Danzig, 1988
The first Danzig album, featuring the classic line-up of Glenn, Eerie Von, John Christ, and Chuck Biscuits, is an absolute must-have. The band is captured at their transition from Samhian to Danzig. Ten tracks, including a classic blues cover ("The Hunter"). This album also contains one of their best known tracks, "Mother", but every song on the album is great.
Danzig II, Lucifuge, 1990
The perfect followup to the first album, Lucifuge features a more developed, bluesier take on the same basic sound. The album is heavy, but also a lot more varied than the first album.
Danzig III, How Gods Kill, 1992
Completing a perfect three piece set, How Gods Kill continues in the direction of the first two albums. While Danzig and Danzig II are both better albums, this album fits in great and rounds out the set. Even those who start to lose interest in later Danzig should own the first three albums.
Danzig 4p, 1994
The last album to feature the classic lineup, Von, Christ, and Biscuits would all leave the band for good after this album. Not nearly as good as the previous three, this is still a really good album. The band did a lot of experimenting with their core sound. The result is an deep album that may not be as easily accessible as previous ones, but is rewarding listen.
Danzig 5, Blackacidevil, 1996
A clear departure from any other Danzig album, Blackacidevil is an experiment in industrial metal. Where John Christ's guitar riffs dominated the sound on earlier Danzig albums, this one is dominated by loud, distorted, electric drums. This may well be the hardest Danzig album to like, but it is a worthwhile experiment.
Danzig 6:66, Satan's Child, 1999
The followup to Blackacidevil, Satan's Child takes the industrial experimentation from the previous album and combines it with a more traditional Danzig sound. The result is very good, if far from classic Danzig. The album ends with "Thirteen" one of two songs Glenn Danzig wrote for Johnny Cash, the only one of the two Johnny Cash had a chance to record.
Danzig 777, I Luciferi, 2002
The last of the numbered albums, I Luciferi is a lot less experimental than the previous two albums. Not nearly as good as the albums from the classic line-up. Solid, just not remarkable.
Circle of Snakes, 2004
Although a far cry from the original three albums, Circle of Snakes has a much more stripped down sound reminiscent of the first album. Guitarist Tommy Victor (Prong), lends a much different guitar style than John Christ, and that seems to be the biggest distinction between this album and the first.
Deth Red Sabaoth, 2010
Perhaps the best Danzig album since the original line-up disbanded. Although still featuring the guitar work of Tommy Victor, the guitars on this album are much more reminiscent of John Christ's work on the first four albums.
Thursday, September 12, 2013
Saturday, September 7, 2013
Black Flag, Extended Plays.
Nervous Breakdown, 1978
Black Flag's first release. An important seven inch, this record got a lot of kids to go out and start their own bands. Four tracks in just over five minutes. There wasn't much like it back then. The only proper release to feature founding vocalist Keith Morris. The rest of his recorded work with the band can be found on the compilation Everything Went Black.
Jealous Again, 1980
Following up Nervous Breakdown, the band released Jealous Again in 1980. Recorded with second vocalist Ron Reyes but released after his unamicable split, Ron was miscredited on the release as "Chavo Pederast". The record also includes an attack on former singer Keith Morris "You Bet We've Got Something Personal Against You", a re-working of the song "I Don't Care", this time sung by bassist Chuck Dukoski.
Louie Louie (single), 1981
With only two tracks, this record is technically only a single, but it is roughly the same length as the other Black Flag EPs. Side one is the bands take on the much covered "Louie Louie", with a version of "Damaged I" on side two.
Six Pack, 1981
Featuring the third singer, Dez Cadena, Six Pack features three songs from attempt to record the Damaged LP with Dez. The title track would be re-recorded for the LP, but the other two tracks remain exclusive to this release.
T.V. Party, 1982
The title track is a re-recording of a track from the bands first LP, Damaged. Recorded in 1982, this EP features Henry Rollins on vocals and also includes two additional tracks, "I've Got To Run" and "My Rules".
The First Four Years, 1983
This album combines the five releases listed above as well as a few compilation tracks, releasing all the EPs as an LP. A convenient way to get all the early material on one CD.
The Process of Weeding Out, 1985
Recorded in 1985, this instrumental album is only four songs long. However, at almost 27 minutes long it is long enough to be considered a full album. Essential for fans of Greg Ginn's instrumental guitar work.
Annihilate This Week, 1987
The songs from Who's Got The 10 1/2, these three songs were only issued on the CD version of that live album. Not really essential if you pick up the full live album.
I Can See You, 1989
Four songs recorded during the In My Head sessions, three of the songs would be included on the CD reissue of In My Head. "Kickin & Stickin", a improvised jam song, would be reworked for Greg Ginn's project with Mike Vallely, Good For You.
Black Flag's first release. An important seven inch, this record got a lot of kids to go out and start their own bands. Four tracks in just over five minutes. There wasn't much like it back then. The only proper release to feature founding vocalist Keith Morris. The rest of his recorded work with the band can be found on the compilation Everything Went Black.
Jealous Again, 1980
Following up Nervous Breakdown, the band released Jealous Again in 1980. Recorded with second vocalist Ron Reyes but released after his unamicable split, Ron was miscredited on the release as "Chavo Pederast". The record also includes an attack on former singer Keith Morris "You Bet We've Got Something Personal Against You", a re-working of the song "I Don't Care", this time sung by bassist Chuck Dukoski.
Louie Louie (single), 1981
With only two tracks, this record is technically only a single, but it is roughly the same length as the other Black Flag EPs. Side one is the bands take on the much covered "Louie Louie", with a version of "Damaged I" on side two.
Six Pack, 1981
Featuring the third singer, Dez Cadena, Six Pack features three songs from attempt to record the Damaged LP with Dez. The title track would be re-recorded for the LP, but the other two tracks remain exclusive to this release.
T.V. Party, 1982
The title track is a re-recording of a track from the bands first LP, Damaged. Recorded in 1982, this EP features Henry Rollins on vocals and also includes two additional tracks, "I've Got To Run" and "My Rules".
The First Four Years, 1983
This album combines the five releases listed above as well as a few compilation tracks, releasing all the EPs as an LP. A convenient way to get all the early material on one CD.
The Process of Weeding Out, 1985
Recorded in 1985, this instrumental album is only four songs long. However, at almost 27 minutes long it is long enough to be considered a full album. Essential for fans of Greg Ginn's instrumental guitar work.
Annihilate This Week, 1987
The songs from Who's Got The 10 1/2, these three songs were only issued on the CD version of that live album. Not really essential if you pick up the full live album.
I Can See You, 1989
Four songs recorded during the In My Head sessions, three of the songs would be included on the CD reissue of In My Head. "Kickin & Stickin", a improvised jam song, would be reworked for Greg Ginn's project with Mike Vallely, Good For You.
Wednesday, September 4, 2013
Helmet, Studio Albums.
Strap It On, 1990
The debut album, Strap It On is nine songs of Helmet doing what they do. Lots of drop D riffs. This album is a little less polished then subsequent works, and the raw edge adds to the feel of the album. Many of the songs are great, but Sinatra is a stand out track.
Meantime, 1992
Helmet returned in 1992 with their first major label release, complete with radio and MTV airplay. Meantime is an album with great production that doesn't loss any power from being polished. As a single, Unsung had moderate success.
Betty, 1994
Their first album after the departure of guitarist Pete Mengede, Betty saw the band grow and experiment without losing their core sound. While songs like Wilma's Rainbow or Milquetoast are easily accessible to fans of the band, the band's experiments almost go too far on Beautiful Love and The Silver Hawaiian.
Aftertaste, 1997
With another guitarist leaving the band, Aftertaste was recorded as a three piece, although the band would recruit a touring member to perform the songs live. While the band had attempted to get back to its roots with the followup to the experimental Betty, the album is actually quite unremarkable. The band broke up shortly after touring in support of this album.
Size Matters, 2004
Frontman Page Hamilton reformed Helmet in 2004 without any other original members and recorded Size Matters. Even with an all new line-up, Helmet manages to put out a decent album. Like Aftertaste, this isn't a stand alone classic, but it is a good addition to any Helmet collection.
Monochrome, 2006
Another album and another line-up change. Monochrome features the trademark Helmet sound although, like everything since Betty, fails to recapture the magic that made the first few albums so essential. Still, it's a solid album.
Seeing Eye Dog, 2010
Twenty years after Strap It On, Seeing Eye Dog is another Helmet album with another new line-up. A solid album, but perhaps less Helmet sounding than any other release to date. Not bad at all, but forgettable.
The debut album, Strap It On is nine songs of Helmet doing what they do. Lots of drop D riffs. This album is a little less polished then subsequent works, and the raw edge adds to the feel of the album. Many of the songs are great, but Sinatra is a stand out track.
Meantime, 1992
Helmet returned in 1992 with their first major label release, complete with radio and MTV airplay. Meantime is an album with great production that doesn't loss any power from being polished. As a single, Unsung had moderate success.
Betty, 1994
Their first album after the departure of guitarist Pete Mengede, Betty saw the band grow and experiment without losing their core sound. While songs like Wilma's Rainbow or Milquetoast are easily accessible to fans of the band, the band's experiments almost go too far on Beautiful Love and The Silver Hawaiian.
Aftertaste, 1997
With another guitarist leaving the band, Aftertaste was recorded as a three piece, although the band would recruit a touring member to perform the songs live. While the band had attempted to get back to its roots with the followup to the experimental Betty, the album is actually quite unremarkable. The band broke up shortly after touring in support of this album.
Size Matters, 2004
Frontman Page Hamilton reformed Helmet in 2004 without any other original members and recorded Size Matters. Even with an all new line-up, Helmet manages to put out a decent album. Like Aftertaste, this isn't a stand alone classic, but it is a good addition to any Helmet collection.
Monochrome, 2006
Another album and another line-up change. Monochrome features the trademark Helmet sound although, like everything since Betty, fails to recapture the magic that made the first few albums so essential. Still, it's a solid album.
Seeing Eye Dog, 2010
Twenty years after Strap It On, Seeing Eye Dog is another Helmet album with another new line-up. A solid album, but perhaps less Helmet sounding than any other release to date. Not bad at all, but forgettable.
Tuesday, September 3, 2013
The Clash, Studio Albums.
The Clash, 1977
The Clash's first album was a self titled album released 1977 in the U.K. and in 1979 with an altered track listing in the U.S., now available in both U.K. and U.S. versions. Either is essential listening. The U.S. version includes some of their best early work, but the U.K. version coupled with The Singles CD will give you the best of both worlds and is definitely the way to go.
Give 'em Enough Rope, 1978
An album very much in the same vein as their self titled debut, Give 'em Enough Rope was the first Clash release in the U.S. This album is not nearly as good or as essential as their debut, although it is a good album. The album does contains hints at what was to come from the band.
London Calling, 1979
London Calling was a double album that really progressed the band by leaps and bounds, even though it had only been two years since their firs album. Containing some of their best and most distinct work, London Calling is great even for those that aren't interested in the raw punk roots of the Clash or in the pop experimentation that was to come.
Sandinista!, 1980
A year after the progressive London Calling, The Clash released their most ambitious album, Sandinista. A huge 144 minute triple album, the band spent most of a year recording it London, New York, Jamaica and Manchester. Sandinista is a very diverse and experimental album. It is not for everybody, but very rewarding for those that stick with it.
Combat Rock, 1982
A more straightforward album, Combat Rock is often considered the last proper Clash album. Their most successful album, Combat Rock features both Should I Stay or Should I Go and Rock The Casbah. A good enough attempt, but not nearly as important as some of their earlier work.
Cut The Crap, 1985
Often ignored by both the band and it's fans, Cut The Crap came at the end of The Clash's career. The album was made after Mick Jones and Topper Headon had left the band. Cut the Crap is essential only for the completist.
The Clash's first album was a self titled album released 1977 in the U.K. and in 1979 with an altered track listing in the U.S., now available in both U.K. and U.S. versions. Either is essential listening. The U.S. version includes some of their best early work, but the U.K. version coupled with The Singles CD will give you the best of both worlds and is definitely the way to go.
Give 'em Enough Rope, 1978
An album very much in the same vein as their self titled debut, Give 'em Enough Rope was the first Clash release in the U.S. This album is not nearly as good or as essential as their debut, although it is a good album. The album does contains hints at what was to come from the band.
London Calling, 1979
London Calling was a double album that really progressed the band by leaps and bounds, even though it had only been two years since their firs album. Containing some of their best and most distinct work, London Calling is great even for those that aren't interested in the raw punk roots of the Clash or in the pop experimentation that was to come.
Sandinista!, 1980
A year after the progressive London Calling, The Clash released their most ambitious album, Sandinista. A huge 144 minute triple album, the band spent most of a year recording it London, New York, Jamaica and Manchester. Sandinista is a very diverse and experimental album. It is not for everybody, but very rewarding for those that stick with it.
Combat Rock, 1982
A more straightforward album, Combat Rock is often considered the last proper Clash album. Their most successful album, Combat Rock features both Should I Stay or Should I Go and Rock The Casbah. A good enough attempt, but not nearly as important as some of their earlier work.
Cut The Crap, 1985
Often ignored by both the band and it's fans, Cut The Crap came at the end of The Clash's career. The album was made after Mick Jones and Topper Headon had left the band. Cut the Crap is essential only for the completist.
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