| | Dirty Sweet ...Of Monarchs And Beggars CD Dirty Sweet Discography of CDs
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Those in the know will recognize the provenance of Dirty Sweet's name immediately; don't panic, the sound of ...Of Monarchs and Beggars makes it immediately clear that they named themselves after T. Rex's original "Bang a Gong (Get It On)," not the Power Station's tepid '80s remake. Dirty Sweet is not a glam pastiche -- check out the hair-and-stache combos and boogie-dude threads in the band photos for proof of that -- but their take on '70s cock rock has a more than a hint of Marc Bolan's rubbery fusion of sex and mysticism. And while there's more than a little play-acting on display on ...Of Monarchs and Beggars -- Stillwater, the band from Cameron Crowe's Almost Famous, comes to mind on several tracks, especially the lighters-in-the-air epic "Long Line Down" -- the listener never gets the sense that the band thinks they're slumming. (Unlike, say, Jet.) ...Of Monarchs and Beggars is the work of a bunch of young musicians who appreciate the Allman Brothers Band and Led Zeppelin alongside Death Cab for Cutie, and it's a highly enjoyable listen for anyone with a tolerance for the long version of "Free Bird." ~ Stewart Mason
Audio Mixer: Michael Vail Blum.
Recording information: Blue Roof Studios.
Photographer: Rich Cook.
Dirty Sweet: Ryan Koontz (vocals); Mark Murino (guitar); Nathan Beale (guitars); Shaun Cornell (bass instrument); Chris Mendez-Vanacare (drums).
Personnel: Nathan Beale (vocals, guitar); Shaun Cornell (vocals, keyboards); Luisa Corredor (background vocals).
...Of Monarchs And Beggars Music | Category | Rock/Pop Albums, Rock CDs, Punk | | Label | Seedling | | Orig Year | 2007 | | All Time Sales Rank |  111674  | | CD Universe Part number | 7412890 | | Catalog number | 5 | | Discs | 1 | | Release Date | May 15, 2007 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Dirty Sweet | | Engineer | Shaun Cornell; Shaun Cornell | | Recording Time | 41 minutes | | Additional Info | Digipak |
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Decca Records presents THE GIRL'S SCENE featuring the best hits from female vocalists from the 1960s including "Save the Last Dance For Me" and "Soldier Boy."
This installment in Decca Records archival Scene-related CDs explores the sizable contributions of the fairer sex to pop music during the 1960s. While these ladies may have made a significant impact in their native U.K., the vast majority remained virtual unknowns on other shores. The Girls' Scene (2000) contains over two-dozen cuts, representing some of the best female vocal groups of the era. Much like their Stateside colleagues, songs were often derived from veteran contemporary composers. This collection offers up distinguished reworkings from performers whose names might not be instantly recognizable, although the melodies should be. The Motown-sound is represented by "Two Lovers" from Louise Cordet, as well as Beryl Marsden's spot-on reading of "When the Lovelight Starts Shining Thru' His Eyes." The Brill Building pop scene spawned the Gerry Goffin/Carole King compositions "The Boy From Chelsea" -- sung here by Truly Smith -- an inspired take of "Hey Boy" by Barry St. John, and along with Phil Spector, Marianne Faithfull's "Is This What I Get For Loving You?" Faithfull is one of the more prominent figures to have emerged from Andrew Loog Oldham's notable stable of talent. In many ways, Oldham was the English equivalent to Spector, as both were multi-talented moguls who were best known for their work behind the scenes with others. From his coterie are Adrienne Poster and Vashti -- each respectively ...
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The 2002 Remastered version of I, ASSASSIN includes seven bonus tracks, original and expanded artwork, a 20 page booklet and extensive sleeve notes and lyrics.
After the spare and lengthy reflections and dislocated experiments of his excellent Dance album, Gary Numan made a return to a more focused approach with I, Assassin, which turned out to be his last truly great album for many years. Much of what would characterize his later music in the '80s did start to show up here, to be sure, but instead of the formless flailing all too apparent on Warriors, and especially on Berserker, Numan's work here with modern electronic funk combines his early rigor and to-the-point rhythms with a deft, creative hand in the arrangements. "White Boys and Heroes," the brilliant opening number, remains one of his best singles, featuring fretless bass work from Pino Palladino (long before both it and him had turned into rent-a-clichés), and set against droning, distorted vocals and doom-laden keyboards. The vaguely Asian (or at least the group Japan)-inspired textures of Dance linger on in songs like "A Dream of Siam" and the title track (the latter possessing a captivating hollow-drum-punch introduction), while one of Numan's most randomly entertaining songs pops up with "The 1930s Rust." It's a suave finger-snapping number that even features harmonica, but somehow Numan's ear for to-the-point rhythm and strange futurism still comes through. Perhaps the most underrated song remains the sharp hipshaker "War Songs" -- U2 may ...
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