| | Vision Of Disorder For The Bleeders CD Vision Of Disorder Discography of CDs
 (3 Customer Reviews)
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Many heavy metal bands who land record contracts do so with demo tapes consisting of a full album's worth of material; often, some of those songs are reworked for the band's official debut album, and sometimes the demo itself -- or a portion thereof -- is even released. For the Bleeders, on the other hand, is a collection of material that first appeared on Vision of Disorder's demo, was never released, and has been re-recorded especially for this album. The songs here aren't as consistently strong as they were on Imprint, as the band has progressed over the years, but For the Bleeders does rescue some worthwhile tracks from the vaults. Plus, it achieves its obvious aim of giving curious devotees an idea of where the band started out, and provides a chance for those fans to hear otherwise hard to find material. ~ Steve Huey
Recorded at Big Blue Meenie Studio, Jersey City, New Jersey.
Audio Mixer: Tim Gilles.
Recording information: Big Blue Meenie Studio, Jersey City.
Photographer: Yuki Kuroyanagi.
Vision Of Disorder includes: Matt Baumbach.
Alternative Press (5/00, pp.112-3) - 3 out of 5 - "...Skillfully interspersed melodic moments with swiftly cadenced howls of rage....[They] are the masters of time change, an element sorely missing from the hardcore genre lately....Hardcore may have a future after all." Vision Of Disorder For The Bleeders Songs | 1. | Choke |
| 2. | Adelaide |
| 3. | Watch Out |
| 4. | 7/13 |
| 5. | For the Bleeder |
| 6. | No Regret |
| 7. | Formula for Failure |
| 8. | Beneath the Green |
| 9. | Take Them Out |
| 10. | In the Room |
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For The Bleeders Music Review Average Rating: (4.3 out of 5 stars)   THIS RULES!
I HAVEN'T HEARD THIS ONE YET, BUT VISION OF DISORDER IS THE BAND EVERYBODY WANTS TO BE, BUT JUST CAN'T MAKE IT. I HAVE 'STILL', WHERE MOST OF THE SONGS ON THIS ONE IS ON, AND ITS RULES, SO THIS RE-RECORDING WOULD JUST BE OFF THE SCALE. THEY ARE THE ONLY BAND CAPABLE OF BLOWING EVERYBODY AWAY EACH TIME THEY GET INTO THE STUDIO, THEY ARE A METAL BAND, WHO CAN EASILY GO DOWN WELL WITH HARDCORE, OR ANYTHING ELSE FOR THAT MATTER. SO JUST STOP READING THIS AND START BUYING THIS!
Submitted by a reviewer (SINGAPORE) 
Was This Review Helpful? Yes No
 Beautiful yet short.
Enough words cannot be expressed for this album. The only drawback is that it is short. It is only 30:28. Also, it's really not an album as such, it draws from compiled material.
Submitted by Doug (Greenville, NC)
Was This Review Helpful? Yes No
good album
It sounds a little different in style than Imprint or s/t, but it's a tight album. Overall, I'd say it's their best full length release, but it is missing a few of those stand-out tracks the other CDs have.
Submitted by Mike (Strut A Pump Room)
Was This Review Helpful? Yes No | Have you heard this album? |  |
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Dont Ever Wanna Lose Ya, is the song that launched New England into the rock and roll stratosphere and Billboards Top 40 over 25 years ago. The song became an AOR smash and is still played on classic rock radio to this day. The album was produced by Mike Stone and Paul Stanley of Kiss, whom New England toured with for much of 1979 and 1980. On their subsequent efforts the band worked with producers Mike Stone & Tod Rundgren and toured with Kiss, AC/DC, Styx and many others. To this day the group enjoys a loyal fan base world-wide.Greatest Hits Live brings you the group in concert over twenty years ago, raw and unedited.
In the eight-page booklet that accompanies Greatest Hits Live, the first ever live album from 1970s/'80s arena rockers New England, lead singer/frontman John Fannon notes that "We didn't have a lot of live stuff recorded." A double LP of on-stage performances following the release of their first three studio discs could have been the key to bring New England to that much wider audience enjoyed by Asia, Boston, and some of the groups they opened for: AC/DC, Journey, Styx, Rush, and, of course, Kiss. Less progressive than Focus but with enough of a stadium sound to separate them from the underground Massachusetts music community they emerged from, this in-concert disc is heavy with Jimmy Waldo's keyboards and gives an overview of some of the material the band made popular in the first phase of their major-label experience. As with GB Music's Baker Gurvitz Army release, this is called Greatest Hits Live, which is a bit misleading. Missing are "Honey Money," "D.D.T." ("be my dirty dream tonight"), and "Walking Wild," arguably among their most familiar tunes, and the group's fan base may have preferred a title like "New England Live, Vol. 1." Surely there must be more tapes out there, and they would be a welcome addition to the suddenly growing New England catalog. The liner notes don't give much information on the source of this recording -- the date, who recorded it, and so on, though Fannon does mention between songs that it is a second show in San Francisco. All the material from the 1979 self-titled first album except "Turn Out the Light" appears here along with three tunes from 1980's Explorer Suite ...
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Arabella, named after a street outside Laurie and John Stirratt's hometown of New Orleans, alternates between songs penned individually and as a duo. The twin siblings' first full-length release together anchors on acoustic guitars and vocals, pulling soft harmonies, keys, and colors into the mix with ease. Sparkling and celebratory with its rich pop arrangements, the music here moves beyond the earthy, spare, and sultry quality of the duo's folkier live sets. With Laurie & John joined in the studio by familiar personalities from the Autumn Defense and Wilco, a sense of community is fittingly woven into the record, and Arabella sits comfortably in the body of work spanning the Stirratts' respective careers. In the opening track, "Ten Years Ago Today," Laurie's sweet and pure vocals steal the show wherever they appear, and in harmony, the Stirratts have the lilting subtlety of the Everly Brothers. Vintage organs pierce the afternoon haze like beams of winter sunlight and a pedal steel sighs always from a distance, like the ego tending to the id, with occasional baritone guitar adding a heavier step. Pat Sansone brings his characteristic arsenal of keyboards to the album, such as Moog on the rousing "A Merciful Night," a cut reminiscent of mid-'70s productions by the likes of Arif Mardin. Minor-key melodies in vocal harmony recall the Mamas & the Papas on "If I Hadn't Blinked ...
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