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Sublime: Bradley Nowell (vocals, guitar, Hammond B-3 organ, synthesizer); Eric Wilson (acoustic & electric basses, synthesizer); Bud (drums).
Additional personnel: Miguel (acoustic guitar, sound effects); Paul Leary (slide & electric guitars); Todd Foreman (saxophone); Jon Blondell (trombone); David Kahne (piano, organ); Field Marshall (percussion, programming, DJ); Dave Aron (programming).
Producers: Paul Leary, David Kahne, Brad Nowell, Miguel.
Recorded at Pedernales Studios, Briarcliff, Texas and Total Access Studios, Redondo Beach, California.
Personnel: Brad Nowell (vocals, guitar); Field Marshall (acoustic guitar, percussion, programming, turntables); Paul Leary (electric guitar, slide guitar); Todd Foreman (saxophone); Jon Blondell (trombone); David Kahne (piano, organ); Bud Gaugh (drums); Dave Aron (programming).
Audio Mixers: David Kahne; Eddie Ashworth; Paul Leary.
Recording information: Pedernales Studios, Briarcliff, TX; Total Access Studios, Redondo Beach, CA.
Photographers: John Dunne; Zach Fishsmell; Josh Coffman; Basil.
Unknown Contributor Role: Miguel.
Sublime's eponymous major-label debut arrived a few months after the band's leader, Brad Nowell, died tragically of a heroin overdose. As a show of sympathy, the album tended to be slightly overrated in some critical quarters, who claimed that Nowell was an exceptionally gifted lyricist and musical hybridist, but Sublime doesn't quite support those claims. The trio does have a surprising grace in its unabashedly traditionalist fusion of Californian hardcore punk, light hip-hop, and reggae. Switching between bracing hardcore and slow, sexy reggae numbers, Sublime display supple, muscular versatility and, on occasion, a gift for ingratiatingly catchy hooks, as on the hit single "What I Got." What they don't have is the vision -- either lyrical or musical -- to maintain interest throughout the course of the entire album. Sublime sags when the band delves too deeply into their dub aspirations or when their lyrics slide into smirking humor. The low moments don't arrive that often -- by and large, the album is quite engaging -- but they happen frequently enough to make the record a demonstration of the band's blossoming ability, but not the fulfillment of their full potential. Of course, Nowell's death gives the record a certain pathos, but that doesn't make the album any stronger. ~ Stephen Thomas Erlewine
The popularity of ska bands like No Doubt and Goldfinger paved the way for what seemed to be inevitable success for Sublime. But lead singer Brad Nowell died of a heroin overdose in May 1996, two months before this major-label debut was released. SUBLIME reveals a talented act whose songs were a brilliant mix of punk, reggae, hip-hop and dub. Sublime's ability to jump genres is showcased within a few bars of "What I Got." Amidst whistling, scratching and a rhythm copped from the Beatles' "Lady Madonna," Nowell's vocals glide from spoken-word to a toasting vibe. Pop culture also provided a handy source, particularly in "Caress Me Down," where porn star Ron Jeremy and G.I. Joe are mentioned amid reggae rhythms and Spanish lyrics.
Although many of these songs have a fun, carefree aura, Sublime's darker side occasionally surfaces. The black humor of "April 29, 1992 (Miami)," which boasts of looting during the L.A. riots, gives way to the eerie foreshadowing of "Garden Grove," where in the middle of quirky samples and heavy reverb, Nowell casually sings of shooting up.Rolling Stone (5/13/99, p.63) - Included in Rolling Stone's "Essential Recordings of the 90's."
Rolling Stone (12/26/96, p.186) - "...bright, wired bounce and the shell-game shuffle of funk beats, snappy Jamaican rhythms and mosh-pit, shout-it-out choruses in Nowell's writing--that's the stuff of a band with great promise and the confidence to make good on it..."
Spin (9/99, p.144) - Ranked #48 in Spin Magazine's "90 Greatest Albums of the '90s."
Spin (1/97, p.58) - Ranked #8 on Spin's list of the "20 Best Albums of '96."
Spin (12/96, p.147) - "...the consistency of SUBLIME...and the home demo `Robbin' The Hood'--is a singer/songwriter's triumph. Yet what makes Sublime such a gift to bland ol' modern rock is Nowell's irreducible personality, lunging after excesses he could see through but never resist..."
Entertainment Weekly (8/16/96, p.62) - "The recent overdose death of...Brad Nowell makes this both the first and last major-label release from SoCal fusion punks Sublime. It's a respectable testament--an unusual blend of ska rhythms, dub, and hardcore guitar rock, tinged with the occasional eerie hip-hop sample..." - Rating: B
Village Voice (2/25/97) - Ranked #34 in the Village Voice's 1996 Pazz & Jop Critics' Poll.
RIP (10/96, p.70) - 3 (out of 5) - "...A trippy, funky, fun mix of punk, ska, rap, reggae and any number of other influences....SUBLIME is a mainly lackadaisical, relaxed, summertime-feel kind of disc..."
Kerrang (Magazine) (p.68) - "Slick and assured....All popular punk should be this original and intelligent." Sublime Music | List Price | $13.95 (You save $3.50) | | Category | Rock Albums, Pop CDs, Alternative, Punk, Rock/Pop, Ska | | Label | Gasoline Alley / MCA | | Orig Year | 1996 | | All Time Sales Rank |  208   | | CD Universe Part number | 1103873 | | Catalog number | 11413 | | Discs | 1 | | Release Date | Jul 30, 1996 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Engineer | Eddie Ashworth; Stuart Sullivan | | Recording Time | 59 minutes | | Personnel | Bud - drums
Eric Wilson - acoustic & electric basses, synthesizer
Bradley Nowell - vocals, guitar, Hammond B-3 organ, synthesizer
Also: Paul Leary, David Kahne, Miguel, Jon Blondell, Redondo Beach, Brad Nowell, Field Marshall, Dave Aron, Todd Foreman, Briarcliff, Texas and Total Access Studios |
Sublime Music Review Average Rating: (4.4 out of 5 stars)   List All Reviews Already a classic, never gets old.
One of those CD's that never gets old.
Submitted by mcpcoop (Canyon Lake, CA, USA) 
Was This Review Helpful? Yes No 1 of 1 found this helpful.
 haterz
to the people hating on the music....
&& how is your band doing?
Submitted by loveme805 (NOWERESVILLE)
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long live sublime
this is a great CD i suggest it to anybody ( and you dont have to be high to like it - you only need a brain) all there music is great.
RIP Brad Nowell
Submitted by Haley (Long Beach , CA, USA)
Was This Review Helpful? Yes No  *SUBLIME*
1. You don't have to be high to like ths CD - next to 40 oz. to freedom this is my favorite CD and i've NEVER gottn high
2. This CD is amazing there music has so many different genres to it (reggae,rock ,hip hop)that it makes it intresting and some of there most amzing music is on here like Santeria , and Garden Grove - if you want i great CD i really suggest buying this one.
Submitted by Lauren (Middle of Nowhere, OR ,USA)
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It never gets old.
Sublime sings with angst and heart. This album is so easy to listen to, so easy to stick with, and it is in my short list - in my CD visor with stuff like Matchbox Twenty and Velvet Revolver and No Doubt (Tragic Kingdom) and others. You won't go wrong with this album if you like crossover, rappy, rocky, ska, punky, just a little bit of everything type music.
Submitted by Ed (Berkley, MI, USA)
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Purchase Sublime CD To buy, Click on price to add to cart | Red Hot Chili Peppers Californication CD (1999)
Sublime
 $14.89 
Certified 4 x platinum by the RIAA featuring 'Californication'. 1999 release produced by Rick Rubin.
Red Hot Chili Peppers: Anthony Kiedis (vocals); John Frusciante (guitar); Flea (bass); Chad Smith (drums).
Additional personnel: Patrick Warren (Chamberlin organ); Greg Kurstin (keyboards).
Engineers include: Jim Scott, John Sorenson, Greg Fidelman.
"Scar Tissue" won the 2000 Grammy Award for Best Rock Song. CALIFORNICATION was nominated for the 2000 Grammy Award for Best Rock Album. "Scar Tissue" was nominated for the 2000 Grammy Award for Best Rock Performance By A Duo Or Group With Vocal.
"Californication" was nominated for the 2001 Grammy Award for Best Rock Performance by a Duo or Group with Vocal and for Best Rock Song.
Personnel: Anthony Kiedis (vocals); Flea , John Frusciante (guitar); Patrick Warren (organ); Greg Kurstin (keyboards); Chad Smith (drums).
Audio Mixers: Chris Holmes ; Jim Scott.
Recording information: Ocean Way Recording.
Photographer: Sonya Koskoff.
Many figured that the Red Hot Chili Peppers' days as undisputed alternative kings were numbered after their lackluster 1995 release One Hot Minute, but like the great phoenix rising from the ashes, this legendary and influential outfit returned back to greatness with 1999's Californication. An obvious reason for their rebirth is the reappearance of guitarist John Frusciante (replacing Dave Navarro), who left the Peppers in 1992 and disappeared into a haze of hard drugs before cleaning up and returning to the fold in 1998. Frusciante was a main reason for such past band classics as 1989's Mother's Milk and 1991's Blood Sugar Sex Magik, and proves once and for all to be the quintessential RHCP guitarist. Anthony Kiedis' vocals have improved dramatically as well, while the rhythm section of bassist Flea and drummer Chad Smith remains one of rock's best. The quartet's trademark punk-funk can be sampled on such tracks as "Around the World," "I Like Dirt," and "Parallel Unive
| | Sublime 40 Oz. To Freedom CD (1992)
Sublime
$10.39
Sublime: Brad Nowell (vocals, guitar, percussion, samples, bass, congas); Eric Wilson (bass, organ, percussion, vocals, congas); Bud (drums, samples).
Additional personnel includes: Adam (vocals, congas); Miguel (samples, guitar, vocals, piano, organ, sound effects).
Recorded at Mambo, Long Beach, California. Originally released on Skunk (001).
With their debut, 40 Oz. to Freedom, Sublime attempt to have it both ways. The group wants to appeal to alterna-punks, but they want to cut a little deeper and make some sort of social statement, both with their lyrics and their self-consciously eclectic music. Since the group has a knack for combining dancehall reggae with hardcore punk, the music can be nervy and invigorating, but their joyous blend of cultures doesn't fare so well at the lyrical level. No matter how you look at it, "Date Rape" isn't a bold, ironic satire on macho mores -- it's frat rock that's bound to be misinterpreted, especially with its homophobic "I can't take pity on men of his kind, even though he now takes it in the behind" conclusion. Lyrics like that prevent 40 Oz. to Freedom from being the cracking, skanking skatepunk record that it had the potential to be. ~ Stephen Thomas Erlewine
The sound is a blistering blend of ska, reggae, and '80s West Coast thrash a la Black Flag, with a healthy dose of spoken-word and rub-a-dub dancehall thrown in for good measure. This magnificent debut was required listening on the Southern California skateboard circuit. Fans of any of the aforementioned musical styles are likely to get a kick out of hearing singer Brad Nowell rollick through songs like "Smoke Two Joints." The attack is a pure assault of youthful energy, almost over-the-top, but controlled, always reigned in by the rhythm, which rules. Samples abound, as Sublime pays tribute to its musical idols in true '90s fashion: by including chunks of their songs. Even the Grateful Dead gets a nod.
| | Sublime Robbin' The Hood CD (1994)
Sublime
$8.49
Sublime: Brad Nowell (vocals, programming); Eric Wilson (bass); Bud (drums); Miguel, Marshall, Opie, Greg, Kelly.
Pieced together rather quickly, Robbin' the Hood wasn't really intended to be the follow-up to Sublime's debut, 40 Oz. to Freedom, but what is shocking is how much better the record is than its predecessor. Boasting a wider range of influences -- including elements of reggae and old-school hip-hop -- the record is a loose, infectious blend of styles that rides along on its own sense of energy. Brad Nowell's songwriting might still be at a rudimentary level, but the group sounds more muscular and musical than before, demonstrating that the breakthrough of its sole major-label record, Sublime, wasn't an accident. ~ Stephen Thomas Erlewine
In 2002, MCA released Robbin' the Hood/Sublime, which contained two albums -- Robbin' the Hood (1996, originally released on MCA) and Sublime (1996, also originally on MCA) -- by Sublime on one compact disc. ~ Gregory McIntosh
| | Sublime Second-Hand Smoke CD (1997)
Sublime
$11.99
SECONDHAND SMOKE is a collection of previously unreleased tracks along with alternate and dub takes of currently available material. This limited edition release of SECOND HAND SMOKE is packaged with a t-shirt.
Sublime: Brad Nowell (vocals, guitar, keyboards); Eric Wilson (organ, bass); Bud Gaugh (drums).
Additional personnel: Gwen Stefani (vocals); Miguel (guitar, sound effects, background vocals); Tim Wu (saxophone); Isiah Owens (keyboards); Field Marshall (drums, programming; Billy Wilson (percussion).
Producers include: Paul Leary, The Field Marshall, Miguel, Sublime, Bradley Nowell.
Engineers include: Eddie Ashworth, Miguel, Craven Morehead, Steve McNeil, Donnell Cameron.
Includes liner notes by Michael "Miguel" Happoldt.
Personnel: Brad Nowell (vocals, guitar, keyboards); Gwen Stefani (vocals); Miguel Leary, Michael "Miguel" Happoldt (guitar, background vocals); Tim Wu (saxophone); Eric Wilson (organ); Isaiah Owens (keyboards); Field Marshall (drums, programming, turntables); Bud Gaugh (drums); Billy Wilson (percussion); DJ Product (turntables).
Audio Mixers: Field Marshall; Eddie Ashworth; Miguel Leary; Sean Perry; Steve McNeil; Craven Morehead; Jez Colin; Matt Hyde ; Paul Leary; Stuart Sullivan; Warren Fitzgerald ; Michael "Miguel" Happoldt; Brad Nowell.
Liner Note Author: Michael "Miguel" Happoldt.
Recording information: C.S.U.D.H (1987-1996); Clandestine Labs, Temecula, CA (1987-1996); Mambo Recorders (1987-1996); Mambo Recorders, Long Beach, CA (1987-1996); Pedrenales, Briarcliff, TX (1987-1996); Total Access Studios, Redondo Beach, CA (1987-1996).
Illustrators: Opie Gibran Ortiz; Sean Fischer.
Photographer: John Dunne.
The success of Sublime was both a blessing and a curse for the band -- a blessing because the group and its lead singer/songwriter, Brad Nowell, were celebrated after his tragic death, and a curse because there's no way the rhythm section could successfully produce a follow-up. There was only one thing t
| | Sublime Stand By Your Van Live CD (1998)
Sublime
$12.29
Parental Advisory
Sublime: Brad Nowell (vocals, guitar); Eric Wilson (bass); Bud Gaugh (drums).
Sublime: Brad Norwell (vocals, guitar); Eric Wilson (bass); Bud Gaugh (drums).
Personnel: Brad Nowell (vocals, guitar); Bud Gaugh (drums).
Audio Remixers: Eddie Ashworth; Miguel Amador.
Liner Note Author: Jr Griffin.
Recording information: Hou (09/09/1994-04/??/1996); Kommotion, San Francisco, CA (09/09/1994-04/??/1996); Palace, Hollywood, CA (09/09/1994-04/??/1996); Place, Hollywood, CA (09/09/1994-04/??/1996); Tressel Tavern, Everett, WA (09/09/1994-04/??/1996); Tressel Traven, Everett, WA (09/09/1994-04/??/1996); Warped Tour, Asbury Park, NJ (09/09/1994-04/??/1996).
Photographers: Bret Langford; Miguel Amador; Jim Gray.
A little over two years after Bradley Nowell's tragic death, Sublime released its second posthumous album, Stand by Your Van. Sublime never had the chance to tour the material from Sublime, which turned out to be their most popular album. That means that all 16 tracks on Stand by Your Van are taken from their first two albums, before Nowell's songwriting had truly come into its own. Nevertheless, he had several good songs on 40 Oz. to Freedom and Robbin' the Hood, and by consolidating the best moments from those two relatively uneven albums, the live record offers something of a "greatest hits" of their early years. If the performances aren't that different from the studio versions -- they're simply a little rawer, a little faster, a little looser -- they're still strong and energetic, capturing the essence of the group's live show. Ultimately, that energy is what makes Stand by Your Van the best posthumous Sublime record to date. Nobody outside of hardcore fans needs this record, but the quality of the music is better than either the What I Got... EP or the haphazard outtakes album Second Hand Smoke, and that alone makes its release somewhat noteworthy. ~ Stephen Thomas Erlewine
Recorded live in various clubs before the band ha
| | Sublime Acoustic: Bradley Nowell And Friends CD (1998)
Sublime
$11.99
This is a collection of demos and acoustic versions of Sublime songs.
Sublime includes: Bradley Nowell.
Engineers include: Miguel, Dave Zlacket, Laurie Daniels.
Between November 1997 and November 1998, the Bradley Nowell estate, MCA, and the surviving members of Sublime released no less than three albums of outtakes, rarities, and live tracks, culminating with Acoustic: Bradley Nowell & Friends. At first glance, this appears to be the least interesting of the three albums, since it doesn't have outtakes like Second Hand Smoke or document the band in its live prime, like Stand by Your Van. Strangely enough, that's the reason why it's the most engaging of any of the posthumous Sublime releases. Throughout all these recordings, many of which are decidedly lo-fi, Nowell and a variety of supporting musicians run through Sublime favorites, toss-offs, and covers. It's relaxed, funny, and, funnily enough, quite moving, because it captures a human, touching side of Nowell that only surfaced in glimpses on Sublime's official albums. Of course, this is something that will be of interest primarily to hardcore fans, not fellow travelers who only owned Sublime, but that's the reason why Acoustic is the best of all the Sublime records released after Nowell's death. ~ Stephen Thomas Erlewine
Much like Jimi Hendrix and 2Pac, Sublime's Bradley Nowell has taken on a second life thanks to a number of posthumous releases. Thankfully, the people left to preserve his legacy have taken great lengths to ensure his memory hasn't been tarnished by any slapped-together releases. ACOUSTIC offers a more gentle insight into a performer known for an often outrageous and untamed punk persona.
Recorded between 1991 and 1995 in sites ranging from a friend's sewing room to assorted clubs, this collection reveals Sublime's former leader to be a lover of blues ("Don't Push"), Camper Van Beethoven ("Eye Of Fatima") and X (an all-too short "It's Who You Know.") In addition to Sublime's bett
| | Overkill I Hear Black CD (1993)
Sublime
$11.65
Overkill: Bobby "Blitz" Ellsworth (vocals); Rob Cannavino, Merritt Gant (guitar, background vocals); D.D. Verni (bass, background vocals); Tim Mallare (drums).
Recorded at Pyramid Sound, Ithaca, New York.
After releasing perhaps the finest, most musical recording of the band's already considerable thrash metal career in 1991, Overkill followed up Horrorscope in 1993 with I Hear Black, a slightly more dense, ambitious recording, and the band's first for Atlantic Records. There had been a few lineup changes over the first years of their recording career and the only original members to appear on I Hear Black are vocalist Bobby "Blitz" Ellsworth and bassist D.D. Verni. Ellsworth and Verni are joined by relative newcomers Rov Cannavino and Merrit Gant on guitars and Tim Mallare on drums. Initially, I Hear Black was met with a somewhat cool response by the group's thrash fan base but, over time, metal fans of all varieties have come to appreciate the slower, more dynamic grind that at first confused fans expecting exclusively lightning-fast riffs from the group. The opening "Dreaming in Columbian," the title track, and "Weight of the World" are all mid-tempo metal highlights featuring some decent work by Ellsworth especially, as the singer continues his '90s trend by focusing slightly more on melody, going over the top only where necessary. While not an important release for its genre or even for the band, Overkill's I Hear Black is still a respectable post-thrash offering. ~ Vincent Jeffries
| | Hal Smith California Here I Come CD (1994)
Sublime
$14.19
early Chicago style w. Bobby Gordon, Frank Powers, Jack Meilhan +
Personnel: Hal Smith (vocals, drums); Chris Tyle (vocals, cornet); Mike Duffy (vocals); Jack Meilahn (guitar); Frank Powers (clarinet, tenor saxophone); Bobby Gordon (clarinet); Ray Skjelbred (piano).
Recording information: Seacoast Recording Studio, San Diego, CA (11/28/1988-11/29/1988).
The 1989 edition of drummer Hal Smith's Rhythmakers is quite reminiscent of a 1930s Chicago jazz-type group. Cornetist Chris Tyle is heard throughout in top form, clarinetist Bobby Gordon emulates Pee Wee Russell as usual, Frank Powers is quite fluent on tenor and clarinet, and pianist Ray Skjelbred looks back toward Joe Sullivan and Jess Stacy while rhythm guitarist Jack Meilahn and bassist Mike Duffy are lightly swinging in support. Tyle, Smith and Duffy take occasional vocals but the emphasis throughout is on the superior material, coherent but exciting ensembles and personable solos. Among the 15 songs that the Rhythmakers revive are "Strut, Miss Lizzie," "California Here I Come," "Hello, Lola," "Oh Peter" and "Who Stole the Lock on the Henhouse Door." Trad jazz fans will definitely enjoy this outing. ~ Scott Yanow
| | Siouxsie & The Banshees Best Of Siouxsie & The Banshees CD (2002)
Sublime
$12.15
Live Recording
Siouxsie & The Banshees: Siouxsie (vocals); John McKay (guitar); Steven Severin (bass); Kenny Morris (drums).
Includes liner notes by Mark Paytress.
Liner Note Author: Mark Paytress.
The Best of Siouxsie and the Banshees is a decent look into the eclectic world of Siouxsie Sioux. The band, however, really didn't need to release another hits collection. Once Upon a Time: The Singles (1981) and Twice Upon a Time: The Singles (1992) are comprehensive enough to stand alone. Universal aimed to make this a stylish set with glossy favorites such as "Dear Prudence," "Peek-a-Boo," and "Spellbound," but lesser-known classics like "Candy Man" and "Dazzle" are missing. ~ MacKenzie Wilson
Part of the infamous "Bromley contingent" of late-1970s UK punk, Siouxsie & the Banshees co-founders Siouxsie Sioux and Steve Severin went far beyond punk's three-chord roots in their decades with the group. The Banshees developed a highly textured sound and gloomy-yet-flamboyant look that helped define the goth subgenre, going on to incorporate world-music and cabaret influences for a unique aesthetic that was boldly exemplified by the unmistakable singing and charismatic presence of Siouxsie.
Although this BEST OF lacks a chronological order, the 15-song compilation does offer up an excellent representation of the Banshees' studio output (including a previously unreleased 2002 track, "Dizzy"). Highlights are the surging goth-dance classic "Cities in Dust," the frenetic "Spellbound," and the group's gauzy take on the Beatles' "Dear Prudence" (which features the Cure's Robert Smith on guitar). Though the combined collections ONCE UPON A TIME and TWICE UPON A TIME boast a more in-depth look at Siouxsie & the Banshees, THE BEST OF is an ideal single-disc introduction to these British post-punk icons.
| | Francoise Hardy Message Personnel: Best Of CD (2003) (Import) France
Sublime
$14.25
This 23-track anthology is a personal selection by French pop icon Francoise Hardy spanning the entirety of her four-decade career, including "Traume" and "Message Personnel."
23 of her best tracks from the Virgin period (her most mature) selected and compiled by Ms Hardy herself including 3 rare songs 'La Terre', 'L'Heure Bleu' & 'J'ai Coupe Le Telephone'. Copy controlled. Virgin France. 2003.
| | Mew And The Glass Handed Kites CD (2005) (Import) England; Digipak; United Kingdom
Sublime
$14.45
With AND THE GLASS HANDED KITES, Danish band Mew pushes past the varied excellences of their previous album, FRENGERS, to create an album that is as ambitious as it is disarming. The smooth, androgynous dream-pop moves through unusual time structures, one song transitioning fluidly into the next. There are solid if gentle rock numbers, too, led by some truly excellent drumming. Jonas Bjerre's lyrics, though occasionally difficult to catch, are surreal and inventive, and J. Mascis, formerly of Dinosaur Jr., guests on two tracks as well. There is an epic feel to this album, the soaring vocals and synths pushing the band toward a sound and a feeling that is just enormous.
Danish quartet Mew's dense and occasionally difficult And the Glass Handed Kites is old-fashioned only in the sense that it's meant to be eaten in a single sitting. This is not a single-driven record -- though "Special," with its bouncy, moody chorus and octave vocal delivery, sounds like an emission from a time machine parked dead center within the heydays of early-'90s alternative rock -- rather, it's a single organism. Kites takes the wisdom and volatility of the Delgados ("Chinaberry Tree"), the sonic scope of Sigur Rós ("White Lips Kissed"), and the angular guitar attack of early Ride and Dinosaur Jr. ("Circuitry of the Wolf") and melds them all into a cathartic post-rock epic that's so electrifying and unpredictable that it's almost impossible to take in with one or two listens. Fans of OK Computer-era Radiohead, My Bloody Valentine, and Disintegration-era Cure will find And the Glass Handed Kites one of the most breathtaking things to come along since the dawn of the dream pop/post-punk genres themselves. ~ James Christopher Monger
Producing dark and atmospheric songs, Mew posses a graceful beauty and create an epic sound with strikingly memorable tunes over which delicate vocals soar to angelic heights. Two years after their award-winning debut album Frengers wowed the critics, the Danish four-piece's follow-up, And The Glass Handed Kites is the fourth album for the dream-pop four piece but only the second to be available to a worldwide audience. Mew And The Glass Handed Kites features 14 total tracks including 'Apocalypso', 'Chinaberry Tree', 'A Dark Design', 'White Lips Kissed', 'The Zookeeper's Boy', 'Small Ambulance' and more. BMG. 2005.
| | Zakk Wylde Shot To Hell CD (2006)
Sublime
$15.49
Black Label Society: Zakk Wylde (vocals, guitar, piano, bass guitar); Nick "ET" Catanese (guitar); John "J.D." DeServio (bass guitar); Craig Nunemacher (drums).
SHOT TO HELL is the eighth record by Zakk Wylde's Black Label Society and their first for Roadrunner records. Most famous for stepping into Randy Rhoad's prematurely empty shoes and keeping Ozzy Osbourne commercially viable into the mid 1990s, Zakk Wylde has definitely earned a place in the upper echelon of metal axemen.
Whereas the songs on SHOT TO HELL do not immediately strike the listener like some of Osbourne's finer moments (although "Black Mass Reverends" does recall Black Sabbath's "War Pigs") and Wylde's singing sometimes apes more articulate frontmen like Axl Rose and Layne Staley (particularly on the opener "Concrete Jungle"), the album soars on the strength of Wylde's ever-dizzying leads. Of course, any Wylde fan will find that alone worth the price of admission.
Shot to Hell marks Black Label Society's debut for Roadrunner Records, following a six-year relationship with Spitfire summarized on the previous year's Kings of Damnation: Era 1998-2004 compilation. Shot to Hell may mark a new era for Zakk Wylde and company, yet not much has changed artistically, no doubt to the relief of fans. Over the course of 13 songs, the band showcases impressive musicianship, incorporating occasional moodiness and balladic touches into its otherwise charging style of metal. The usual comparisons to Alice in Chains, Pantera, and Corrosion of Conformity are as apt as ever, with Wylde's vocals especially reminiscent of AIC. The album-opening "Concrete Jungle" is an instant highlight, kicking off the album in high fashion, while the piano ballad "The Last Goodbye" is another, highlighting Wylde's songwriting talent, as is "Nothing's the Same," another mellow song. While Shot to Hell offers nothing that past Black Label Society releases haven't, and nothing revelatory enough to convince those so far unconvinced of the band's continuing worth, anyone interested in more of the band's consistent output from year to year should find plenty to enjoy here. ~ Jason Birchmeier
| | Lorde, Jerome & One Love Lift This Praise CD (2006)
Sublime
$18.99
BiographyJerome W. Lorde, a native of Bridgeport, Connecticut and is one of the founders of One Love Music Group, an independent gospel recording group and a recording studio. Jerome’s musical lineage started at the tender age of 10 years old. His parents had an integral role in his love for music. Jerome’s father has been a minister of music for over 35 years and his mother was a well-renowned gospel singer that traveled the country singing gospel music. From the age of 15 years old, Jerome began attending the National Convention of Gospel Choirs and Choruses, where the president and founder at that time was the father of Gospel music, the late Dr. Thomas A. Dorsey. It was at this time in his life, that his passion for gospel music had its foundation. He learned how to develop and perfect music ministry through the various seminars offered at the annual convention. Throughout his life, Jerome has worked actively with the music ministry at his church, The Prayer Tabernacle Church of Love, Bridgeport, CT where the Pastor is Bishop Kenneth H. Moales, Sr. He has had the privilege to be instructed by musical greats such as Bishop Moales, Sigmund Morriar, Hezekiah Walker, Stanley Brown, DJ Rogers, Darius Brooks and many others. At 19 years old, he utilized the knowledge, skills and zeal for music and he founded the “The Youth Jamboree Choir”. This choir consisted of teenagers and young adults from the Greater Connecticut area. The mission of the Youth Jamboree Choir was to unify young people throughout the state of Connecticut. The Jamboree Choir traveled throughout the tri-state area ministering to the young and old.In 1994, from the inception of the Youth Jamboree Choir, Youth Outreach was birthed. Jerome lead and organized gospel street festivals which brought various artist together to minister God’s love through music to the crime ridden streets in Bridgeport, Connecticut. In 1995, Jerome ventured out into another area in music and started a Gospel Café. The Gospel Café showcased the Arts. Soloist, bands, poets, dancers, etc. were able to come together once a month to enjoy music and other expressions of talents. The next couple of years altered Jerome’s musical direction. Jerome was called to the ministry of preaching the gospel of Jesus Christ and currently serves as a minister and leader in his church. In 1999, Jerome prepared to record his first project. This project was a compilation of various artists and was produced by One Love Music Group. From this initial recording, the musical group, Jerome Lorde and One Love evolved. In spring 2000, the debut CD “Choices” was released. In 2003, the sophomore project titled, “The Invitation” was released. This project has opened many doors and opportunities for Jerome Lorde and One Love to sing at various venues.In the fall of 2003 Jerome Lorde and One Love were blessed to sing background for Barry Manilow on his world tour in the northeast region. While on tour the group was featured in the “Barry Manilow Live” video.Currently Jerome serves as the First Vice President of The Greater Connecticut Choral Union of the National Convention of Gospel Choirs and Choruses where Bishop Kenneth H. Moales, Sr. is the National President. He also serves as the Northeast Regional Representative of The National Convention of Gospel Choirs and Choruses. In 2003, Jerome Lorde, Joel Lorde and Mark Brown opened The One Love Music Studio where artist are able rehearse, record and produce music. In 2005, Jerome was awarded an Honorary Professorship in Music from the WGMA through Rutgers University. In 2006, Jerome and his group One love released their third CD titled “Lift this Praise”. The CD is a high energy Live recording featuring all original songs written by his brother Joel Lorde and all music by Kenneth Barber. The CD is sure to bless your soul!All of his accomplishments are only possible through the power of God and the overwhelming amou
| | Catherine Naturals CD (2007)
Sublime
$10.69
Audio Mixer: Kris Crummett.
Recording information: Interlace.
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