| | T Rex Slider CD - Import T Rex Discography of CDs
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The 1997 reissue of THE SLIDER features 3 additional tracks that did not appear on the original release; "Cadillac," "Thunderwing" and "Lady."
Although 1971's ELECTRIC WARRIOR was the first album on which all the pieces finally came together for marc Bolan and T. Rex, the follow-up, THE SLIDER was Bolan's masterpiece. The album on which Bolan's characteristically inscrutable, hippy-dippy lyrics were perfectly balanced with crunchy glam-rock guitar riffs and great, whomping drum fills, THE SLIDER is a masterpiece of glam boogie. It spawned two of Bolan's biggest singles, "Metal Guru" and "Telegram Sam" (the latter of which just might be the best song Bolan ever wrote). The David Bowie tribute "Main Man" and the goofy rockabilly giggle "Baby Strange," as well as the more delicate title track, are all up to that level as well. This reissue includes three bonus tracks, the surprisingly worthwhile 1972 demos "Cadillac," "Thunderwing," and "Lady" that are formative glimpses at how wildly productive Marc Bolan was during this period of his career.
All tracks have been digitally remastered.
Recorded at Chateau D'Herouville, Paris, France and Rosenberg Studios, Copenhagen, Denmark. Includes liner notes by Mark Paytress.
Marc Bolan/T. Rex: Marc Bolan (vocals, guitar); Mickey Finn (vocals, percussion, congas) Steve Currie (bass); Bill Legend (drums).
Additional personnel: Howard Kaylan, Mark Volman (background vocals).Q (8/94, p.128) - 4 Stars - Excellent T Rex Slider Songs | 1. | Metal Guru  | |
| 2. | Mystic Lady | |
| 3. | Rock On | |
| 4. | Slider, The | |
| 5. | Baby Boomerang | |
| 6. | Spaceball Ricochet | |
| 7. | Buick Mackane | |
| 8. | Telegram Sam | |
| 9. | Rabbit Fighter | |
| 10. | Baby Strange | |
| 11. | Ballrooms Of Mars | |
| 12. | Chariot Choogle | |
| 13. | Main Man | |
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Purchase Slider CD To buy, Click on price to add to cart | Elliott Smith CD (1995)
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Oregon-based Elliot Smith was a long shot underdog for commercial success. A decidedly grim-natured whisperer, Smith is the antithesis of Oregon's celebrated grunge scene. He eschews fuzz-laden power chords and rhythmic sludge for stark acoustics and hushed intensity. The quiet force of this release is deceptively low key. ...
| | Elliott Smith Either/Or CD (1997)
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This singer/songwriter can say more with a whisper than most folks can with a scream. The gently insinuating despair of Smith's work communicates volumes about the heartbreak and alienation that is the bane of 20th century boys with too much time on their hands. Smith's day job fronting ...
| | Elliott Smith Xo CD (1998)
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The Cinderella-esque climb from lo-fi indie cult artist to Grammy nominee/major label darling must have been a perilous one for Smith, who makes the leap to the big time here after three well-regarded albums on small labels. He's lost none of his bite, though. The production values on XO may be slightly higher, but Smith's vision remains undiluted.
The production, centered around acoustic guitar augmented by keyboards and lush vocal harmonies, recalls pop icons like the Beach Boys (especially on the closing acapella cut), Beatles and Big Star, but this is no sunny Cali-pop album. Leavening the instrumental brightness are Smith's Nick Drake-ish whisper and his thoroughly downcast lyrics, which cast him squarely in the Mark Eitzel/Smog camp of unrelenting self-effacement and misery. The combination of Smith's internal angst and his melodic pop constructions makes for a compelling artistic tension.
Recorded at Sunset Sound, Sound Factory, Ocean Way, Sonora, Los Angeles, California; Jackpot!, Portland, Oregon.
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| | Elliott Smith Figure 8 CD (2000)
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On his first record since his Oscar nomination courtesy director Gus Van Zandt's use of his music in the film "Good Will Hunting," Elliott Smith returns with another album's worth of gorgeous misery. Like Nick Drake before him, Smith has the ability to conjure beautifully poignant pathos, wrapping it in an elaborately arranged package worthy of a George Martin or Brian Wilson. Working with Beck/Foo Fighters producer Rob Schnapf, Smith uses Abbey Road Studios for some of these sessions, dressing up his tortured lyrics with orchestral arrangements that avoid any hint of mawkishness.
Whether mourning a busted-up romance in "Everything Reminds Me Of Her," shying away from love on "In the Lost and Found (Honky Bach)," or burrowing into their own isolation with "Can't Make A Sound," Smith's angelic vocals and harmonies recall ...
| | Arcade Fire Funeral CD (2004)
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This Montreal ensemble's fiery debut is marked by surging guitars, soulful strings, driving drums, brilliant bass lines, and the quavering vocals of married couple Win Butler and Regine Chassagne. The group's song structures careen through a vast territory of musical and personal history, with lyrics warm with memories of childhood neighborhoods and deceased loved ones, resulting in an alternating current of joy and sadness.
Favorably compared to the Flaming Lips, Mercury Rev, and Broken Social Scene, the Arcade Fire's sound seems to come from a lifetime of listening to the Cure, Talking Heads, Elvis Costello, and many others--even a dose of soul gets worked into these grand anthems. Chassagne delivers some spellbinding vocals on "Haiti," while the tinkling piano and strings on "Crown of Love" conjure up a heartbroken surfside prom. In 2004, this made many critics' year-end lists, and it's no wonder--the songs on FUNERAL ...
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| | Toy Dolls One More Megabyte CD (1997)
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| | Love Spit Love CD (1994)
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Almost fifteen years after the Psychedelic Furs' hybrid of punk assault and melodic rhythms first hit the New Wave market, Richard Butler is back with a new band, Love Spit Love.
Those accustomed to Butler's rasping attacks on modern life will find Love Spit Love a natural extension of his musical vision. Really, Love Spit Love is only one step removed from the Furs. With brother Tim Butler still on bass, the main difference between the two bands is the emphasis on guitar. While in the Furs, Butler was forced to write songs exclusively with the bass; now with guitarist Richard Fortus, Butler's scope has broadened.
The difference in sound is significant. Moments on LOVE SPIT LOVE find the band sounding more like Camper Van Beethoven than their old, former selves. Opening with ...
| | Youngs CD (2004)
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"It's all downhill from here," calmly intones Eryn Young at the start of the Youngs' self-titled debut album, adding, "'cause we started at the top." Here, the husband-and-wife duo starts in a becalmed mood, but that mood does not last. In fact, no mood lasts for long in this eclectic and self-consciously arty set, which finds the Youngs as heavily influenced by the Carpenters as the Velvet Underground. Often, they mix those influences within a single song. For example, "Breakdown" begins with a spare arrangement based on electronic blips as the Youngs sing about travel, but, about a minute-and-a-half in, the song suddenly picks up speed, adds guitar tracks, and becomes a rock song, as if imitating the change from a local road to an interstate highway. Then, just as suddenly, it goes back to the loopy sound of the opening. This mix-and-match style is well expressed on the album's sole cover, the old Burt Bacharach/Hal David song "Walk on By" that was a hit for Dionne Warwick in 1964. The Youngs treat it the same way that Devo treated the Rolling Stones' "(I Can't Get No) Satisfaction" in 1978; they give it a staccato beat and sing as if it's being performed by robots. This is the key to their approach, to suggest melodic pop, and then mess with it. "Killing of the King," the lyric a romantic metaphor, finds Eryn Young sounding like Edie Brickell, while Timothy Young throws in an electric guitar soundscape that recalls Robert Fripp. This sweet-and-sour dichotomy makes for surprising and ear-catching ...
| | Sophie Koh All The Pretty Boys CD (2006) Import
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| | Willie Nelson Texas In My Soul CD (1968) Reissue
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It's no secret that Willie Nelson is a proud son of the Lone Star State, and on the album Texas in My Soul he performs 11 songs in praise of the state he calls home. One could imagine Nelson writing a fine set of songs about the legend and lore of Texas, but unfortunately that's not what listeners get here -- while Texas in My Soul was recorded in 1968, when Willie was still writing prolifically, this album is made up entirely of covers, and it was produced by Chet Atkins, who didn't seem to quite understand Nelson's laid-back vibe (though he seems to have given Nelson plenty of room to lay in his well-placed single-note guitar solos on this album). While a few of the songs here are real clunkers (the opening track, "Dallas," is especially dire), Nelson seems to be having fun with "Who Put All My Ex's in Texas" and "Texas in My Soul," while delivering "Waltz Across Texas" with commendable feeling, and though the musicians here aren't as simpatico as the core of players Nelson would tour ...
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