| | Dizcotheque, Vol. 3 CD
Each volume of the TTT label's fairly faceles Dizcotheque series contains a selection of then recent deep house tracks, which are either discreetly mixed or provided in whole. These discs aren't the best way to capture moments of house music's history, but one could do far worse. Still, most big-name DJ mixes from around the same time have more to offer, both in selections and mixing skills. The third volume of Dizcotheque includes Korben Dallas' "Blunted Funk," Ian Pooley's "Followed," Dig Dis' "Disco Damnation," Sven Väth's "Sounds Controls Your Mind," Christian Scott's "Get Down," Lorenzo Gimme's "More," and Tom Woods' "Rhythms." ~ Andy Kellman
2cds-Ray Krebs/Junior Vasquez Ian Pooley
Performers include: Sven Vath, Rau Krebbs, Eddie Amador, Tom Novy, Ian Pooley, Junior Vasquez. Dizcotheque, Vol. 3 Music Dizcotheque, Vol. 3 Songs Dizcotheque, Vol. 3 Review
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Adiitional personnel includes: Veit Renn (conductor, guitar); Tony Battaglia (guitar); Brian Snapp (saxophone); Don Rogozinski, Rex Wertz, Scott Bliege (horns); Gary Carolla (keyboards, drums); Peter Ries (keyboards, programming); Troy Antunes, Joey Argero (bass); Rob Dorsey, Frank Delour, Lou Appell (drums, ...
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The second album by this San Francisco punk group has enough contagious hooks and melodies to appease many punk or edgy pop followers. Beginning with the opening "Black Rose," lead singer Joshua Colburn possesses a strong style and potent delivery. Driven primarily by the rhythm section, it's a track that has a variety of interesting twists. The title track is softer in terms of tone and structure, resembling what John Mayer or Adam Duritz could be if fronting a punk group. A subtle piano rounds out the tune nicely. Unfortunately, "Portrait of a Man" relies too much on a choppy nu-metal guitar and comes across as an over the top anthem. "If we don't act now we could never be the same as we used to be," Colburn sings before guitarists Rob Wells and Josh Spaturo dominate the conclusion. "Sink With Me" is an early highlight. Here the band weaves delicate guitar solos in the vein of the Cure or Hot Little Rocket before upping the energy quotient. "Feels So Good," which begins with the "woo-hoo" à la Blur's "Song 2," is perhaps the slickest-sounding song. Adding some effects underneath the radio-friendly tune doesn't hurt either. If there's one negative to the album, it might be how many times they go down the same sonic path. "Impossible" is a great example, as it contains great musicianship but sounds out of gas by the middle portion. Moving into arena rock territory that Creed is better suited for, "Inexpectation" sounds promising but misses the mark in the chorus. Ending the album with a softer and acoustic pop track, "Drive," Eleventeen has made a good but not great sophomore album. ~ Jason MacNeil
Combining a unique and masterful blend of punk, pop, rock and hardcore, the Bay Area's Eleventeen are definitely living up to the incredible amount of excitement surrounding them. Their debut release 'Everything I've Ever Wanted to Say' is everything you've ever wanted in a punk album with melody or a pop album that rocks. Intricate and driving guitar parts seamlessly interweave with ingenious vocal melodies to create memorable songs that have an original quality all their own. San Francisco's finest five piece has done a lot of growing up since their debut full-length. ...
| | Marianne Faithfull Collection CD (2005)
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Recorded in the early 1970's. Includes liner notes by Alan Robinson.
Any Marianne Faithfull collection from her Decca years that doesn't include "As Tears Go By" is of special interest, as some listeners have never been convinced of her version's merits, regardless of its chart position. In this case, there are 40 songs here in a distinctly folk and pop/cabaret vein, mastered in state of the art sound, that capture some of Faithfull's best moments on various singles and her LPs, alas not in chronological order -- she became a better, less self-conscious singer as she went on, and the material here, running right up to her 1967 Decca single "Is This What I Get for Loving You," embodies some of her best work, nicely annotated and well mastered, and the price is definitely right as a budget double-CD set. ~ Bruce Eder
A couple of lackluster country albums notwithstanding, Marianne Faithfull spent the '70s drifting through the same world of twilight hearsay and shadow that engrossed Iggy Pop for so much of the time. Rumors that she was recording were followed by stories of disheveled collapse or abandonment; rumors that she was filming generally ended with late-night airings for incomprehensible plays; and rumors that she was ever going to return as even a vaguely potent power on the music scene were laughed off as the ramblings of an overly forgiving fan club. Laugh again. Following her resurrection at the end of the decade, those ghostly sessions in the very early '70s came to haunt the extremes of the completist's consciousness, but it would be two decades more before listeners had the chance to discover whether those sessions could live up to the legend. In fact, they surpassed it, and Rich Kid Blues, drawn from a string of ultimately abortive recordings around 1970-1971, not only reassesses that aspect of Faithfull's life, it reappraises a lot of what she accomplished later. Neither Faithfull nor (surprisingly!) the liner essay rate the recordings highly. Though it certainly feeds out of the same basic mindset which inspired Faithfull's earlier recording of "Sister Morphine," Rich Kid Blues nevertheless catches the singer at her lowest ebb -- "probably on ...
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Crusher Magazine InterviewTHE RESURRECTION SORROWby Morgan Y. EvansLINKS:myspace.com/resurrectionsorrowhttp://www.crushermagazine.com/features9_09/featressorrow.htm With riffs schooled in bluesy realism yet deep and punishing enough to splinter the consciousness across vast expanses, NYC's The Resurrection Sorrow are ...
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