| | Social Distortion CD Social Distortion Discography of CDs
 (3 Customer Reviews)
Personnel: Mike Ness (vocals, guitar); Dennis Danell (guitar); John Maurer (bass guitar, background vocals); Christopher Reece (drums, snare drum).
Audio Mixer: Dave Jerden.
Recording information: Track Record Studios, North Hollywood, CA.
Illustrator: Art Morales.
Photographer: John Scarpati.
With Prison Bound, Social Distortion began to metamorphasize from a rather ordinary L.A. hardcore band into a roots rock band willing to make with more than their share of the attitude, and this process continued on their self-titled third album (which was also their major-label debut). Musically, Mike Ness and company had learned to split the difference between rockabilly and Ramones-style punk, not unlike fellow L.A. vets X, and if Ness couldn't sing or write with the skill or the resonance of John Doe, "Story of My Life" and "It Coulda Been Me" sound a lot more personal and deeply felt than anything on Mommy's Little Monster, and "Ball and Chain" and "So Far Away" prove he could crank out a respectable honky tonk number if he put his mind to it. Thanks to Epic's sponsorship, the group had more time and money at their disposal for Social Distortion than on their previous albums, and producer Dave Jerden made the most of it; Mike Ness and Dennis Danell's guitars sound lean, sharp, and powerful; Ness's vocals are better controlled than ever before; and Christopher Reece's drums have a tight snap that suits both the thrashier numbers as well as the slower, blusier tunes. Social Distortion isn't a great roots rock album, but it's a pretty good one, and it's better and more affecting than anything this band had cranked out before. ~ Mark Deming
The group's self-titled third album expands on the ideas introduced on the preceding PRISON BOUND. Singer/songwriter Mike Ness offers post-rehab tales from the wrong side of the tracks, alternately lamenting his past and declaring his allegiance to the rock & roll outlaw lifestyle. The band's slamming punk attack is leavened by an increased country and roots-rock flavor, as on a no-holds-barred cover of "Ring of Fire," the gospel-tinged plea for salvation "Ball and Chain," and the almost bouncy, where-did-I-go-wrong blues-rock track "Story of My Life" (sort of an anti-"My Way"). Most importantly, Ness's songwriting skills had sharpened considerably, providing for an expanded melodic palate and numerous infectious choruses, a fact not lost on radio and MTV, where SOCIAL DISTORTION was met with enthusiasm.Rolling Stone (6/28/90) - 3 Stars - Good - "..Ness's guitar playing is pure adrenalin, and his knack for melodies...lends even his most cliched lyrics a kick.."
Spin (7/90) - "..This album serves as a reminder that these boys are still punks at heart, but there's now a blues-inflected sound that wasn't evident in the early days...now, with their new clean and sober stance, we can all be privy to their distorted vision.." Social Distortion Music Review Purchase Social Distortion CD To buy, Click on price to add to cart | Social Distortion Mommy's Little Monster CD (1983)
Social Distortion
 $12.95  
Social Distortion: Michael Ness (vocals, electric guitar); Dennis Dannell (electric guitar); Brent Liles (bass); Derek O'Brien (drums, percussion).
Additional personnel: Chazz Ramirez (organ).
Producers include: Social Distortion, Chaz Ramirez, Thom Wilson.
Recorded on December 24, 1982.
Personnel: Mike Ness (vocals, guitar, electric guitar); Derek O'Brien (vocals, drums, percussion); Dennis Danell (guitar, electric guitar).
Recording information: Casbah, Fullerton, CA (1983); Casbah; Fullerton (1983).
Seminal Orange County punk band Social Distortion's first full-length album Mommy's Little Monster is the epitome of early-'80s suburban California punk and provided inspiration for many future Californians, including the Offspring and Rancid. Mommy's Little Monster finds the band supplying plenty of attitude and aggression as they rip through nine tracks worth of hard, fast, power chord-filled tracks loaded with snarling anti-establishment lyrics and themes. Songs like "The Creeps (I Just Want to Give You") and "Telling Them" show a young punk group that is very angry, and they were going to let society know it whether they wanted to hear it or not. The title track, "Mommy's Little Monster," with its descriptions of the girl with blue hair and the unemployed young punk who loves to drink and fight, gives you a good idea of the characters Social Distortion was surrounded by in the scene of the day. Although the low budget production gives the album a genuine early genre feel, it tends to hinder some of the potential power of most of the tracks presented here. As frontman Mike Ness matured as a songwriter the band went on to record stronger albums later in their career, but Mommy's Little Monster is a fine document of the raw early stages of a great influential American punk band that would go on to influence countless others in the future. ~ Paul Tinelli
A casual listen to this debut album by the long-running California punkers suggests a band ver
| | Social Distortion Prison Bound CD (1988)
Social Distortion
$11.99
Live Recording
Personnel: Mike Ness (vocals, guitar); John Maurer (guitar, bass guitar, background vocals); Christopher Reece (drums, snare drum).
Recording information: Casbah Studio, Fullerton, CA.
After the long layoff that followed their groundbreaking debut, Mommy's Little Monster, Mike Ness and Social Distortion dropped another seminal punk offering, Prison Bound, in 1988. Slower and more song-driven than their previous disc, this sophomore outing is an absolute triumph. The epic stories of hard living and regret that became Social Distortion's trademark fill Prison Bound's track list. Right off the top, the band adds Ghost Riders-like surf/country guitar riffs to "It's the Law," proclaiming a commitment to their rootsy punk direction. Cautionary tales like the title cut foreshadow future monster hits like "Ball and Chain" off of the group's self-titled 1990 release. Other highlights include "Like an Outlaw" and a raucous cover of the Rolling Stones' "Backstreet Girl." Fans of Social Distortion who have somehow neglected to pick up this gem are encouraged to do just that at their very first opportunity, as the list of West Coast punk offerings more influential than Prison Bound is extremely short. ~ Vincent Jeffries
With the debut MOMMY'S LITTLE MONSTER, Social Distortion emerged as one of the most interesting early-'80s Calpunk bands, mixing punk aggression with crafty songwriting and a rootsy influence. Singer/songwriter Mike Ness's well-publicized drug problems put the group out of ...
| | Social Distortion Live At The Roxy CD (1998)
Social Distortion
$11.99 
Social Distortion: Mike Ness (vocals, guitar); Dennis Danell (guitar); John Maurer (bass); Chuck Biscuits (drums).
Recorded live at The Roxy, Hollywood, California on April 7-9, 1998. Includes liner notes by Mike Ness.
Personnel: Mike Ness (vocals, guitar); Thomas Nordegg, Mark Haworth, Dennis Danell (guitar); Brad Nichols (drums, snare drum); Chuck Biscuits (drums).
Audio Mixers: James Saez; Mike Ness.
Recording information: Roxy, Hollywood, CA (04/07/1998-04/09/1998); The Roxy; Hollywood, CA (04/07/1998-04/09/1998).
Editor: Andrew Scheps.
Photographers: Jolie Clemens; Gabrielle Geiselman; Mike Ness.
Unknown Contributor Roles: John Maurer; Dennis Danell; Chuck Biscuits.
By 1997, it had become clear to Social Distortion that their relationship with 550 (formerly Epic Records) had not worked out and that it was time to move back to the independents. They wrestled themselves free from the contract and signed with Time Bomb Recordings. Their first album for the label was Live at the Roxy, a blistering set that offered a career summation and effectively set the band up for a new beginning. No matter how good Social Distortion records are -- and they're usually fairly strong -- the band performs with more energy and passion on-stage, and Live at the Roxy captures the intensity of their live show. It doesn't have any surprises, but the set list is solid and the performance's thrilling, which makes it a must for dedicated fans. ~ Stephen Thomas Erlewine
One of the longest-running California punk ...
| | Social Distortion Somewhere Between Heaven And Hell CD (1992)
Social Distortion
$7.59 
Live Recording
Social Distortion: Mike Ness (vocals, lead guitar); Dennis Dannell (rhythm guitar); John Maurer, Christopher Reece.
Recorded at El Dorado Studios, Hollywood, California.
Personnel: Mike Ness (vocals, guitar); Dennis Danell (guitar).
Audio Mixers: Dave Jerden; Andy Wallace.
Recording information: El Durado Studios; Hollywood, C and C Beach (1991).
Unknown Contributor Roles: John Maurer; Christopher Reece; Dennis Danell; Mike Ness.
Social Distortion finally achieves the perfect balance between their two major influences, the country anguish of Johnny Cash and the furious punk rock sound of early Clash, on their 1992 album Somewhere Between Heaven and Hell, making it the band's finest hour. The band tears through a fair share of rollicking, straight-ahead hard rock with songs like "Cold Feelings" and "When She Begins," but they also show a reflective, heartfelt, country-inspired side with songs like "This Time Darlin'" and the hard rock tribute to "Folsom Prison Blues," the cold blooded, murderous tale "99 to Life." At times the band slows down the pace a bit more than on earlier albums, but the band hasn't lost any of the edge or attitude they had as the brash young punks who recorded Mommy's Little Monster. Social Distortion classics "Bad Luck" and "Born to Lose" find a more mature Mike Ness still continuing to play the familiar role of the steadfast underdog with better results than in previous efforts. This album had all the earmarks of a major commercial success with some ...
| | Social Distortion White Light White Heat White Trash CD (1996)
Social Distortion
$7.59
WHITE LIGHT WHITE HEAT WHITE TRASH contains an unlisted track, a cover of the Rolling Stones' "Under My Thumb."
Social Distortion: Mike Ness, Dennis Danell, John Maurer, Chuck Biscuits.
Audio Mixers: John Travis ; Mike Ness.
Illustrator: Kalynn Campbell.
Unknown Contributor Roles: John Maurer; Chuck Biscuits.
With White Light, White Heat, White Trash, Social Distortion made a conscious attempt to cash in on the alternative "revolution" of the early '90s." Underneath the layers of glossy hard rock production, the band still hold fast to some of their punk roots, but too often they sound like a heavy hard rock band. Of course, that commercial sheen is intentional -- it's the only way they could appeal to the legions of post-grunge alternative fans who appeared since Social Distortion released Somewhere Between Heaven and Hell in 1991. The problem is, the band doesn't deliver enough songs to justify the production. Mike Ness still wails away and growls out confessional lyrics, but too often they are ham-fisted and clichéd, much like the music that supports them. The band sounds tight and muscular, but the songs have few hooks to make them memorable. In trying to appeal to a wider audience, Social Distortion have lost much of their identity on White Light, White Heat, White Trash. ~ Stephen Thomas ErlewineR 7263
Social Distortion does one thing and does it well. The bulk of Social D's repertoire consists of variations on an unrelenting 4/4 jackhammer guitar-and-drums attack, with Mike Ness' nasal rasp giving voice to post-twelve step trailer-trash Americana ...
| | Social Distortion Sex, Love And Rock 'N' Roll CD (2004)
Social Distortion
$10.89 
Social Distortion: Mike Ness, John Maurer, Jonny Wickersahm, Charlie Quintana.
Audio Mixers: Cameron Webb; Mike Ness.
Photographers: Christine Marie; Chapman Baehler.
Eight years separated the release of Social Distortion's misguided White Light, White Heat, White Trash and their next studio album, 2004's Sex, Love and Rock 'n' Roll, and a fair amount happened to the band in that time. Most notably, Dennis Danell, who had been the only constant in the band's lineup besides leader Mike Ness, died in 2001 at the age of 39, and on a pair of solo albums Ness began digging deeper into the roots music that had long informed his style. After confronting the grief of losing one of his best friends and exploring the less muscular side of his musical personality, Sex, Love and Rock 'n' Roll makes it clear Ness and his bandmates were ready to turn up the amps and make some noise, but while musically this is firmly in the So-Cal punk mode of their best work, lyrically this music reflects the mind of a more mature and thoughtful Mike Ness. Much as Ness dealt with the toll his years of drug abuse and casual violence had taken on him on the albums Social Distortion and Somewhere Between Heaven and Hell, Sex, Love and Rock 'n' Roll finds him pondering the stuff of genuine adulthood -- love, relationships, and looking to the future while trying to reconcile the past. "Live Before You Die" celebrates life in the moment without giving in to hedonism, Ness declares "I'm gonna trade in my old ways for a new shot at life" in "Faithless," and "Footprints on My Ceiling" tells the story of a man who has come to the realization that he has to accept his feelings if he's ever going to be loved. Some might think this means Ness is going emo on us after all ...
| | Pony Poindexter Pony's Express CD (1962)
Social Distortion
$9.09
Personnel: Pony Poindexter (soprano & alto saxophones); Eric Dolphy, Phil Woods, Gene Quill, Sonny Redd (alto saxophone); Dextor Gordon, Jimmy Heath, Clifford Jordan, Billy Mitchell, Sal Nistico (tenor saxophone); Pepper Adams (baritone saxophone); Tommy Flanagan, Gildo Mahones (piano); Ron Carter, Bill Yancey (bass); Elvin Jones, Charlie Persip (drums).
Recorded on April 18 & May 10, 1962. Originally released on Epic Records. Includes liner notes by Jon Hendricks.
Personnel: Pony Poindexter (soprano saxophone, alto saxophone); Eric Dolphy, Gene Quill, Phil Woods, Sonny Red (alto saxophone); Clifford Jordan, Dexter Gordon, Jimmy Heath, Sal Nistico (tenor saxophone); Pepper Adams (baritone saxophone); Gildo Mahones, Tommy Flanagan (piano); Charlie Persip (drums).
Audio Remasterer: Rosalind Ilett.
Recording information: 05/10/1962-04/18/1962.
Pony Poindexter was a sporadically recorded bop saxophonist who played on sessions by Lambert, Hendricks and Ross as well as Wes Montgomery; his long unavailable 1962 debut as a leader, originally on Epic, finally was reissued as a Koch CD in 2001. With arrangements by Gene Kee, Poindexter leads several all-star ensembles, which include Phil Woods, Gene Quill, Sonny Red, Eric Dolphy, Dexter Gordon, Clifford Jordan, Jimmy Heath, Sal Nistico, Billy Mitchell, and Pepper Adams. The rhythm sections are also first rate: either Gildo Mahones or Tommy Flanagan play piano, with Ron Carter or Bill Yancey on bass, and Charli Persip or Elvin Jones on drums. Poindexter is a convincing ballad player with the rich reed section backing him on "Skylark," while he trades choruses with Gordon's big-toned tenor on a snappy and decidedly nontraditional take of "Struttin' With Some Barbecue." His originals ...
| | Jennifer Warnes Hunter CD (1992) (Import) Germany
Social Distortion
$9.89
Import pressing of this album, originally released in 1992 and long out-of-print in the US. This her follow-up to Famous Blue Raincoat featured covers of Todd Rundgren's 'Pretending to Care', the Waterboys 'Whole of the Moon', Donald Fagen 'Big Noise, New York along with an original composistion that featured Leonard Cohen, 'Way Down Deep'. BMG. 2005.
Personnel: Jennifer Warnes, Max Carl, Blondie Chaplin, Donald Fagen (vocals); Eric Johnson, Richard Thompson, David Grissom, Michael Landau, Robben Ford, Mitch Watkins (guitar); David Mansfield (guitars, fiddle); Joel Derouin, Sid Page (violins); Robert Becker, Novi Novog (violas); Larry Corbert, Suzie Katayama (cello); Larry Williams, Bob Malach (saxophones); Jerry Hey (flugelhorn); Bill Reichenbach (trombone); Van Dyke Parks (accordion); Judd Miller (wind synthesizer); Randy Kerber (piano, synthesizer); Bill Ginn (piano, marxophone, synthesizer, Synclavier); Russell Ferrante (keyboards, organ); Kim Bullard (keyboards); Stephen Croes, Stephen Barber (Synclavier); Rob Meurer (keyboards, synthesizer); Larry Steelman (string synthesizer); Jorge Calderon (bass); Roscoe Beck (bass, guitar, synthesizers, programming); Tom Brechtlein, Vinnie Colaiuta, John Robinson (drums); Lenny Castro, Paulinho Da Costa, Steve Forman (percussion); Perla Batalla, Frank Floyd, Arnold McCuller, Kevin Dorsey, Phillip Ingram (background vocals).
Producers: C. Roscoe Beck, Elliot Schenier.
This album by unique singer, Jennifer Warnes, features a collaboration with Leonard Cohen.
The follow-up to Jennifer Warnes' well received Leonard Cohen covers album, FAMOUS BLUE RAINCOAT, THE HUNTER finds Warnes applying her velvety voice to tunes by everyone from Todd Rundgren ("Pretending to Care") to the Waterboys ("The Whole of the Moon"). Cohen himself lends a hand too, co-writing "Way Down Deep." While Warnes began her career as a straight-ahead pop singer, she stretches her sound out on THE HUNTER to accommodate ballads and more rock-oriented tracks with equal aplomb. It's miles away from her early-'80s pop success with "Up Where We Belong," and definitively confirms her status as a mature, sophisticated song stylist.
It took Jennifer Warnes five years to construct a follow-up to Famous Blue Raincoat, and she still wasn't able to come up with a unifying concept as simple and workable as recording a set of songs by Leonard Cohen. She did find some excellent covers, including Todd Rundgren's "Pretending To Care" and The Waterboys' "The Whole Of The Moon," that may have been new to her listeners, and she got a song from Donald Fagen ("Big Noise, New ...
| | Rod Shake It Up (Do The Boogaloo) CD (1996) (Import) Canada
Social Distortion
$18.35
| | Pete Anderson Working Class CD (1994)
Social Distortion
$8.29
Personnel includes: Pete Anderson (vocals, guitar); Anthony Crawford.
Personnel: Pete Anderson (vocals, guitar, acoustic guitar, electric guitar); Al Perkins (dobro); Don Reed (fiddle); Skip Edwards (accordion, piano, organ, Wurlitzer organ, keyboards); Beverly Dahlke-Smith (clarinet); Steve Grove (tenor saxophone); Lee Thornburg (trumpet, trombone); Freebo (tuba); James Cruce (drums, shaker); Jim Christie (drums); Lenny Castro (percussion); Beth Andersen, Dusty Wakeman, Jeff Rymes, Gary White, John Bunzow, Randy Weeks, Anthony Crawford, Tommy Funderburk (background vocals).
Audio Mixers: David Leonard; Michael Dumas.
Liner Note Author: Johnny Whiteside.
Recording information: Mad Dog Studios, Venice, CA.
Photographer: Nick Mendoza.
Unknown Contributor Role: Lonesome Strangers.
Before moving to California and beginning his successful association with country singer Dwight Yoakam, Pete Anderson cut his musical teeth in Detroit playing rock & roll and R&B. It comes as no surprise then that on his first solo outing he would stray from the signature country string-bending style that had become his trademark. From the bluesy strut of Anderson's own "Working Class" to the gorgeous instrumental reading of the oft-covered Ruby & the Romantics ...
| | Billboard Top 10 Karaoke: 1960'S Vol. 2 CD (2004)
Social Distortion
$12.35
Track Listing of songs: I'm ...
| | Essential Jerry Lee Lewis: The Legendary Sun Recordings CDs (2005)
Social Distortion
$10.49
This collection brings together his best known rockers and showcases his love and feel for country. Metro. 2005.
Liner Note Author: Joe Cushley.
Arranger: Lewis .
Yes, there were many compilations of Jerry Lee Lewis' Sun recordings, of various sizes, before this two-CD set. And, yes, there are better single-disc compilations for those who just want the very best and most famous stuff, and better multi-disc sets for those who want to go into his Sun catalog in depth. However, if you want more than what a standard greatest-hits collection offers but don't need a huge box set, this 40-track anthology is a good deal, even if considerably more music could have been fit onto each CD (the total running time falling a little shy of 100 minutes). All of the hits are here, as well as some of his better-known more obscure Sun sides ("Big Blon' Baby," "Break Up," "Fools Like Me," "Down the Line," "It'll Be Me," "Lovin' Up a Storm"). While much of the rest of the set is given over to covers of famous ...
| | Flash & The Pan Ayla - Best Of Flash & The Pan CD (2005) (Import) Germany; United Kingdom
Social Distortion
$18.39
Digitally remastered anthology of 19 great tracks from the progressive rock band.
Liner Note Author: Chris Welch .
Weighing in at 19 tracks, Repertoire's 2005 collection Ayla: The Best of Flash and the Pan is the most generous compilation yet assembled of Harry Vanda and George Young's impish post-Easybeats new wave creation, Flash and the Pan. Not only is it four tracks longer than the previous best F&P comp, 1994's plainly titled Collection, but it's more carefully assembled too, boasting good liner notes from Chris Welch and eye-catching comic book artwork. If F&P didn't have any other song as immediate or memorable as "Hey St. Peter," their gloriously ridiculous new wave novelty, they did have a number of good oddities and robotic new wave pop before sinking into coldly slick anthemic pop at the end of the decade. While it's unfortunate that Ayla is sequenced so cuts from the early '80s are undercut by tracks from the late '80s, this nevertheless ...
| | Toydrum Lifetime Guarantee CD (2008)
Social Distortion
$6.69
Toydrum are an 'atmospheric' indie based 4 piece based in Hertfordshire. The quartet weave their way through an atmospheric moving set with a tight driving rhythm section and floating echoing guitars superbly offset by unique stand out vocals that give the band such a distinctive sound. VB@H Fanzine recently reviewed a recent live gig and said "Sounding tight and a little moody, they breeze through their set with well founded confidence. The songs are imaginatively ...
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