The opening track "F-Hole" is the cream of this crop, wasting no time
grabbing the listeners by the ears and yanking them in. "Crucified" and
"Two Cent Friend" round out this solid effort, with the only visible drawback
being the length of this disc. It left me hungry for more and anxiously
awaiting their upcoming Throttle Junkies debut.
"Once Upon The Cross," "Serpents of the Light," and "Trick or Betrayed"
are prime examples of the kind of gut-wrenching, fist-clenching, sweat-soaked
metal this band has been delivering since day one. Itíll wear you out before
itís done spinning. Killer!
"Death Plague Jesus" and "Piss" kick this off, with "Future Lost" and
a great version of "Agony" rounding it out. Fans of the band will want
to snatch up this short collection, but if youíre checking them out for
the first time, Iíd recommend tracking down a copy of í96ís Bleed.
While their debut sacrificed melody for the sake of brutality, Conviction
offers groove-laden hardcore that, ultimately, listeners will find much
more satisfying. As tracks like the opener "Race of Hate" and "Unspoken"
will attest, this band still packs a wallop, but on Conviction they
spend nine rounds beating you into submission, rather than going for the
one punch KO. This time out, Death Penalty show theyíve got what it takes
to become a contender.
Musically, the guys have got it down, with some interesting structures
and capable riffing, but their lyrics and subject matter are a bit old
hat. Not bad, but nothing special.
"Tonight Your Love Belongs To Me" and "Learning To Love You Again" are fine examples of Mr. Robertsí smooth baritone, while "Mr. D.J." and "I Tried" push his axework to the front. His duet with Little Royal on "Iíve Been Makiní Love" is a jumpiní number with deep roots.
There are very few bluesmen on the scene today who can hold their own
with the legends like Muddy Waters, but Roy Roberts is one of Ďem. An outstanding
collection of soon-to-be-classics!
Say what you will of Mansonís over-the-top theatrics and satanic references, the bottom line is the guy's got talent! Well-written songs abound on this release. Whether the subject matter is at times dark, as in "Fundamentally Loathsome," or tongue-in-cheek, as on "I Donít Like The Drugs (But The Drugs like Me)," Manson finds a way to make the listener feel the emotions heís trying to deliver.
The change of pace on Mechanical Animals may catch fans by surprise,
but after a few spins it feels downright comfortable. While slightly more
tame than past efforts, there is still plenty here to spark the usual protests
and controversy that surround this artist, and that is sure to translate
into big media and big sales.
If youíre looking for pop-flavored dance floor country, youíll want to steer clear of this album in favor of the mix-and-match artists playing on your radio. If, on the other hand, you want to catch some true country music thatís as pure as it gets, this album is full of passionate cuts thatíll take you back in time.
"The Whispering Wind," "Ever True Evermore," and the title track are
all fine examples of Ms. Barnettís deep talents, and while they might not
tear up the airwaves, theyíll definitely tear out your heart... this is
the real McCoy and an album that you donít want to miss! Pure country music,
delivered with conviction and grace.
Rather than being influenced by a particular style, Hello Vertigo
boasts a combination of everything from hard-core and garage rock to bubble
gum and alternative, with the end result sounding remarkably fresh, and
impossible to categorize. "Bombshell," "Mesmerized," and "No Destination"
are among the most arresting cuts on an album thatís sure to push Papa
Vegas to the forefront of college radio and well on their way to national
The album-opening "You Made Me That Way" has top ten written all over it, though I find it the weakest track on the disc, its main drawback being the "generic" sound on his vocals. From that point on, Andy breaks from the crowd with an "outlaw" sound for the future.
On cuts such as "A Side Of Me" and "Ain't Done Nothin' Wrong," there is a gritty, Travis Tritt-like feel, but without the whiskey soaked vocals. "Waitin' On Sundown" and "I Miss You The Most" are strong, narrative "story-songs" that fit Mr. Griggs' vocals to a "T." His cover of Rodney Crowellís "Ain't Liviní Long Like This" will make you forget all about Waylonís version, while his duet with the aforementioned Jennings on "Shine On Me" is country magic.
With one boot in the present and one in the past, Andy Griggs covers
a lot of country ground on this debut. It ranks right up there with the
best of Ďem! Eleven strong cuts, any one of which could be a chart-topper.
Combined with Andyís obvious visual appeal, I think heíll be all over your
TV and radio in no time at all. Don't miss this fantastic release
from a future Horizon Award winner.