Signal Home Fragile Constitutional CD

Fragile Constitutional Music

List Price	$12.98 (You save $3.19)
Category	Rock/Pop Albums, Rock CDs
Label	Victory
Orig Year	2006
All Time Sales Rank	581446
CD Universe Part number	7255380
Catalog number	4
Discs	1
Release Date	Aug 22, 2006
Studio/Live	Studio
Mono/Stereo	Stereo

Signal Home Fragile Constitutional Songs

	1.	Fragile Constitutional, A
	2.	Two to Romance (A Story to Guide Your Home)
	3.	History of Choices/ What We've Become, A
	4.	Churches, The
	5.	Rings and Fields
	6.	It's Time to Let a Good Thing Finally Last
	7.	Nail Your Colors to the Mast
	8.	Voice to Call Our Own, A
	9.	Halo For Horns
	10.	Red Auxillary Numbers
	11.	Seaside
	12.	Sing Me Sincerity

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GARAGEDOGSGarageDog RecordsWithdrawl 12 songsIn 1997, Mobile, Alabama's GarageDogs clawed their way up the east coast to settle in Boston. Four years, three albums (Record, Andy Davus, and The Evils), and God only knows how many live shows later, they packed bags again---this time they headed to Los Angeles where they stuck around for another 4 years and released an EP (Homework of the Dogeaters) and a live album (Band In Boston). Now Bill, Paul, and Matt Hough find themselves back in Boston with a new CD that tells the story of their travels. This is a punk band in the 1978 Lower East Side sense of the word. There is no pop-punk or post-punk or pub-punk here. GarageDogs are a throwback to pure, unapologetic p - u - n - k, punk! Withdrawl kicks off with "The Dumb Boy Shrugs," a kick-ya-in-the-gut rocker about feeling old and moving to LA to become a famous musician, only to realize that no one cares about you in LA if you aren't already famous. The album starts off on a brutally sincere note and it builds on that theme throughout. One of the last songs is called "Come On." It's a country-fried punk-croon that harkens back to the Hough's Mobile days of hard working and hard drinking. If you play in a punk band, you are going to be jealous of this album. GarageDogs are the best thing in Boston's punk scene right now. (Jeff May)--the Noise 2005-------------garageDogs - WithdrawlEngineered by Rob Ignazio at Porter Square Studio, Somerville, MAMixed by Paul Q. Kolderie at Camp Street StudiosMastered by Dave Locke at JP Masters, Seattle, WA The greasy hammer of the Garagedogs' sound on Withdrawl starts swinging on the first track and does not cease until the end of the album. Much like an actual garage, the 'Dogs are full of grease and have a hard concrete floor to their sound, but that doesn't mean they're not any fun. In truth, each ragged rock song on Withdrawl sounds like an exuberant fist pumped into the air coupled with slight beer spillage on the other side. The three brothers Hough make up the Garage Dogs, and Thanksgiving sure must be interesting at their homestead. Simply crack open the CD case and you're greeted by the 'Dogs; two who are wearing feather boas. Not that anyone would make fun of them, because at least two of three look like they could easily kick some ass, and those two are the ones in the boas. In musical terms, all three 'Dogs kick ass musically, but their truest strength lies in their lyrical intelligence: it's actually worth listening to the words and not just the singing. The Garagedogs are not just the fist pumping rock machismo displayed in songs like "Sucker" - they show off their thoughtful side on Withdrawl as well. Many of these songs are slower, somewhat depressed-and-enervating pieces. "Michaelangelo" asks the question "what's the point of contribution if it's misunderstood?" in an introspective piece on the merits of trying/not trying. "World of Shit" is an ironic song in which the band promises to someday "leave out the dirty words" so that their parents can fully enjoy the brothers' sound. This song is the antithesis to Mott the Hoople's "Saturday Gigs," recounting stories of the places they've been in relation ...

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Recorded in Memphis during the late 1960s, HOME SWEET HOME is a wonderfully off-the-cuff example of the seemingly endless stream of musical creativity and strange brilliance that Memphis has to offer. Originally released in 1970 on Stax, though having few similarities with the sound and style that made that label famous, HOME SWEET HOME is studio whiz/hepcat Terry Manning's unique musical gumbo of blues, '60s psychedelia, R&B, and frat rock. Manning did nearly all the recording and playing himself (although he does get some help from a few friends, including Big Star's Chris Bell in what is believed to be Bell's first appearance on tape) over a two-year period at the famed Ardent studios. A strange album if there ever was one (check out the 10-minute-plus opening cover of George Harrison's "Savoy Truffle"), HOME SWEET HOME is by record folks for record folks: instead of listening to them at 3:00 a.m. with a bunch of friends, imagine making one. Terry Manning's 1970 solo album, Home Sweet Home, started off as something of a joke when he recorded a deliberately over the top psychedelic version of the Box Tops' "Choo Choo Train." When Stax Records asked for a whole album of such material, Home Sweet Home was the result. Like "Choo Choo Train" (included on the final LP), the album as a whole was over the top psychedelia, and indeed over the top mimicking of several manners of late-'60s trendy excess in hard rock, blues-rock, and soul music. There's a tongue firmly planted in its cheek, however, which keeps it from being as tough an exercise to sit through as the records it was poking fun at -- though only just. Whether it's a ten-minute version of the Beatles' "Savoy Truffle" (with early Moog effects), loving Manning-penned homages/satires of Jerry Lee Lewis ("Wild Wild Rocker") and late-'60s dance-soul ("Trashy Dog"), or knowingly slightly hysterical covers of old blues tunes ("I Ain't Got You") and, again, the Beatles ("I Wanna Be Your Man"), he plows his way through the tracks with the fervid energy of a man who can't decide whether he's pulling off an inside joke or onto a work of genius. As is so often the case with these kind of projects, however, it's much more an inside joke than it is a work of genius. That's not to say it isn't amusing, and it does hold some interest for serious Big Star fans for marking the first proper studio appearances by guitarist Chris Bell. Like many somewhat silly, ...

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