| | Flotsam & Jetsam Cuatro CD - Import Flotsam & Jetsam Discography of CDs
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Despite showing much promise early in their career, Arizona thrashers Flotsam & Jetsam were quickly crippled by a number of personnel shakeups and lack of record company support, and with the genre in swift decline in the early '90s the band had become just another thrash metal casualty treading creative water. Still, with songs like "The Message," "Secret Square," and "Cradle Me Now" replacing some of their "speed for speed's sake" mentality with actual hooks and novel guitar textures, their fourth effort, Cuatro, did show a small but noticeable improvement over the utterly unoriginal thrash recipe of its predecessor. Unfortunately, much of the remaining material finds the band either reverting to its bad habits ("Swatting at Flies") or embarking on failed experiments ("Forget About Heaven"), and the fact that Flotsam & Jetsam would rebound three years later with one of their best efforts in Drift was nothing short of amazing. ~ Eduardo Rivadavia
Most bands were satisfied with being popular in the underground scene, Flotsam and Jetsam decided to take a step further and record an album aimed for the mainstream. 'Cuatro', F&J's fourth full-length release, was precisely that album. The record proved that a thrash metal band can achieve success even on a bigger scale while still staying true to their roots. 'Cuatro' - the band's fourth full-length album, was released in October 1992. The production is top notch - 'Cuatro' is by far one of the best sounding thrash metal albums ever recorded. Producer Neil Kernon took a different, more straightforward approach resulting in a sharp, detailed sound, polished to perfection.
Recorded at Dodge City Sound, Glendale, California.
Flotsam & Jetsam: Eric A. Knutson (vocals); Edward Carlson, Michael Gilbert (guitar, background vocals); Jason Ward (bass, background vocals); Kelly David Smith (drums, background vocals).
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Cuatro Review
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Purchase Cuatro CD To buy, Click on price to add to cart | George Harrison Cloud Nine CD (1987) Bonus Tracks; Remastered
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After a five-year hiatus from recording, during which time he worked with his film production company, George Harrision returned to the studio in 1987 and cut the Jeff Lynne-produced CLOUD NINE. Harrison and Lynne made for a perfect match, as this album proved to be a comeback for the reclusive ex-Beatle. Joined by an all-star band that included Eric Clapton, Elton John, and Ringo Starr, Harrison put together a collection that includes sitar-tinged reminiscences of his former musical life ("When We Were Fab"), slinky psychedelia (the ...
| | The Eye DVD (2003)
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| | Flotsam & Jetsam Doomsday For The Deceiver (20th Anniversary Edition) CDs (1986) With DVD; 20th Anniversary Edition
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| | Flotsam & Jetsam Drift CD (1995) (Import) Bonus Tracks; Remastered; Poland
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From a technician's standpoint, DRIFT is among Flotsam & Jetsam's finest work, bridging the gap between progressive rock and backstreet thrash. Flotsam & Jetsam has always been a band that defies trends. DRIFT is more visceral than Queensr˙che, more clear-cut than Dream Theater, and fiercer than Fates Warning. Where CUATRO, the band's ...
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| | Kelly Joe Phelps Western Bell CD (2009)
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Guitarist and songwriter Kelly Joe Phelps has always traveled an iconoclastic, enigmatic path. Since the release of his debut album, Lead Me On in 1995 on the tiny Burnside imprint, through his amazing Rykodisc recordings from the late part of that decade and the middle of the first part of this century, he's wound his way through covers and his own songs with a particular sense of place and rough-hewn elegance. Western Bell is Phelps' first record since 2006, issued on the Vancouver indie Black Hen Music.
Norman & Nancy Blake once released an album with their Rising Fawn String Ensemble called Original Underground Music from the Mysterious South, comprised of folk songs, Civil War era reels, and dance tunes that felt utterly out of time and space because they were so basic and unadorned, so completely uncluttered by anything but a direct attempt to play this music as the seemingly forgotten and alien construct it was in the early 1980s. Phelps' album, it can be paraphrased, is "original underground music from the mysterious (North)west." Just as Loren MazzaCane Connors mutated his love of the Delta blues into an avant-guarde hybrid all his own -- often barely recognizable as blues but clearly based in it -- Phelps has, on Western Bell, offered listeners a complete synthesis of his musical vision as a guitarist. This is a completely instrumental collection of original tunes played on acoustic six- and 12-string guitars, lap slide guitar, and bells. Musically, Phelps combines his love of Piedmont style picking, early 20th century Texas, Louisiana, and deep Delta blues with his love of decidedly Western notions of folk song and Rocky Mountain mountain music. Even this description is poor. The reason is that Phelps infuses his own music with such comfort, space, and gentleness in his playing that what comes out is his own inviting but subjective history of blues as it has evolved in his spirit. Some of these songs are hummable, such as the opening title track, a waltz with some odd bits of slightly dissonant harmonics tossed in near the end that add dimension. "Blowing Dust 40 Miles" is skeletal, with slide and fingerpicking styles varying and moving through and against one another, trying to hesitantly and somewhat tensely decide if there is a song in the improvisation, all the while pulling the listener deeper into the ghostliness of the music itself. "Hometown with Melody," played on a 12-string, sounds ...
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