from 1963, and his dance recordings for the Apt Records label in 1965, and his abortive liaison with United Artists Records in 1968; some of the Newtown/Nicetown numbers are embellished with the sound of keyboards and backing vocals, but the core of Haley's music is there, and he's in much finer form even on those tracks than he was on many of the late Decca sides; only the novelty tunes like "Tongued-Tied Tony" and "Tenor Man" fall flat to varying degrees, but his rippling version of "Flip, Flop & Fly" is more than adequate compensation for such lapses. Finally, disc four brings us up to 1969 and Haley's participation in Richard Nader's ...
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Few ...
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