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While the Modernettes' agressive but limited take on the Ramones-meet-the Velvets doesn't quite stand the test of time, the 20-track Get It Straight does contain several important period milestones, including the boppy "Barbra" and the more mature "Red Nails." ~ Roch Parisien
Audio Mixer: Ron Obvious.
Audio Remixers: Craig Waddell; Grant McDonagh.
The Modernettes: John Armstrong (vocals); Mary Jo Kopechne (bass guitar); Jughead (drums); Art Bergmann.
Personnel: Buck Cherry (vocals, guitar); Art Bergmann (guitar).
Modernettes Get It Straight Songs Get It Straight Review
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Purchase Get It Straight CD To buy, Click on price to add to cart | Mink Deville Cabretta/Return To Magenta CD (1997) (Import) Australia
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| | Pointed Sticks Perfect Youth CD (1980) (Import) Canada
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The Pointed Sticks' one studio album is one of those pleasures that is utterly of its time as well as lasting beyond it -- not a bad legacy at all, considering the ups and downs the band went through to finally record it. To be fair, the giddy power pop style the quintet specialized in was fairly crowded and in ways Perfect Youth is less distinct ...
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Although Vancouver's scene in the late '70s and early '80s was dominated by first-wave hardcore acts like D.O.A. and ...
| | Desperate Man Blues Discovering The Roots Desperate Man Blues: Discovering The Roots Of American Music CD (2006)
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In conjunction with the 2006 DVD documentary of record collector Joe Bussard, Dust-to-Digital released this companion CD, featuring 19 tracks in some of the kind of styles -- rural blues, jazz, and old-timey country music, mostly from the '20s and '30s -- that Bussard loves. Desperate Man Blues: Discovering the Roots of American Music isn't exactly a soundtrack to the documentary, since these records are not featured in their entirety in that film. Rather, it's a survey of some of the highlights of the music in which Bussard specializes, the liner notes featuring track-by-track annotation by Bussard himself. It's an excellent mixture of classics by some of the most esteemed early country and blues giants and the kind ...
| | Peter Murphy Love Hysteria CD (1988)
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Having assembled, for touring purposes, what ...
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| | Leo Sayer Just A Boy CD (1974) Import
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Leo Sayer's JUST A BOY contains the songs "Telepath," "Train," and "Another Time," among others.
The British reissie adds bonus tracks and an interview with the artist.
Before Richard Perry took Leo Sayer to the top of the charts in 1976 and 1977, his former bandmate and sometimes songwriting partner David Courtney provided all the music to Sayer's lyrics here and co-produced with manager Adam Faith 1974's Just a Boy album, featuring the Top Ten 1975 hit "Long Tall Glasses (I Can Dance)." Leo Sayer had a geeky appearance on this album cover, as well as on the Endless Flight and Here albums, though he got trendy during the disco of Thunder in My Heart. Just a Boy lacks the gloss and sophistication of the later releases, including the Courtney-produced Here in 1979, but a break-up song like "When I Came Home This Morning" has naïve charm and shows the potential. The underproduction actually adds to the aura of the singer/songwriter persona, and one can see why Three Dog Night chose "The Show Must Go On" from his Silverbird disc, hitting a year before "Long Tall Glasses" from this fine effort. "One Man Band" is not the same composition as Three Dog Night's 1970s hit, but it rocks, two sets of musicians providing the accompaniment, with different personalities coming in to add their flavors, like Keith Nelson's banjo on "Long Tall Glasses" which supplements Paul Keogh's slide guitarwork. "Another Time" features songwriter/co-producer Courtney on piano, as does "Giving It All Away" and "Telepath." Sayer's vocals also have a warmth and intensity that don't reflect the image he portrays in the smiling/laughing Terry O'Neill back cover photos, or Humphrey Butler-Bowden's interesting cover painting. With all his own success on the charts, interaction with other stars, and visibility as a hit songwriter for others, it is interesting that some of the fine work here wasn't picked up by more of the '70s artists who were in need of hits. ...
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Picking up where 2004's Never Breathe What You Can't See left off, Jello and the boys return with the same formulas and dynamics ...
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For their farewell to the Fat Possum label, Black Keys released ...
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