| | Doors Morrison Hotel CD - Import Doors Discography of CDs
Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve. 2007. Morrison Hotel Review
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Purchase Morrison Hotel CD To buy, Click on price to add to cart | Doors The Soft Parade CD (2007) (Import)
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 $38.09
| | Doors La Woman CD (2007) (Import) Bonus Tracks; Japan; Mini LP Sleeve
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| | America CD (2007) (Import) Japan; Mini LP Sleeve
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| | Gun Club Miami CD (1982)
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| | Doors CD (2007) (Import)
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| | Doors Waiting For The Sun (Mini LP Sleeve) CD (2007) (Import)
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| | Ray Wylie Hubbard Growl CD (2003)
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Anybody who has followed the development of Ray Wylie Hubbard as an artist over the last dozen years or so has had to be keenly aware that he's been moving through changes in lyric style, melodic invention, and production styles. He's also been on a spiritual odyssey in his music that culminated on the excellent Eternal & Lowdown. Growl is a record of an awareness gained; it is expressed in the most basic, elemental physical and emotional truths (from humor to doubt to surrender to anger at hypocrisy) in these songs. The truth expressed on Growl -- the most aptly named of all Hubbard's recordings -- is in a dirty-hands, mud-romping, greasy, rock & roll inbred with Delta blues. This is music comprised of exposed innards, cutting honesty, scab-ripping emotion, and pure, badass Texas attitude. Produced by Gurf Morlix -- he also minded the store on Eternal & Lowdown -- the band is basically Hubbard (on lead -- a first -- and slide guitars), Morlix (on bass and lead guitars), and Rick Richards (drums), with guests including Mary Gauthier, Scrappy Judd, Buddy Miller, and Jon Dee Graham. And it should be noted that Hubbard has become a heck of a guitar player in the last six years. There isn't a weak cut on the set, all of it drenched in the midnight smoke and grit of the blues as it couples with early rock & roll under a blood-red moon. The set opens with "Knives of Spain," which features a killer guitar part by Miller. It's a songwriter's spiritual, full of "ifs" that have already come to pass for Hubbard, which is why he can write from the craggy fissure in the center of the song's truth: "If I had some poet's wings/I would fly to New Orleans/I'd rhyme my trials and misdeeds/So if you cut the words they would bleed/And in the night when I'm all alone/And the sadness goes to the bone/I'd make the words in the refrain/As lethal as the knives of Spain." As he continues, and the band turns up the volume, bringing the tension to the breaking point, it becomes evident that all of this has already come to pass in Hubbard. His haunted voice speaks that this is the other side of the desert of revelation: it's not bliss, not rapture, but a sincere, if bloodied, gratitude and the desire to always tell a truth so mucky and messy it cuts to the bone. One could write an entire essay on this song alone, or stop here, taking it in over and over, deep within oneself, and never get to the bottom of its mystery. But Hubbard's not done; he revisits the past on "No Lie," a paean to giving up the wasted life and becoming immersed in the roots of his inspiration. Growl is not only about bad luck, hard-won wisdom, and knowledge, though. "Name Droppin'" is one of the lightest-weight tunes Hubbard's ever written, but its groove is eternal, it's backbone-slipping, humpin'-on-the-box-springs, sweating blues in raw-rock overdrive. Guitars and fiddles undulate against the rhythm section in a sinful, copulating embrace that feels so good it's a miracle it's still legal. "Purgatory Road" is a blues
Recorded at Rootball Studio, Austin, Texas.
Personnel: Ray Wylie Hubbard (vocals, acoustic guitar, electric guitar, resonator guitar); Gurf Morlix (vocals, acoustic guitar, electric guitar, 12-string guitar, slide guitar, mandocello, tambourine, hand claps); Jud Newcomb (vocals, electric guitar); Jon Dee Graham (vocals, lap ...
| | Ariel Rot Siento Frank & Acustico CD (2005) (Import)
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| | Lazy J Still On Fire CD (2006)
Morrison Hotel album
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| | Allman Brothers Band Beginnings CD (2007) (Import) Japan; Box Set; Mini LP Sleeve; Special Edition
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| | Rumour Max CD (1977) (Import) Reissue; United Kingdom
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On their debut, the Rumour play laid-back pub rock in a style (predictably) not too dissimilar from their work with Graham Parker, though it is looser and more in the style of later Brinsley Schwarz. Max is probably most noteworthy for the clear high point, the band's cover of Nick Lowe's "Mess with Love" (a song he wouldn't get around to recording himself until 1982's Abominable Showman), although the album is packed with some terrific music. ~ Chris Woodstra
When The Rumour formed in 1975, they were looked on as a type of 'Pub Rock Supergroup'. Though perhaps best remembered as the backing band for Graham Parker during his ...
| | 50 Foot Wave Golden Ocean CD (2007) (Import)
Morrison Hotel songs
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| | Masahiko Togashi Sosyo CD (2007) (Import)
$39.39 | | Rocknrolla CD (2008) Original Soundtrack
Morrison Hotel album
$10.59 
It was only a matter of time before Guy Ritchie got around to actually setting one of his rock & roll gangster films in the world of rock & roll, and so we have Rock N Rolla, where it seems like Pete Doherty and Ari Gold have been dropped into the set of Snatch -- and the only way to date the picture is through its music, as Oasis has been swapped out for the Subways, which can either be read as a savvy update or a general indication of the degeneration of Ritchie and Brit-rock in general, turning from something that aspired to greatness and now settles for formula. Of course, formula can be both comforting and entertaining, and so it is with Rock N Rolla, which does provide some pleasing diversions, particularly when it settles into an old-school punk rock groove, touching on the Clash in full-on reggae mode with the wonderful "Bank Robber" and the English Beat's "Mirror in the Bathroom," or digging through the crates to pull out such relative obscurities as Wanda Jackson's "Funnel of Love," Kim Fowley's "The Trip," or the Sonics' "Have Love Will Travel" (although the latter reads a bit like the filmmakers couldn't get licensing for the Black Keys' recent cover of this garage classic). Some of the contemporary stuff plays pretty well too -- especially the Hives' "Stomp," which builds upon the old-time rock & roll vibe of the rest of the record -- but there is a good dose of by-the-numbers affectedness, which may only be appropriate because that's Ritchie's Achilles heel. That affectedness -- which also surfaces on the dialogue clips peppered throughout the soundtrack -- keeps Rock N Rolla from being full-blast fun, but if it's cherry-picked ...
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