| | Carcass Reek Of Putrefaction CD Carcass Discography of CDs
 (2 Customer Reviews)
The title alone. Anyone taking the lyrical content here even slightly seriously -- and that includes the bandmembers -- clearly needs to be taken away by the nice men in the white jackets. Thoughtfully, complete lyrics are provided -- thus, a verse from "Vomited Anal Tract": "Your vagus implodes, as nausea strikes/Savaging your body in terminal retch/Violent spasms and decaying enzymes/Engulf your throat as you belch." That this or anything else on the album is completely impossible to understand otherwise is part of the insane fun, of course, which is why Carcass is both one of the best and funniest bands around. Musically everything is basically just one step away from Napalm Death's early sound, if even that far, but there's something just that much more engagingly nutty about what Carcass do. It might be the way that Bill Steer's guitar solos sound like they're turning themselves inside out every time he plays one (with blood dripping from exposed musculature and so forth, no doubt). Alternately, it might be how Ken Owen matches early Mick Harris for sheer frazzle with drums played so fast everything sounds more like a wash of static than anything else. Whatever it is, Reek of Putrefaction consists of songs so immediate and there that trying to analyze them in depth is practically impossible -- you accept it and let yourself go from the start or you never ever want to hear anything like it again. There are occasional moments of calm -- "Genital Grinder," which starts things off, begins with a low bass rumble and a great, chunky riff, a smart way to draw folks in before the final slaughter. Top everything off with the barked, whined, and yelped vocals of the threesome in full unintelligible glory, and Reek succeeds thoroughly and completely at what it does. ~ Ned Raggett
Audio Mixer: Paul Talbot.
Recording information: Rich "Funeral" Bitch Studios (12/1987-03/1988); Rich Bitch Studios, Birmingham, England (12/1987-03/1988). Reek Of Putrefaction Music Carcass Reek Of Putrefaction Songs Reek Of Putrefaction Music Reek Of Putrefaction Music Review Purchase Reek Of Putrefaction CD To buy, Click on price to add to cart | Possessed Seven Churches CD (1985) Remastered
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| | Shirley Horn I Remember Miles CD (1998)
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I REMEMBER MILES won the 1999 Grammy Award for Best Jazz Vocal Performance.
This ...
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| | Patrice Rushen Patrice CD (1977)
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Patrice Rushen was an R&B-jazz vocalist/pianist/songwriter who in the 70's and 80's had numerous albums make the Billboard charts. The majority of her work originally came out on Elektra Records but has never been issued on CD anywhere in the world until now. Patrice was her first album recorded for Elektra and reached #98 in 1979. Wounded Bird Records. 2003.
After recording three jazz-oriented albums for Prestige, Patrice Rushen switched to Elektra and gave herself a major R&B/pop makeover with Patrice. Even the funkiest parts of Shout It Out, the last of Rushen's three Prestige/Fantasy albums, couldn't have prepared listeners for this LP, which finds her taking the commercial plunge and successfully making the transition from jazz instrumentalist to R&B/pop vocalist. As expected, jazz's hardcore audience cried foul: Like Roy Ayers, George Duke, George Benson, and other jazz instrumentalists who took up R&B singing, Rushen was ...
| | Tom Russell Modern Art CD (2003)
Reek Of Putrefaction music CDs
$10.89
Modern Art has to be the most confounding recording in Tom Russell's catalog. That he is a songwriter of epic proportion there can be no doubt. His decision here to issue a recording of half originals/co-writes and half covers, three of which are basically epitaphs (including one of questionable taste), is just the beginning of what makes it problematic. First the good news: Russell's "The Kid from Spavinaw," the greatest song that has thus far, and probably ever will be, written about Mickey Mantle, is easily the most moving thing on the set (the other is "The Dutchman"). Told in the first person, it relates much of Mantle's upbringing and his regrets, with the glory years alluded to more than spoken of. Gurf Morlix's pedal steel playing floats through the melody like an Oklahoma wind, carrying Russell's lyrics into the same immortality that Mantle's myth exists in. It's one the greatest songs Russell has ever written -- which is saying a lot. Emmylou Harris' "Ballad of Sally Rose" is one of three duets with Nanci Griffith (who adds little to the project -- even on her own "Gulf Coast Highway" -- except name recognition). It's tepid and feels devoid of focus. The story is not convincing in this reading. Russell's "Muhammad Ali" is downright embarrassing; written with a sub-basement Jimmy Buffett faux-Caribbean rhythm, its lyric sounds hackneyed and insincere, full of clumsy rhymes and a narrative that reveals nothing about the man or the myth.
One of the two most troubling moments comes in a cover of "American Hotel" by the late songwriter Carl Brouse, a peer of Russell's in talent if not reputation. Brouse died a few weeks before the recording was made and Russell talks about Brouse, whose life eerily mirrored the subject of the song, Stephen Foster. Russell begins with a strange, non-committal spoken word introduction that talks about Brouse's imagining of Foster in his last days dying a penniless alcoholic in New York's American Hotel (and likens it to Toulouse-Lautrec's passing in the film Moulin Rouge!). First, this version is on no way in the same league with Brouse's own; it's devoid of emotion and commitment. Secondly, the question has to be asked, why didn't Russell -- a longtime acquaintance of Brouse's -- record this song ...
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