| | Stiff Little Fingers Go For It CD - Import Stiff Little Fingers Discography of CDs
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All punk bands must grow or die, or so the story goes. Rehashing the same three chords works for a record or two (unless you're the Ramones, then it's fine) but gets tired quickly. However, the converse is also true. Change too much and the fans cry "sellout!", an unenviable situation for any band, but particularly acute for Northern Irish firebrands Stiff Little Fingers. After producing two essential studio albums and one classic live album, SLF demonstrated on GO FOR IT that they could both adapt and remain true to the sound that had made them successful.
Like their contemporaries The Clash, SLF looked to the looping rhythms of reggae (and particularly dub reggae) as fodder for an expanded musical palate. "Roots, Radicals, Rockers and Reggae" and "Safe as Houses" demonstrate that they had made a particularly astute choice. Along with reggae's influence are touches of subtle, effective pop on the sweet "Gate 49" and even a horn section (!) on the tongue-in-cheek "Silver Lining," one of the prettiest odes to bad luck ever written.
Originally released in 1981 Go For It reached no. 14 in the album charts. This version adds the bonus tracks 'Mr. Fire Coal Man', 'Doesn't Make It Alright' (live), 'Back To Front' & Alan Parker Interviews Jake Burns about 'Go For It'. EMI. 2004.
This reissue contains three bonus tracks.NME (Magazine) (10/23/93, p.36) - "...the transition from punk terrorists to chart-friendly noo wavers had already begun with [the Stiff Little Fingers]' soft-centred but marvellous second LP, and they were still careening madly by the time it came round to GO FOR IT...the 4th most desirable album of the SLF..." Go For It Music | List Price | $16.99 (You save $1.24) | | Category | Rock/Pop Albums, Rock CDs, Punk | | Label | EMI Latin | | Orig Year | 1981 | | All Time Sales Rank |  288811  | | CD Universe Part number | 6758719 | | Catalog number | 473044 | | Discs | 1 | | Release Date | Oct 12, 2004 | | Studio/Live | Studio | | Additional Info | Bonus Tracks; United Kingdom |
Stiff Little Fingers Go For It Songs | 1. | Roots, Radicals, Rockers & Reggae | |
| 2. | Just Fade Away | |
| 3. | Go For It | |
| 4. | Only One | |
| 5. | Hits & Misses | |
| 6. | Kicking up a Racket | |
| 7. | Safe as Houses | |
| 8. | Gate 49 | |
| 9. | Silver Lining | |
| 10. | Piccadilly Circus | |
| 11. | Mr. Fire Coal Man (Bonus Track) | |
| 12. | Doesn't Make It Alright (Live) (Bonus Track) | |
| 13. | Back to Front (Bonus Track) | |
| 14. | Alan Parker Interviews Jake Burns About 'Go For It' (Bonus Track) | |
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Go For It Review
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Purchase Go For It CD To buy, Click on price to add to cart | Minus 5 I Don't Know Who I Am CD (2003) Let The War Against Music
Go For It album
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Although Scott McCaughey pays his bills as a loyal R.E.M. sideman, the longtime Young Fresh Fellows frontman's Minus 5 project has allowed him to explore his fundamental pop/rock leanings with colleague Peter Buck on albums like 2001's acclaimed Let the War Against Music Begin. Recorded in tandem with that set, I Don't Know Who I Am -- a limited-edition disc reportedly restricted to a pressing of just 2,000 copies -- is far darker and more experimental, as evidenced by the set launcher, "There Is No Music." Meshing a slide guitar with a brooding lo-fi feel, the song's alt-country leanings uneasily shift into the electronic-tinged "Myrna Loy." While there are contagious moments like "Rooting for the Plague" and the profane singalong "I Don't Want to Fuck Off Anymore," tunes like the heady "Disaster Nurse Fang" and "Dear Employer" (which is recycled but drastically stripped-down from its appearance on 2003's Down With Wilco and again boasts Jeff Tweedy) are as off-kilter as these alternative pop luminaries are likely ...
| | Pete Anderson Daredevil CD (2004)
Go For It CD music
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Pete Anderson's third solo outing has been a long time coming, and one gets the distinct impression that it's the album he's been itching to make all along. Given that Daredevil is completely instrumental, the guitar geeks already have something to salivate about. But there's much more to it than that. Anderson played the vast majority of instruments, with help in a few places from multi-instrumentalist Skip Edwards and minimal assistance from trumpeter Lee Thornberg and fiddler Donny Reed as well. There's also some string work performed by some mysterious entity know as "the Skipper." If the Latin Playboys were an instrumental country band, they would almost certainly sound something like this. While it's true that Anderson's guitaristry is signature to all he does, he understands dynamic, rhythm, and atmosphere and texture as well. Check the beautifully ...
| | Small Faces Ogden's Nut Gone Flake CDs (1968) England; Deluxe Edition
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The Small Faces present their four disc U.K. import reissue release OGDEN'S NUT GONE FLAKE.
Having begun their career as the archetypal Mod band, the Small Faces latterly embraced traces of flower-power's whimsy. Astute enough not to sacrifice their identity, the quartet retained a distinctive perspective, as evinced by a string of superb pop singles, including "Here Comes The Nice" and "Itchycoo Park." A sense of pop melody and adventurism culminated on this album which encompassed tongue-in-cheek fun ("Lazy Sunday") and passionate love songs ("Afterglow"). Steve Marriott's voice remains completely self-assured and the group's characteristic organ-based swell is often enhanced by P.P. Arnold's emotional backing vocals. Eccentric ...
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| | Bad Religion Process Of Belief CD (2002)
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Bad Religion has been the iron man of Southern California hardcore punk for more than two decades. The core of the group, founded in the San Fernando Valley in 1980 by teenagers Brett Gurewitz (guitarist), Greg Graffin (vocalist) and Jay Bentley (bassist), are reunited on their twelfth album, THE PROCESS OF BELIEF. Gurewitz rejoined the band for a second time in 2001 to record 14 blasts of melodic punk that take off with the hyperdrive rocker "Supersonic," in which Graffin yearns to live "decently, meaningfully" over double-time drums and buzzing guitars. The album is a return to form for the group, mixing pop-inflected hard rock songs about alienated, throwaway ...
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| | Cheikh Lo Lamp Fall CD (2006)
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Lamp Fall is the first international release from the Senegalese singer/songwriter and guitarist Cheikh Lô. Issued on World Circuit, it is a collection of traditional and original songs that heavily showcase his trademark mbalax drums, reggae grooves, and funky polyrhythms, with a host of colors and textures added by widely varying instrumentation. This time out, Lô goes to Brazil for inspiration -- about half the album's tracks were recorded in Bahia. Lamp Fall's opener, "Sou," is a traditional song with a radically different arrangement. It is sung in Bambara, the language Lô learned in Burkina Faso. It is a Mandinka song in origin, and comes form Mali. One can heard the Brazilian feel here in the employment of a sanfona accordion -- a close relative of the bandoneon. It is juxtaposed against a talking drum, as Lô's falsetto carries its melody -- a love song -- over. The title track was one of many recorded in Dakar and in London. Lamp Fall is a tribute to Cheikh Ibra Fall, a religious leader whose faith Lô belongs to. What's startling is the opening guitar chord, which sounds like it could have been lifted off James Blood Ulmer's Are You Glad to Be in America? Saxophone great Pee Wee Ellis blows hard and funky here against crisscrossing rhythms by Saliou Seck, accented by a Crescent City piano vamp played by Arona Barry. The Brazilian feel comes to the fore in "Satta Kaani Xeen," where castanets, wood blocks, cajon, and berimbau make up the main body of the tune lyrically and rhythmically. The band here is large, with a sitar, tama, bass clarinet, and Paulinho Andrade's flute orchestrating the melody. Ellis is heard fiercely in "Bamba Mo Woor," over the top of twin electric guitars riffing like hell, and fronting both Bigga Morrisson's Hammond B-3 and the rest of a horn section featuring Byron Wallen on trumpet and Tim Smart on trombone. The reggae groove here is deeply dread, shuffling and slipping along a bubbling bassline and Lô's sweet -- but not saccharine -- falsetto vocals. The only pure mbalax tune here is "Fattaliku Dëmb," where Lô plays a mean flamenco-style rhythm guitar part over the rolling drums and pumped bassline. It also features a fine guitar solo by Lamine Faye. In sum, Lamp Fall is a further extension of the already heady mix of styles, rhythms, and harmonics Lô has amassed over the past decade and a half. It's an utter joy in that it's so dense that most of its secrets won't be revealed until many repeated listenings are undertaken. That said, its sunny sheen and easy, airy atmosphere are intoxicating and elegant. This is early candidate for one of the best recordings ...
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