Max "Romeo" Smith came into the world on November 22, 1947, in St. D'Acre, Jamaica. Romeo's early work with The Emotions gave no indication of the salacious and political directions his music would take later in his career. And after the shock value of songs such as "Wet Dream" and "Pussy Watch Man" wore off, the singer established a reputation for being one of the most influential artists in the roots scene. Hooking up with producer Lee "Scratch" Perry and the studio collective loosely known as the Upsetters proved to be a wise move for Romeo. Perry's swampy production sounds complemented Romeo's vocals perfectly. In the early 1970s, Romeo got involved with the socialist PNP party, which opposed the conservative JLP party, which had run the country since independence from Britain in the Sixties. Much of the reggae music produced at the time, particularly songs with lyrics that made reference to the biblical Old Testament, was political code to rally the Rastafarians' socialist troops. Fast forward a few years, during which the two political parties have had a variety of violent spats and the PNP's power is consolidated in a second electoral victory. During this era, the Romeo-Perry team issued a variety of singles with potent political undertones, such as "Sipple Out Deh," and "Three Blind Mice." At this juncture Romeo came to the attention of Island Records, who dropped a remixed version of "Sipple" into the marketplace as "War in a Babylon." The single had as massive an impact in Britain as it had in Jamaica, reverberating across two island nations experiencing economic and political turbulence. The album War Ina Babylon marked the zenith of the Perry-Romeo relationship, as well as being a career-marking record for both elements of the team. Unfortunately, the duo had an artistic parting of the ways following the album's release, which absolutely had a detrimental impact on Romeo's career thereafter.

5

Max Romeo & the Upsetters - War Ina Babylon [1976]

Normally I am not a fan of live albums. The quality can be very questionable, there usually isn't any new material, sometimes labels just release them to cash in on the artist, etc. However I saw a commercial for this CD that looked pretty promising, and after I saw the setlist, I just couldn't resist. Zombie live features a vast array of material from the White Zombie, and the Rob Zombie era as well. Naturally it includes all the classics like "Dragula", "More Human than Human", "Never Gonna Stop", which are essentials. It also includes a number of tracks that weren't hit singles for the hardcore fan's enjoyment such as "Demon Speeding" and "House of 1000 Corpses". The band sounds great featuring John 5 on guitar, Piggy D on bass, and Tommy Clufetos on the drums. They really execute the songs with the intensity that they were meant to have. The producton is as clean as you could ask for for a live album, courtesy of Scott Humphrey, which is definietly something to consider when buying any live recording. What else can I say, it's a very inclusive set put on by a tight band, and it sounds great! This will please old school fans, and it could serve as a great place to start for newcomers as it includes all the essential tunes. All in all I would recommend Zombie Live.

4

Rob Zombie - Zombie Live [2007]

Neil Young was unplugged before the MTV show become a phenomenon, so it was only natural that he make an appearance on the show. As usual, Mr. Young mixes up his set, playing new songs like "From Hank To Hendrix" and the sweet "Harvest Moon" to old chestnuts like the Buffalo Springfield's "Mr. Soul" and "The Old Laughing Lady" from his first solo album. While many of the songs like "The Needle & The Damage Done" & the brilliant "Pocahontas" were acoustic to begin with, there are songs that go under some radical transformations. "Like A Hurricane" was a fuzz guitar heavy, sonic blast, but here it is propelled by only Mr. Young's voice and an eerie pump organ. The results are outstanding. "Transformer Man" is from his electronic album, Trans, and the vocals were distorted by a vocoder. In it's acoustic form, it takes on a weird perspective with its futuristic lyrics. "Helpless" is absolutely gorgeous with lush harmonies led by old Crazy Horse member and current E Streeter, Nils Lofgren. Unplugged is one of the better album taken from the show and shows Neil Young's chameleon like ability to transform songs into different styles.

4.5

Neil Young - Unplugged [1993]

Fans of the legendary King Crimson should be thankful that co-founder and mainstay Robert Fripp has such an obsessive pattern of archiving the Crims' various live performances. This late 1973 gig at the Concertgebouw in Amsterdam features the most hailed Crimson line-up of Fripp (guitars), John Wetton (bass/vocals), David Cross (violins, etc) and Bill Bruford (percussion), in a furry of musical bliss from the frightening to the beautiful, from the ominous textures to the shadowy lines, from the words of anger to the words of mourning. "The Night Watch" is, simply put, one of the greatest rock concerts ever caught on tape. Today, live albums have become stop-gap releases more than ever, available mostly through TV offers, with a tacky keychain or poster thrown in. And unfortunately, since this performance was released over twenty years after it happened, it will probably only be seen by many as a nostalgia release. But we know better. King Crimson blew fans away with their studio albums, but as a live entity they were an unmovable mountain. Despite all its mind-boggling complexity (and Fripp's own criticism, evident in his extensive liner notes), this band invaded whatever venue they were scheduled and produced a sound that could fill a stadium yet still possess enough grace to fit in a concert hall. Selections such as 'Easy Money,' 'Lament,' and '21st Century Schizoid Man,' would have made a stadium audience stamp their feet and hold lighters high in the air, while 'The Night Watch,' 'Trio,' and 'Fracture' mesmerized those in the more intimate venues. If you only buy one live album by King Crimson (there are many), "The Night Watch" is perfect. Around 26 minutes of these exact recordings were supposedly used for the "Starless and Bible Black" album (after overdubbs and studio polishing), but nonetheless, "The Night Watch" is a moving piece of history from these musical heroes.

4.5

King Crimson - Night Watch [1998]

"One Night Only" is a good a masterpiece of live recording as 1977's "Here At Last...Bee Gees...Live" was. All the great songs are here, plus a few odd album cuts that truly make this set shine. Highlights include, "Grease" with a thunderous crowd roaring approval; "(Our Love) Don't Throw It All Away', a true tearjerker with prerecorded Andy Gibb singing with his brothers and "Immortality", with a wonderful Celine Dion backed by the brothers. The CD is crisp, clean and clear. It is amazing to hear such fantastic producers who's studio recordings sound the same in concert. This is a classic CD!

4.5

Bee Gees - One Night Only [1998]

Chicory Tip was a British pop group from Maidstone, Kent, comprising; vocalist Peter Hewson (born 1 September 1950, in Gillingham), guitarist Rick Foster, bass guitarist (born Richard Foster, in 1946) Barry Mayger (born 1 June 1946, in Maidstone), drummer Brian Shearer (born 4 May 1951, in Lewisham, South East London) and lead guitarist, keyboard player Rod Cloutt (born Roderick Cloutt, 26 January 1949, in Gillingham). The band formed in 1967, their name having been chosen by Peter Hewson who saw a coffee bottle that reminded him of chicory and they were signed to CBS Records. The first few singles flopped, although "Excuse Me Baby" in 1971 secured the band its first appearance on the BBC Television pop music programme, Top of the Pops. The group's finest moment came after studio manager Roger Easterby came across an advance copy of "Son of my Father", a song written by Giorgio Moroder and Pete Bellotte. Convinced of its potential, he secured the option to rush record the group's own cover version in competition with the original. The result was a Number One hit in the UK Singles Chart for three weeks in February 1972. it was one of the first hit singles prominently to feature a Moog synthesizer (in this case played by studio engineer and record producer, Chris Thomas). Two further Top 20 hits in similar vein followed, "What's Your Name", and "Good Grief Christina". Another release, "Cigarettes, Women and Wine" was heavily played on Radio Luxembourg but failed to chart, probably owing to a BBC Radio 1 ban because of its references to smoking. The group released one album, also entitled Son Of My Father.

4.5

Chicory Tip - Son of My Father [1972]

Although emo is often thought of as a direct descendent of punk and alternative, the genre's tricky song structures oftentimes teeter toward prog territory. Case in point: Puzzle, the fourth full-length by Ayrshire, Scotland's favorite sons, Biffy Clyro. While the riffs and singalong choruses bear a resemblance to Nirvana and the Foo Fighters, it's no secret that the members of this trio obviously know the ins and outs of their respective instruments — this is certainly not the sound of a band still finding its footing. "Saturday Superhouse" somehow manages to not sound far removed from all the fresh-faced MTV darlings, while also including enough interesting bits to not sound like a mere mainstream rock rehash. Harder to pin down tracks such as "Who's Got a Match?" bring to mind the quirky pop of Supergrass, and "Semi-Mental" is comparable to Weezer — if they spent more time studying their Rush records instead of Cheap Trick ones. Released in the U.K. several months ahead of the U.S., Puzzle already has a head start in the buzz sweepstakes — it's a certified smash overseas (nearly topping the album charts at number two, while "Saturday Superhouse" almost reached the Top Ten on the singles charts).

3.5

Biffy Clyro - Puzzle [2007]

For numerous pop-punk bands, there seems to be somewhat of a standard progression of albums. There are exceptions, of course, but for many, album number one is the hook-blasted, immediate satisfaction one. Album number two takes stabs at maturity with an oft-darker vibe. And then album number three rolls around and it's a crapshoot. By now (and often depending on the current label situation) the band has either gone off the deep end, been totally mainstream spit-shined, or managed to successfully combine elements of both earlier albums into a more focused record. Sugarcult have basically followed that progression and, thankfully, were able to end up in the last part of that sentence with their third offering and V2 debut, Lights Out. The quartet has now almost fully embraced the power pop/rock aspect of its sound, which has always been more American Hi-Fi than Green Day anyway. The songs are more gravel-coated than sugar-smacked, though, and vocalist Tim Pagnotta's voice is more weathered-sounding this time around to augment to the record's overall seasoned, somewhat disillusioned feel. Because regardless of the record's unfailing singalongability (check out the stirring power choruses of "Hiatus" and "Do It Alone"), there's just something about Lights Out that emanates band cynicism — not that this is a bad thing, since the music remains fun and catchy nonetheless. Both love and the music scene have left the guys confused and fed up, yet defiant, and tracks like the murky desire of "Los Angeles," the meditative sway of "Shaking," and the bitterly attitude-laced "Dead Living" ("Beauty lies in the ignorant/With the sound of selling out to the innocent") wade through these feelings well. Nothing on the album is quite as immediate as most of Sugarcult's past work, but that hardly matters; Lights Out has successfully balanced rock, grit, power, and pop, to leave the band sounding stronger than ever before.

4

Sugarcult - Lights Out [2006]

Tempting as it may be, don't read the dropping of the exclamation point from Panic at the Disco's name as a sign that the emo quartet is in a rush to be taken seriously. Don't even take their blatant aping of Sgt. Pepper's on Pretty. Odd as indication that Panic at the Disco wants to be taken seriously. There doesn't seem to be a serious bone within the bodies of any of the four members, but the wondrous thing about Pretty. Odd is that it's impossible to discern what silliness is intentional and what is accidental, the product of a band discovering the Beatles long after their 2005 debut A Fever You Can't Sweat Out turned into a hit. There's a startling naïveté to PATD's sudden immersion in symphonic psychedelic pop; the band is either too young or dumb to not realize that they're putting together familiar elements wrong, or that they shouldn't be attempting the baroque ballads and vaudeville shuffles that pepper this album...but they're smart enough to send-up the opening of Pepper's, twisting the Beatles' declaration that they were now Sgt. Pepper's Lonely Hearts Club Band around, claiming that they're they same band they always were. Of course this is a bald-faced lie, as the only clear remnants from PATD's debut are the overly complicated song titles and fussy lyrics, but few will complain as the group retain their theatrical ridiculousness while unveiling a newfound panache for pop, all derived from their desire to pattern themselves after the Beatles. Panic at the Disco are hardly the first modern rock band to slavishly follow the example of their peers — My Chemical Romance copied every one of Queen's exaggerated moves for The Black Parade, while the Killers treated Sam's Town as if it was a Springsteen coloring book — but PATD's clueless, audacious thievery of the Beatles pays back far greater dividends, partially because stealing from the Fab Four guarantees an emphasis on melody over style, but also because PATD shows far more humor than MCR or the Killers. That humor — and it's possible to laugh at and laugh along with the band in equal measure here — makes Pretty. Odd a giddy absurdity, as Panic at the Disco is determined to have it both ways: to make grand, pompous music while retaining their identity as pranksters. The album is so out of control, it's hard to tell whether the group planned Pretty. Odd to be a kaleidoscopic mess, or if occurred by happenstance, but that raggedness will appeal to the teens who loved A Fever You Can't Sweat Out, but this bafflingly blurred Brit-pop could hook in older listeners, too, either through its genuine tunefulness or through pop junkies who will marvel at how "Folkin' Around" comes startlingly close to re-creating the sound of the Byrds circa Sweetheart of the Rodeo, or how "Do You Know What I'm Seeing" is equal parts Morrissey parody and homage. It all adds up to a pretty and odd record and it erases no suspicions that the band aren't quite sure of what they're doing, but the glorious thing about Pretty. Odd is that the album works in spite of this...or perhaps because of it. Either way, this is a deliriously jumbled, left-field delight.

4

Panic at the Disco - Pretty. Odd [2008]

Now, this is the first Less Than Jake I've listened to and I was wondering what I was getting myself into when I saw the goofy cartoon on the front. But as soon as the first words, "This is the old dude..." flowed out of my speakers I forgot everything else and was immerse in this wonderful sound that catches your attention without you ever wondering or caring. The whole album maintains a crazy energy that anyone can get into while the lack of slowing down is never a problem to the listener. The mixture of the plunky guitar, great bass, simple but amazingly affective horns (and some sax), and the awesome vocals have a way of rolling through the mind with such great ease that you'll wonder why you haven't been doing this earlier. I'm not going to single out any songs as better than the others because they all have a way of fitting in just right making the whole album complete. However, if at all possible, try to listen to "Lockdown" to get a great example of the horn/bari sax section. There isn't much more to say that can't better be explained by listening to this album. Buy. Now.

4.5

Less Than Jake - Losing Streak [1996]

U2 had a lot going for them in the early 1980's. With three solid albums under their belts including their U.S. breakthrough, `War', the lads of Dublin decided it was time to play with fire. In other words they were poised to release something uniquely out of tune with the garbage piling up on the empty-headed pop scene. As it is said, where there is smoke there's fire and where there is U2 you have an album here so good it laid waste to everything else on the charts in the Autumn of `84, while refreshingly misrepresenting the band as Ireland's response to the last call of new wave. Okay, TUF didn't soar to the top of the charts, but its methodic ascent gave us plenty of time to relish a selection of songs that would brand the band as true architects of their craft. So where does one begin to train the water on a conflagration that burned off the long grass of a field under an `Indian Summer Sky' during that certain Fall? Well, the phenomenal success of `Pride'{in The Name of Love}, one of their biggest singles ever, is a testament to the group's rallying cry for freedom and a blast heard `round the world, thanks to its radio- friendly composition. If this is their anthem song, then `Bad' is the LP's signature cut. All of the factors for a melodic equation merge here for a perfect U2 number; those powerful, unmistakable vocals, forceful, precision guitar playing, nimble drumming and a throbbing bass during the refrain. `Promenade' is a peaceful ride through the English countryside, but when the Edge plugs into `Wire' things really heat up. His tight and intense guitar work here, puts him in an elite class few other players occupy. `A Sort of Homecoming' is a lyrical gem forged not from a cauldron of gloom and doom, but rather from a warm safe seat by the fireplace. On this one, Bono and his mates wax positive singing of hope and salvation, as if an endearing phoenix has just risen from the ashes to bring its message of revelation. However, in naked contrast to most of TUF's content is the absorbing title track. Its suggestive story aside, this song is simply outstanding, with a fluctuating score, vital orchestration and adventurous vocals that puts the band's front man in a class also, few others deserve to be. There is, at the very tail end of the piece, a barely audible 4 or 5 note fade out. Brief, yet stirring, it is a conclusion that would give a cinematographer the closing shot of his dreams. This is the record that really brought U2 to the shores of America, where they would, only 4 albums into their recording career, blaze a trail through the musical wilderness of the 80's with nothing shy of the scope of the country in their sites. The Fire is still burning just as bright today, like a pilot light that's never had to be re-ignited...an eternal flame of a masterpiece.

4.5

U2 - The Unforgettable Fire [1984]

Having gained a fair amount of underground attention throughout Europe, particularly in both Germany and England, Laibach made its first attempt at crossing over — in a way — with Opus Dei. An alliance with Mute records led to Rico Conning handling the production, while the group decided to spell out the connections between mega-arena rock & roll and fascist spectacle all the more directly. Two brilliant singles were the end result, the first being "Geburt Einer Nation," a German-language cover of Queen's then-recent smash hit "One Vision," transformed into a Wagner-ian stompalong that remained as catchy as the original but with far more disturbing overtones. Hearing guttural voices talking about "one world, one people" over stomping drums and dramatic horns makes for pure Big Brother nightmares — undoubtedly the point. Arguably even more fascinating was "Life Is Life," a hippie-ish song by the German group Opus that was reworked by Laibach into two different versions — the German-language "Leben Heisst Leben" and the English "Opus Dei." Both are amazing, dramatic, and, thanks to some soft keyboards, even beautiful — imagining a strutting, face-to-the-sun group of party members sweeping over the globe with these as accompaniment takes no effort at all. The dumbass metal soloing on the German-language version is especially hilarious. The other tracks on Opus Dei are a mixed but worthy bunch, showing the group trashing stylistic boundaries with more classical/hard rock/martial/dancefloor combinations. The results can be weirdly sweet like the start of "F.I.A.T." or explosive like "Leben-Tod" or the quick, nervous bombast of "Trans-National," but they're all good in their own ways. The CD includes four selections from Baptism as a bonus, that particular recording having not yet been released at the time of Opus Dei's appearance.

4.5

Laibach - Opus Dei [1987]

Comentário AM:

Coil's first official full-length album, Scatology, is one of the essential landmarks in the group's discography and, moreover, one of the '80s industrial scene's more vital and influential recordings. This is the first part of the essential Coil trilogy that also includes Hors eRotorvator and Love's Secret Domain. The 1984 album exhibits the group at its early industrial stage, in transition to the undefined genre of astral noise psychedelia that Coil would inhabit for the following decades without peer or precedent. The core duo of Peter Christopherson and John Balance are joined by Clint Ruin (aka Jim Thirlwell), whose role in the production cannot be underestimated, as well as Stephen E. Thrower, Throbbing Gristle's Alex Ferguson, vocalist Gavin Friday of the Wolfgang Press, and one Raoul Revere (who is in fact British camp pop legend and Soft Cell vocalist Marc Almond). "Restless Day" is a haunting rumination that defies description, other than being an utterly essential self-defining moment in the Coil paradigm, with an atmosphere hanging in the tense space between harsh noise and harmony that apparently causes time to cease. "The Tenderness of Wolves" features the vocals of Friday in one of the more poetic moments of the '80s post-industrial sound. At the album's somber end, this outstanding work finishes with a rendition of "Tainted Love" featuring Almond, who had made the track a new wave hit with Soft Cell. Here, however, the tune is given a bleak slow-motion version that could be read as a tragically suggestive commentary on the AIDS epidemic of the era. The album was originally released on Force & Form/Some Bizzare, and was the subject of numerous bootlegs and illegitimate versions. For the record, the 2001 version on Threshold House/ World Serpent is the only version authorized by the group. Maybe the numerous LP and CD versions that have appeared since its original release are suggestive of just how vital the album is, not only in the Coil discography but to the industrial electronica scene as a whole. Scatology is nothing short of essential.

4

Coil - Scatology [1984]