| | Clash Cut The Crap CD Clash Discography of CDs
Although 1982's COMBAT ROCK signaled the last time the original lineup of the Clash would record together in the '80s, 1985's CUT THE CRAP was officially the band's last gasp of that decade. After COMBAT ROCK, crafty songwriter and experimentalist Mick Jones was forced out of the Clash--going on to form the outstanding hip-hop/rock hybrid Big Audio Dynamite--and drummer Topper Headon was similarly exiled. Remaining Clashers Joe Strummer and Paul Simonon recruited Nick Sheppard, Pete Howard and Vince White in an attempt to keep the band alive and kicking.
The resulting CUT THE CRAP seems more attached to Strummer's eventual solo efforts than a real Clash album; despite Strummer's determined effort, in many ways the band seems to be a lonely shadow of its more volatile self. While the glorious, grating Stummer vocals enliven tracks like the reggae-tinged "This Is England" and the anthemic "Movers & Shakers," the absence of the more melodically inclined Jones is clearly noted. Although CUT THE CRAP features the Clash's usual, heady mix of politics and punk, it falls somewhat short of the band's outstanding classics THE CLASH and LONDON CALLING.
Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve. 2008.
Recorded in Munich, Germany.
The Clash: Joe Strummer (vocals, guitar); Nick Sheppard, Vince White (guitar); Paul Simonon (bass); Pete Howard (drums).
Reissue producer: Bob Irwin.
Cut The Crap Review
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Purchase Cut The Crap CD To buy, Click on price to add to cart | Cure Pornography: Deluxe Edition CDs (1982) Bonus Tracks; Remastered; Digipak
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This remastered edition features a 14-track bonus disc of rarities that includes numerous demos, studio outtakes, and live performances.
For a band that's known worldwide as the premier purveyors of goth-rock gloom and doom (though hardly incapable of sparkling pop gems), it's no small thing to identify a particular album as their darkest, most disturbing sonic statement. ...
| | Cure Faith: Deluxe Edition CDs (1981) Bonus Tracks; Remastered; Digipak
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This remastered edition features a 15-track bonus disc of rarities that includes numerous demos, studio outtakes, and live performances.
If you ever observed (or were) a pale depressed-looking teenager dressed entirely in black, sitting in the corner scribbling frantically into a marble bound notebook, then you already understand the Cure. In the 1980s, the Cure provided the soundtrack for an entire generation of misfit toys, and if SEVENTEEN SECONDS was a wake-up call for the dispossessed, FAITH is the daily affirmation. Scaled back down to a three-piece with the loss of keyboardist Hartley, the Cure is a lean, mean fighting machine, ready to rumble.
"Rumble" is the best way to describe the propulsive bass playing of Simon Gallup, whose rolling bass anchors both mid-tempo numbers like "The Drowning Man" and faster fare such as "Primary." While no new ground is broken ("Doubt" is basically a rewrite of "Play ...
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Recorded in the charmed period between the initial success of ELTON JOHN and superstar extravaganzas like GOODBYE YELLOW BRICK ROAD, TUMBLEWEED CONNECTION, a loose concept album about the American West, was a strange, sideways move for Elton John and songwriting partner Bernie Taupin. A album in the traditional sense, it is best heard as a piece, with songs that pick up and expand on each other's moods and settings. Notice, for example, the progression of characters from the young fighter waving "My Father's Gun," to the retired and forgotten "Talking Old Soldiers," to the protagonist of "Where To Now St. Peter?," shot down by "a sweet young foreign gun" and ready to be judged by his maker.
The mood holds from the sepia-toned LP cover art to John's songwriting, influenced ...
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Originally released on Deram (1035). Includes liner notes by John Reed.
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Where this album's predecessor IN SEARCH OF THE LOST CHORD dipped deeply into Eastern-flavored psychedelia, THRESHOLD is more of a straightforward rock record. Things open ...
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Having crafted such a singular sound for himself both in Dire Straits and as a respected film composer, it's gratifying to hear that Mark Knopfler's consummate musicianship has only gotten better on what is only his second solo album in a career that began in the mid- '70s. For SAILING TO PHILADELPHIA, Knopfler once again looks to America for inspiration, starting with the stirring title track that draws from Thomas Pynchon's fictionalized account of English adventurers/surveyors Charles Mason and Jeremiah Dixon and which finds James Taylor playing Mason to Knopfler's Dixon. Other numbers benefiting from this American muse are the ethereal "Sands of Nevada," the Farfisa-driven "Do America" and the low-key "Prairie Wedding" (featuring alt country stalwarts Gillian ...
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Often, supergroups wind up dominated by one particular personality - think Eric Clapton in Derek & the Dominos, Jack White in the Raconteurs -- which makes the egalitarianism of Them Crooked Vultures all the more remarkable. Of course, when it comes down to it, it's a group of three natural-born collaborators: John Paul Jones, the old studio ...
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| | Gavin Degraw Chariot Stripped CDs (2003) Bonus CD
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Triangulated somewhere between the passionate earnestness of David Gray, the polished post-Jeff Buckleyisms of Howie Day, and the Hootie-meets-Petty pop-rock of Pete Yorn, the photogenic young troubadour Gavin DeGraw (he's even got a great name) seems almost preternaturally destined for success on his seamless debut album. Expertly produced by Mark Endert, CHARIOT organically emphasizes the natural hookiness of the material rather than relying on crass production tricks to shove the songs down the public's throat. DeGraw's voice has just the right mix of ragged honesty, falsetto-tinged sweetness, and pure pop melodicism, and the mainstream singer-songwriter rock he turns out is a refreshingly gimmick-free commodity all too rare for its era.
After receiving strong notices from the New York press for his fiery club performances, Gavin DeGraw signed with J Records and issued Chariot, his debut, in July 2003. But while it had promise, Chariot also suffered from a lack of imagination in the production department. There was no denying the humanity and bawdy soul wrapped up in DeGraw's voice, so why was it stifled by unimaginative, mainstream-leaning production? It's unclear what exactly prompted it (perhaps the album's slow burn rise on the charts?), but a full year later DeGraw's Chariot was re-released. However, this time around, the original studio version was joined by a song-for-song acoustic reading of Chariot, and the rawer presentation is exactly what it needed. The basic setup of drums, bass, acoustic guitar, subtle harmonies, and the piano and untreated vocals of DeGraw kicks out the slickness that shriveled cuts like "Follow Through," "Belief," and "Meaning." Here, they're the leafy greenery of a solid band kicking it on a warm April night in New York City. The title track was already a standout, but in its new, understated guise, there's a comforting Ben Harper quality about it. And the brushed snare is a perfectly subtle touch. "Just Friends" gets a new, mildly funky arrangement, and the cynically funny hedonism jam "Chemical Party" -- "You're just too high to see ...
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At the core of the band are brothers Judah and Benjamin Kim who were born and raised outside philly. In 2003, Judah moved out to Los Angeles to pursue a career in Music Production and Engineering. After 6 months, Ben soon followed Judah out west and they formed Stone Thrown ...
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