| | Carry On Life Less Plagued CD Carry On Discography of CDs
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Carry On, it turns out, was a band with a pretty ironic name -- it lasted only long enough to produce this 12-song, 18-minute "album" (which, caveat emptor, lists for about 13 dollars). But what A Life Less Plagued lacks in quantity it more than makes up for in intensity -- besides, hardcore kids aren't known for their long attention spans, and an average track length of 90 seconds is really just about right. Carry On's attack is ferocious and tight in the grand louder-faster-shorter tradition, but occasionally the tempos slow a bit and the sound grinds down to a merely fast and metallic roar. There are no melodies, of course, but lots of fine yelling from vocalist Ryan George, and the twin-guitar attack of Todd Jones and Corey Williams is truly fearsome; in terms of both tone and invention, the band's instrumental sound is a good step above most of its competition. Lyrically, the songs tend toward modified straight-edge sloganeering ("X's Always Win," "Mirrors and Needles") and catharsis through the F-word. Recommended to all angry 15-year-olds and to those thirty-somethings who still listen to their old hardcore records and find themselves wishing that Minor Threat had a better producer. ~ Rick Anderson
Live Recording
Producers: Kurt Ballou, Ryan George, Todd Jones.
Personnel: Sweet Pete (vocals); Todd Jones, Corey Williams (guitar).
Recording information: Godcity Studios (04/15/2001-04/28/2001).
Carry On: Ryan George (vocals); Todd Jones, Corey Williams (guitar); Jon Westbrook (bass); Nick Jett (drums).
Additional personnel: Wes Eisold, Sweet Pete (vocals).
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It's no secret that John Mayer is a 21st Century Fox, wining and dining women all through tabloid headlines, so it's about time he delivered an album that traded upon his loverman persona -- and Battle Studies is that record in spades. Retaining more than a modicum of the slick, soul-blues undertones of Continuum, Mayer fashions a modern groove album, a record that maintains a smooth seductive vibe so thoroughly it spills into a one-man band cover of "Crossroads." Mayer remains somewhat of a disciple of Slowhand, but he shows an unusual interest in the big AOR stylings of Journeyman, along with Stevie Ray Vaughan's In Step, creating a coolly clean blend of synths and Strats, one that's as much about texture as it is about song.something perfectly appropriate for a make-out album like this. Sometimes, Mayer dips too heavily toward the texture, but he can't resist a good, tight melody and builds the bulk of Battle Studies upon them: the elegant "Half ...
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It's a commonly held opinion among fans and band alike that Tom Petty & the Heartbreakers' lone live album, 1986's Pack Up the Plantation, didn't quite capture the group at its peak, so there has been a long-standing need for another live set, which 2009's Live Anthology finally provides. Like its closest cousin, Bruce Springsteen's Live 1975-1985, Live Anthology almost overcompensates for the long wait by offering ...
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In 1973, Elvis Presley booked sessions at Memphis' famous Stax Studios, where Booker T. & the MGs, Otis Redding, and numerous other soul stars had recorded hits. Unfortunately, initial efforts to have Presley work with the Stax stable of musicians yielded few usable tracks, and Elvis soon called in his stage band to finish the sessions. The results can be heard on the albums GOOD TIMES, RAISED ON ROCK, and PROMISED LAND.
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Initial pressings of PIG LIB included a bonus CD including five tracks.
Principally recorded at Bear Creek Studios, Woodinville, Washington between May & August 2002.
PIG LIB is the second solo album by former Pavement singer Stephen Malkmus.
For his second solo outing after leaving Pavement, Stephen Malkmus expands his musical horizons a bit from his 2001 solo debut, which basically sounded like an extension of his former band's sound. It's only naturally that Malkmus' work should bear some similarities with the output of his erstwhile group, since he played a major role in fashioning their style, and the non-sequitir lyricism and skewed, angular alt-rock that marked the Pavement style are still strongly in evidence. However, there are other elements at work on PIG LIB.
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Stephen Malkmus wanted to bill his first solo album to the Jicks but was persuaded by Matador to release it under his name. As it turns out, the delay in billing was fortuitous, since Pig Lib, Malkmus' second solo effort and the first to share a co-billing with the Jicks, sounds much more like the work of a band than its predecessor. Which, to be honest, is a bit of a mixed blessing, since this record has all ...
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