| | Gwar War Party CD Gwar Discography of CDs
 (4 Customer Reviews)
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
GWAR: Oderus Urungus (vocals); Balsac, The Jaws Of Death, Flattus Maximus (guitar); Beefcake the Mighty (bass guitar); Jizmak Da Gusha (drums).
When Gwar toured the United States in support of War Party in 2004, it was evident that thrash metal's most over-the-top parody band had no intention of becoming any less offensive; on-stage, they had a laugh at the expense of everyone from Lacey Peterson to Osama bin Laden to Ronald Reagan. Of course, anyone who actually bothers to be offended by Gwar misses the point -- they were always an exercise in satire, shock value and dark humor, and ultimately, their concerts and albums are goofy rather than genuinely disturbing. Some Gwar releases are stronger than others; at times, their studio recordings haven't been as memorable as their infamous live shows. But War Party is one of Gwar's more consistent efforts; in fact, it's almost in a class with 1990's excellent Scumdogs of the Universe. While this 2004 release doesn't break any new ground for the thrash veterans, Gwar's performances are consistently tight, focused and inspired; the songs are hooky, and the lyrics are clever (at least if you have a taste for sick, demented humor). Tunes like "Bring Back the Bomb," "You Can't Kill Terror" and "The Reaganator" are full of political references, but it would be a mistake to think of anything on this CD as serious political commentary -- Gwar's love of horror, sci-fi, gore and sleaze always keeps things tongue-in-cheek, and any references to political figures are strictly for entertainment value. Musically, Gwar hasn't become any less heavy, but for all its forcefulness, War Party is relatively melodic -- especially in comparison to all the ferocious, skull-crushing metalcore, death metal and black metal discs that came out in 2004. Longtime Gwar fans will be glad to know that while War Party doesn't reinvent the wheel, it is a respectable addition to their blood-soaked catalog. ~ Alex Henderson Gwar War Party Songs | 1. | Bring Back the Bomb |
| 2. | Krosstika |
| 3. | Womb With a View |
| 4. | Decay of Grandeur |
| 5. | War Party |
| 6. | Bonesnapper (The Faces of the Slain) |
| 7. | Lost God |
| 8. | Reaganator, The |
| 9. | Bonus Plan, The |
| 10. | You Can't Kill Terror |
| 11. | Fistful of Teeth |
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War Party Music Review Average Rating: (5 out of 5 stars)  Better and better.
Their last album, "Violence has Arrived" was amazing and I didn't think they were going to be able to top it but they did. This album combines the traditional humorous lyrics with more powerful music. Not so much relying on fast songs, this album flows well but just seems to be tighter and more powerful than the previous albums have ever been. Its going to be even harder next time to top this one.
Submitted by weaksauce (Hesperia, CA, USA) 
Was This Review Helpful? Yes No BEST GWAR ALBUM EVER
This is their best yet,some though ill of GWAR after carnival of chaos but this album makes up for it.The first half of this cd is death/thrash METAL.The 2 song on it sounds just like Megadeth but hevier,the seacond half isnt as strong but still f**king rocks!The song The bounus plan feels out of place because its more thrash/ punk/hardcore and has beefcake screaming in french, but still kicks a**.Afew cool songs are Bring back the bomb, womb with a veiw,krosstika,you cant kill terror. THIS CD RULES!!!!!!!!!!!
Submitted by Patrick R. (shawnee,ok,USA)
Was This Review Helpful? Yes No violence has remained !
the only bad thing about GWAR's new cd "WAR PARTY" is removing "VIOLENCE HAS ARRIVED"( their last release ) to listen to it. both albums rock harder than any other GWAR album , at the cost of some familiar humor ( but not all of it !)this album also steers much more political than the others , hence the title ... 5 stars + .
Submitted by sam (wallingford)
Was This Review Helpful? Yes No GWAR gone death metal
this is by far their HEAVIEST album ever. it's basically death metal with oderus on vocals. and of course with the wonderfully hilarious lyrics that make GWAR.
Submitted by david (surprise, az, usa)
Was This Review Helpful? Yes No | Have you heard this album? |  |
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| | Slipknot CD (1999)
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These nine Midwestern boys (all from Des Moines, IA) perform wearing orange industrial coveralls with UPC symbols on the front; each bandmember is identified by a number, which is painted on the sleeve of his coveralls. Each also wears a really nasty-looking mask. Judging from their appearance and from the sound of their debut album, it's easy to assume that they're upset about something. What it is exactly is kind of hard to tell, since the stuttering roar of Number 8's vocals is barely discernible through the jackhammer death metal drums, massed guitars, horror-show samples, and jittery turntable scratches that pummel the listener through almost every song. You thought Limp Bizkit was hard? They're the Osmonds. These guys are something else entirely. And it's pretty impressive. Although those lyrics that are discernible are not generally quotable on a family website, suffice it to say that the members of Slipknot are not impressed with their fathers, their hometown, or most anything else. "Surfacing" starts out by cursing pretty much everything generally, and then it starts getting ...
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Out-of-print in the US. Import version of their 1994 album. Warner.
Slayer: Tom Araya (vocals, bass); Kerry King, Jeff Hanneman (guitar); Paul Bostaph (drums).
Recorded at Oceanway, Los Angeles, California and Sound City, Van Nuys, California.
The rock & roll landscape changed dramatically between Seasons in the Abyss in 1990 and Divine Intervention in 1994. With the rise of alternative rock, many metal and hard rock bands that had been enormously successful at the dawn of the '90s were struggling by the middle of the decade. Instead of doing something calculated like emulating Nirvana or Pearl Jam -- or for that matter, ...
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| | Complete Motown Singles Vol. 11B-1971 CDs (2009) Box Set
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Audio Remasterer: Ellen Fitton.
Liner Note Author: Scott Regan.
The eleventh volume of Hip-O-Select's exhaustive survey of Motown's single releases is divided into two parts. This, the second in the series, is a mammoth five-CD set documenting Motown's output in the latter half of 1971, and captures the label as it made the transition from the Holland-Dozier-Holland masterminded pop opuses of the mid-`60s to a more progressive artist-directed aesthetic. This set includes remarkable solo releases from Motown heavy hitters like Eddie Kendricks, David Ruffin, Marvin Gaye, and Diana Ross. Gaye's landmark "Inner City Blues," from WHAT'S GOIN' ON, may be the set's most familiar number, but attentive listeners will find particular delight in the wealth of forgotten gems on display here, including outstanding numbers from acts like The Originals, Valerie Simpson, and the unjustly overlooked deep soul powerhouse Virgil Henry.
Picking up in July 1971, precisely where its predecessor left off, The Complete Motown Singles, Vol. 11B runs through the back half of 1971, collecting all the singles released on Motown and its subsidiaries during these six months. 1971 was the first year split in two by the archivists at Hip-O Select, a move that makes sense given the slowly expanding length of the singles and the sheer number of releases (not to mention alternate mixes) the label churned out in 12 months. This set runs 120 songs over the course of five discs, with its companion weighing in at 119 songs on six discs, and an 11-disc box set for a single year is simply too much to digest at once. Of course, having 1971 cleaved in two doesn't necessarily make it easier to digest, nor does it quite camouflage a year that was transitional at best and confused at worst. Much of this muddle is down to shifting times and fashions, as Marvin Gaye and Stevie Wonder moved toward risky album-based projects, but R&B was getting funkier outside of Motown, and the label had a few worthy attempts to follow the flow, even if they didn't go far on the charts. Motown also had some stabs at interesting esoteric, almost psychedelic, soul, such as Jack Hammer's "Colour Combination," a rarity that fits in well with all the hippie rock and ...
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