| | Rosemary's Billycoat Cheeses Of Nazareth CD Rosemary's Billycoat Discography of CDs
Cheeses of Nazareth, the debut CD of the highly theatrical L.A. alternative metal band Rosemary's Billygoat, showcases a band that's long on attitude but short on solid original songwriting. Many of the songs feature sophomoric humor that suffers from not being accompanied by the visuals of the band's wacky stage show. The musicianship is solid, particularly the lead guitar work of Neal Gargantua. The tunes, however, grind along in a same-sounding groove: a cross between Dead Kennedys-like punk and meandering speed metal, with bows to Black Sabbath and Metallica. The lyrics aim at obvious satirical targets such as Scientology ("L. Ron's Army"), "roach coaches" ("Mafia Lunch Truck"), and homelessness ("Livin' in the Park"). The band achieves its greatest success when it tries on different styles, such as the Cramps-like rockabilly of "Dust Bunny" and the psychedelic silliness of "Love Power" -- they prove they have the chops to do something other than the punk metal grind that characterizes the rest of the LP. The band needs to do that kind of stretching, along with writing songs that have stronger hooks and more subtle lyrics, if they're to go beyond a mere sideshow image. ~ Mary Grady
Live Recording
Recorded at West Beach Recorders, Hollywood, California.
Rosemary's Billygoat: Neal Gargantua (vocals, guitar); Mike Odd (vocals, sound effects); Pat Trick (bass, background vocals); Paul Bearer (drums, bongos, shakers, tambourine).
Additional personnel: G.I. Joe (background vocals). Cheeses Of Nazareth Music Cheeses Of Nazareth Music Cheeses Of Nazareth Review
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Purchase Cheeses Of Nazareth CD To buy, Click on price to add to cart | Alice Cooper Love It To Death CD (1971) Gold
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Comprised of 18 tracks culled from the singer/composer's first three decades, The Very Best of Enya was pieced together by the artist herself, along with longtime collaborators Nicky and Roma Ryan. Luckily, the trio seems enamored by most of the same songs that the general public is, resulting in one of those rare "greatest-hits" collections that goes deep without depriving the listener of the essentials. With tunes like "Orinoco Flow," "Caribbean Blue," and "Book of Days" in the pot and out of the way, it's easier to appreciate hidden gems like "Cursum Perficio," "Boadicea," "Trains and Winter Rains," and "Anywhere Is." Also notable is the inclusion of "May It Be" and a previously unreleased version of "Aníron (I Desire)," both of which originally appeared on the soundtrack for the first chapter of Peter Jackson's beloved Lord of the Rings trilogy. ~ James Christopher Monger
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Continuing some of the musical collaboration and general work from her first album, Hoping for Love finds Isabella Antena also much more overtly exploring a stripped-down, jazz-pop sound on many tracks. Alongside some remaining examples of the full-bodied arrangements and beats overseen by producer Martin Hayles are much more spare but equally compelling compositions that Antena produced, with fine results. The change is evident from the start with "Le Poisson des Mers du Sud" -- Antena sings in her native French, accompaniment is only guitars, piano and percussion, and the feeling is definitely one of coming down from En Cavale's active highs. The end result is a great showcase for her breadth as a performer, able to take inspiration from a variety of sources to create a new modern synthesis. French is the lead language throughout the album, perhaps a defiant return to the roots after her English language work had only gathered a cult following (though ironically Hoping for Love led to a major overseas breakthrough in Japan). Given the presence of bossa nova and samba influences in her work it's less a change as it is a refocusing on more formal variations of those approaches, but it's handled very well indeed, ranging from the brief, lyric-less kick of "Musique de 4 A 6" to the fuller arrangements on "Melodie." The later part of the album covers the more modern explorations of her sounds, harking back to En Cavale on such tracks as the punchy-but-dreamy "Otra Bebera" (sung in Spanish, a winning further extension of her artistic range) while aiming more directly for the pop mainstream than ever with "Sweet Boy." Getting a re-release on LTM means extra songs galore, in this case five numbers, including extended mixes of "Laying on the Sofa" and "La Tete Contre les Mers." ~ Ned Raggett
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