Gray Matter - Food for Thought/Take It Back CD

Food for Thought/Take It Back album for sale The Washington, D.C. straightedge hardcore punk scene began with Minor Threat. The band recorded two LPs on its own Dischord label, plus an EP and the miscellaneous singles that are collected on this CD. Many of the early recordings on this collection seethe with teen-age angst and indignation. The songs rage against bullies, religious hypocrisy, and the herd mentality. Other songs, taken from later in Minor Threat's career, feature tighter and more sophisticated playing. Metallic flourishes tinge the guitar work, vocal harmonies abound, and song dynamics vary more than on the earlier record. On certain songs, Ian MacKaye's lyrics address the complexities of friendship, loyalty, and self-expression. "Look Back and Laugh," "Little Friend," and "It Follows" all incline more toward introspection and ambiguity; conveying loss and sadness in addition to outrage. This second set of songs seems to especially anticipate MacKaye's later work with Fugazi. The album also contains a few playful numbers like the sing-along cover of "Stepping Stone," and "Cashing In," a mocking dig at greedy musicians. Minor Threat believed completely in the power of its music, helping earn a loyal fan following and the respect of numerous other bands who emulated its style and credo. Recorded at Inner Ear Studios, Arlington, Virginia between April 1981 and December 1983. Personnel: Ian MacKaye (vocals); Lyle Preslar, Brian Baker (guitar); Jeff Nelson (drums). Audio Mixers: Skip Groff; Jeff Nelson; Lyle Preslar; Minor Threat. Recording information: Inner Ear Studios, Arlington, VA (04/1981-12/1983). Photographers: Tomas Squip; Glen E. Friedman; Susie Josephson. Minor Threat: Ian MacKaye (vocals); Brian Baker (guitar, bass); Lyle Preslar (guitar); Steve Hansgen (bass); Jeff Nelson (drums).

Food for Thought/Take It Back buy CD music There was definitely a dank underbelly swelling during the punk explosion of the late '70s. The Dead Boys crawled under it and found themselves quite comfortable. Making music in New York's subterranean regions allowed the band an unparalleled sense of vulgarity and a freedom to assault for assault's sake. Thus, YOUNG, LOUD, AND SNOTTY is as artless and rude as its title. Led by the gnashing, noxious, and rail-thin Stiv Bators, the Dead Boys wreaked havoc like the most destructive of party crashers. The vicious "Sonic Reducer" offended everyone it was meant to offend and became the band's anthem. Such havoc is hard to sustain, and the career of the Dead Boys was similarly brief. The band's legacy, however, did not pass unnoticed. Both Pearl Jam and Guns 'N' Roses have covered the often-overlooked band. Bators went on to form the not-nearly-as-threatening Lords of the New Church before he was hit and killed by a passing car in 1990. Their debut and their best from 1977 from Stiv and the boys. Includes 'Sonic Reducer' & I Need Lunch'. Recorded at Electric Lady Studios and live at C.B.G.B.'s, New York, New York. Dead Boys: Stiv Bators (vocals); Cheetah Chrome, Jimmy Zero (guitar); Jeff Magnum (bass); Johnny Blitz (drums). Additional personnel: Ronald Binder (vocals, handclaps); Fuji, James Sliman, Michael Sticca (handclaps).

Food for Thought/Take It Back songs Built To Spill abandoned any strictly lo-fi leanings long before ANCIENT MELODIES OF THE FUTURE, the band's fifth full-length release, but it is with this album that the trio's near-perfect balance of indie- (almost math-) rock and surprisingly irresistible pop hooks hits stride for a full, satisfying LP. ANCIENT MELODIES OF THE FUTURE retains the line-up of Doug Martsch, bassist Brett Nelson, and drummer Scott Piouf for a third go around, and the consistency has paid off for the most level album of their career. From tracks like the insistent opening track "Strange" to the meanderingly beautiful "The Weather," the album flat mesmerizes. People forget that these Idahoans would be just as at home on classic rock radio as on the college playlists they occupied throughout the '90s. Built To Spill draws from the subtly complex Eastern sounds of RUBBER SOUL-era Beatles and the most enchanting excesses of the Doors at their best, while singer Martsch unfurls the most charming whine since Neil Young's heyday. What's more, with their eccentric sound, the band has managed four releases on a major label, attracting new fans while managing to retain their credibility within the indie world, which is no mean feat. Recorded at Avast! and Bear Creek, Washington; The Manhouse, Idaho. Personnel: Doug Martsch (vocals, guitar, keyboards, percussion); Brett Netson (guitar, hi-hat); Sam Coomes (keyboards); Scott Plouf (drums, percussion); Brett Nelson (drums). Audio Mixer: Sheldon Zaharko. Recording information: Avast!, WA (2000); Bear Creek, WA (2000); The Manhouse, ID (2000). Photographer: Tae Won Yu. Built To Spill: Doug Martsch (vocals, guitar, keyboards, percussion); Brett Nelson (bass); Scott Plouf (drums, percussion). Additional personnel: Brett Netson (guitar); Sam Coomes (keyboards).

Food for Thought/Take It Back CD music Fugazi are as notable for their "political music for the common man" approach as for the stop-start riffing that made their guitars-and-gestalt-therapy sound into an industry buzz. Their 1995 album, RED MEDICINE, reasserts the band's grasp on alterna-angst and charging guitars--enough so to make your jaws lock. Yet, RED MEDICINE isn't just another exercise in Fugazi-style political manifestos; on it, Fugazi come across more as musicians than politicians. The yelping "I have something to prove" tone of previous releases has relaxed into a more confident approach. The dueling guitars are looser, more melodic. The riffs and vocals don't bark and grate as much--they simmer and, in some cases, even swing. Songs like "Birthday Party" may still rely on the old-school Fugazi approach--the proven shout and power-chord stomp--but "Forensic Scene" sounds almost Beatlesque in its lovely hesitance. Regardless of that evolution, RED MEDICINE still includes all the things that made REPEATER-era Fugazi so inspiring, their standard ringing guitars and shouted vocals glaring through the mix. But RED MEDICINE also shows a new-found eloquence, a quieter approach for their songwriting craft, and previously unseen musicianship. Principally recorded at Inner Ear Studios, Arlington, Virginia in January 1995. Personnel: Guy Picciotto, Ian MacKaye (vocals, guitar); Brendan Canty (drums). Audio Mixer: Fugazi. Recording information: Guilford House (04/1994-01/1995); Inner Ear, England (04/1994-01/1995); Practice (04/1994-01/1995). Photographers: Jem Cohen; Fugazi; Joey P. Unknown Contributor Roles: Guy Picciotto; Ian MacKaye; Joe Lally; Brendan Canty. Fugazi: Ian Mackaye, Guy Picciotto (vocals, guitar); Joe Lally (bass); Brendan Canty (drums).

Food for Thought/Take It Back buy CD music Released on CD by Dischord in 1991, this digital version of End on End covers the complete recorded output of the legendary Rites of Spring: their self-titled LP, the All Through a Life EP, and one extra song. One of the first bands to be labeled emocore, Rites of Spring would seem to transcend all labels as their music cuts right through to the heart of universal human experience. Emotional? Yes -- check out the bitter memorial relived on "For Want Of," the pulse pounding moment-grab that is "Drink Deep," or the devoted searches for honesty and meaning explored on "End on End," "Theme," and really just about every track on the disc. Hardcore? Yes -- emerging from the D.C. scene, the music is pure focused energy, not a single note wasted. The band at times is fast and furious, at other times lush and evocative though always with a sense of drive and melody. Rites of Spring hint at some of the territory vocalist/guitarist Guy Picciotto and drummer Brendan Canty would later survey with Fugazi, but this band is much more than just a stepping stone. End on End, quite simply, is a testament to the rich possibilities of sincerity in music. ~ Matthew Kantor Remastered. Orig.LP,4 Song EP, Plus 1 Bonus Song. Recorded in February 1985. Rites Of Spring: Guy Picciotto (vocals, guitar); Eddie Janney (guitar); Michael Fellows (bass); Brendan Canty (drums).

Food for Thought/Take It Back songs Though known primarily as Dave Grohl's first band of note, Scream in fact released its finest material years before Grohl's entry into the band. After the primary wave of D.C. hardcore -- SOA, Minor Threat, Bad Brains, Government Issue -- crashed noisily to the shore, kids from the surrounding suburbs, attracted by the sound and fury of the city center, began formulating sounds predicated certainly on the first wave, but with enough outsider flair to be considered unique. Scream was one such band, and probably the finest. Boasting the incredibly gifted vocalist Pete Stahl and his brother Franz on guitar (the two later formed Wool), and rounded out by the rhythm section of Kent Stax and Skeeter Thompson, Scream fought their way into the tightly knit in-scene of D.C. hardcore, and were initially greeted with suspicion as suburban rednecks. Indeed, Scream's music borrowed as much from classic rock -- especially on This Side Up -- as it did from Minor Threat's lockstep speed. The band's first release, Still Screaming, shows the band maturing, trying out the fast stuff, testing their feet in the Bad Brains reggae pool, talking about scene solidarity, etc. It's a solid record, bolstered by the Stahl brothers' deft ability to make an ordinary song truly soar with melody. Unlike most other hardcore bands, Scream was never blunt with its music. Of course, this was probably due to Pete Stahl's vocal talent, which was truly showcased on the follow-up, This Side Up. For all its glory -- "Bet You Never Thought" is a brilliantly crafted piece of anthemic rock -- This Side Up has a few duds, like the pointless castoff "Gluesniff." By the time of This Side Up, Scream had found its voice, and that voice owed a lot more to suburban rock than to the elitist hardcore found in the city. A D.C. hardcore classic. ~ Patrick Kennedy Recording information: Ambient Studio (07/1981-04/1985); Inner Ear Studios (07/1981-04/1985). Illustrator: Matt McMullen. Photographer: Jim Saah. Personnel: Franz Stahl, Robert Lee Davidson (vocals, guitar); Skeeter Thompson, Amy Pickering, Peter Stahl (vocals); Kent Stax (acoustic guitar, drums); Doc Night (saxophone); Dr. Know (piano). Audio Mixers: Don Zientara; Ian MacKaye.