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American Steel - Rogue's March CD Cover Art
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American Steel Rogue's March CD

 American Steel Discography of CDs

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 Our Price: $10.35  CD
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Hardcore From The East Bay

American Steel includes: Ryan (guitar).

American Steel: Ryan, Ruairi Fennessy (vocals, guitar); Johnny (vocals, bass instrument); Scott (drums).

Rogue's March Music


Detailed Rogue's March Music Information



List Price $12.97 (You save $2.62)
Category Rock/Pop Albums, Rock CDs, Heavy Metal, Alternative, Punk
Label Lookout
Orig Year 1999
All Time Sales Rank   234710  
CD Universe Part number 1244063
Catalog number 231
Discs 1
Release Date Oct 26, 1999
Studio/Live Studio
Mono/Stereo Stereo
Producer Kevin Army
Recording Time 36 minutes
Personnel Johnny - vocals, bass instrument
Scott Healy - drums
Ruairi Fennessy - vocals, guitar
Ryan Massey
American Steel Rogue's March Songs


American Steel Rogue's March Album Track Listing



Windows MediaRealAudio Media1.Loaded Gun
Windows MediaRealAudio Media2.Every New Morning
Windows MediaRealAudio Media3.Graveyards
Windows MediaRealAudio Media4.Got a Backbeat
Windows MediaRealAudio Media5.Rougue's March
Windows MediaRealAudio Media6.Whiskey, Women, And Blackguarding (Ain't No Cure For a Broken Heart)
Windows MediaRealAudio Media7.Hope Springs From Somewhere
Windows MediaRealAudio Media8.Insurrection Ave.
Windows MediaRealAudio Media9.Bloody Murder
Windows MediaRealAudio Media10.One of These Days
Windows MediaRealAudio Media11.There Could Be More
Windows MediaRealAudio Media12.Optimist
Windows MediaRealAudio Media13.Parting Glass

Rogue's March Review


Rogue's March Music Reviews



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Ethereal rock music that features lush, airy guitars, fuzz-bass, & hazy atmospheres. The sound of Ether Aura can best be described as an eclectic blend of early 90's shoegaze, dark alt-country, dream pop, and garage rock - with dark, emotional themes, swirling guitar effects, ethereal vocals, and fuzz bass."Partially made up of ex-members of 90s goth band Caelum Bliss, Ether Aura will likely please shoegazers, goths, and alt rockers alike with their debut, Crash. A heaping portion of Curve with smaller parts Lush, Garbage, and Cocteau Twins, Crash is a rhythmic, atmospheric slice of female-fronted, shoegaze-infused alt rock permeated by effects-laden guitar work and shaped into an almost undeniably impressive, if slightly derivative, debut. Immaculately produced with apparent attention to sonic layering and detail, it's a blend of more straightforward, bass-driven alt rock skeletal structures and swirling atmospheric guitar.

Standouts here include the opening vocal-hook-laden, atmospheric rocker "All Doves Grey", the lovely, airy, very Cocteau Twins-esque "Falling", the killer bass groove and lead guitar work of the infectious "Once Shed Skin", and the reverb-drenched moody balladry of "I'm All You Need". The plodding rock of "About You" casts shadows of Lush, while "6 Days Yesterday" and "Why" are the disc's most upbeat, both poppy alt rock numbers that also recall Lush with Mazzy Star undertones. The latter, notably, contains a particularly hooky chorus."Hardly Know You" returns to hazy Curve-esque rock. The disc's title track, on the other hand, is a plodding ethereal ballad countered by a heavier chorus. The bass-driven "Waiting" comes in with a plethora of swirling melodic guitar, feedback, and string scrapes, coalescing to form a great delay-inflected atmospheric rocker, while the closing "In Oceans" projects an ambience similar to "I'm All You Need" ...

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It's been nearly 33 years since Jeremy Spencer, the slide guitarist and vocalist in the original Fleetwood Mac, walked into silence, obscurity, and cult mystery -- not unlike his bandmate Peter Green, who returned to active recording before Spencer had. Precious Little was licensed to Blind Pig from the Bluestown Records label in Norway. This isn't some stodgy codger trying for one last blast of fame before he goes out into the long good night. In fact, Precious Little is an effortless, relaxed presentation of the blues through the fantastic voice and stellar guitar playing of a bona fide British bluesman. One might complain that this set is perhaps a bit too laid-back, but that complaint is small when taking in the communication that's happening between Spencer and his Norwegian blues band in a studio that has the old mixing board from Stax! The material is a mixture of originals and covers that Spencer plays either on his National Steel with a humbucking pickup or one of his fine electric guitars. The warmth in his voice and the ease of his playing is that of a master musician. Opening with "Bitter Lemon," Spencer and band stroll through the laid-back shuffle that immediately introduced his slide playing backed by a second electric guitarist, Espen Liland. Slippery, hushed, yet firm, his approach is deft. His humor is authentic and gratifying. The electric slide comes out on "Psychic Waste," and the firm conviction in the grain of his voice is anything but novel; it's an exhortation to responsibility. The cover of Elmore James' "It Hurts Me Too" is one of the most laid-back, jazzy versions ever recorded. The quiet authority that Spencer displays in his vocal delivery is startling. "Please Don't Stop" is a smoking rockabilly tune written by Gordon Gaibraith for Fabian. This is followed by a remake of "Corrina Corrina," with different lyrics and entitled "Sere Serena." The blues stroll -- complete with horns -- in "Dr. J" brings the uptempo strut back into the music. Spencer can wail and moan with the best. He displays it on another James tune, "Bleeding Heart," with incredible verve on the slide and without playing an extra note. This is true economy of scale and only a master would attempt it. The country blues of "Many Sparrows" is yet another side of Spencer's blues vocabulary. His long snaking and high lonesome moan as he plays is actually chilling. "Maria de Santiago" is the strongest cut here. It's executed with a wealth of slide and baritone saxophone in honk mode. When he sings his devotion to the saint, the entire ...
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