| | Sahara Hotnights Kiss & Tell CD - Import Sahara Hotnights Discography of CDs
Tracks off this rockin' follow-up to their critical smash JENNIE BOMB include "Who Do You Dance For" and "Hot Night Crash." Japanese pressing of the Swedish all-female rock act's third album includes two bonus tracks, 'Model A' & 'The ... Full DescriptionDogs Don't Want You'. RCA. 2004.
The Japanese import includes two bonus tracks.Rolling Stone (p.120) - 3 stars out of 5 - "[F]rontwoman Maria Andersson's imperious Nordic accent makes her wild-child desires sound like delicious orders."
Spin (p.110) - "[With] tight, upbeat pop-punk songs reminiscent of early Elastica and late Donnas." - Grade: B-
CMJ (p.47) - "KISS & TELL is larger and poppier than previous recordings, but this doesn't stop the Hotnights from realizing their pushy and brazen desire to break your heart and rock your world."
Mojo (Publisher) (p.99) - 3 stars out of 5 - "[S]uperbly polished and instrumentally powerful..." Hide Description Kiss & Tell Music | List Price | $39.99 (You save $1.90) | | Category | Rock/Pop Albums, Rock CDs, Punk | | Label | RCA | | Orig Year | 2004 | | All Time Sales Rank |  443607  | | CD Universe Part number | 6758813 | | Catalog number | 21387 | | Discs | 1 | | Release Date | Sep 28, 2004 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Additional Info | Bonus Track; Japan |
Kiss & Tell Review
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Studio rehearsal tracks recorded at Ultra-Sonic Studios, Hempstead, New York in March 1974. Live tracks recorded at the Overton Park Shell, Memphis, Tennessee in May 1974.
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Bourbon Street. A narrow street thronged with visitors from 'round the world in search of the jazz for which New Orleans is justly famous. The strains of Dixieland spill from countless competing clubs, creating a sort of clarinet-and-coronet cacophony. Yet, right in the heart of the old French Quarter, you can hear music of a different sort. Peer through the open doors of Ryan's Irish Pub, and you will see an audience joining in with the performers, hoisiting pint jars of lager and brown stout, clapping and singing, and generally roaring its approval. For the young men on stage are Ireland's premier balladeers, The Celtic Folk. As you listen, you begin to understand why they draw the largest crowds on this world-renowned street. Although many will remember these musicians from their North American concert tours (and, indeed, for their quiet refusal to sacrifice the integrity of the Irish folk tradition on the concert circuit) this remarkable folk band has nontheless never forgotten why people go to the pub. With a whimsical, rollicking good humor that shows that they are well aware of Bourbon Street's distance from the concert stage, the lads effortlessly bewitch the crowd into raising the roof. As they swing into such as 'The Wild Colonial Boy' or 'Saturday Night in Dublin Town', the audience - including many sober as a priest on Good Friday - joins in with an enthusiasm that is the unabashed pub equivalent of singing in the shower. Ironically, there are self-styled Irish 'purists' that frown on such interaction with the hoi polloi, holding that the only Real Traditional Music is that from the Gaelic West, and that it is the best appreciated in the rarefield quiet of the concert hall. It is well to remind such begrudgers (or 'Folk Nazis', as they are called by the great Limerick musician Mick Maloney) that pub singing is a living tradition, as old and authentic as the Irish public house itself; particularly, in the O'Flahertys' Gaelic-speaking Connemara where, incidentally, there are no concert halls. When not headlining concerts of Irish festivals, The Celtic Folk have used New Orleans as their American headquarters since early 1984. Their appreciative, ever-changing ...
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