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The Black Keys were a band that kinda played around my consciousness for a few months before I finally actually sat down and listened to them. My sister was listening to them and the guy I was dating at the time was into them pretty hardcore. In fact, my copy of this disc is the birthday gift I bought for him and then he left it behind when he disappeared. So now... It belongs to me.
I know absolutely nothing about the band other than what I'm hearing on this disc. There's a certain quality to the music that reminds me of my favorite My Life With The Thrill Kill Kult album, "Hit & Run Holiday". It has many elements from classic pop and rock. The album starts with 'Lonely Boy'. This is not only the 1st song on the disc, it's also my favorite on the disc. I adore this tune and I think it's brilliant pop. "I've got a love that keeps me waiting..." is both totally descriptive of my life and how I feel most of the time. It's followed up by 'Dead And Gone'. This is another strong rock/pop tune and it's quite catchy. I like it too. The next track is awesome too. 'Gold On The Ceiling' keeps the momentum going and keeps the record swinging. The chorus on this number is absolutely inspired.
'Little Black Submarines' is the first slow song on the disc and once again, the Keys have written a catchy melody and it's a strong song. The first time I listened to it, I thought the vocals were weak, but on subsequent listenings, Auerbach's vocals actually sound vulnerable rather than weak. He sends out a very powerful message with this sentimental confession. And it's pure art. Very lovely. 'Money Maker' feels like a dance song after that. However, the vocal arrangement is slower and makes the song sound like it was written in the 60's. Of all on this record, this is probably my least favorite but I still like it.
'Run Right Back' has a twang and groove similar to the rest of the record. There's an interesting vocal in the chorus I quite like. 'Sister' starts off like a stomp and it's another sensible song with a great beat. The echo effect is on this tune a little more than I normally like, but what can you do. 'Hell Of A Season' sound similar to 'Lonely Boy' to me. It's still a good song. 'Stop Stop' sounds like that psychedelic music from the 60's to me. It's probably the tamborine that does it. Still, the chorus is strong and I enjoy it.
'Nova Baby' starts off loud and strong as a full band song, but it quickly transitions to a stripped down rocker, with the band coming back in on the chorus. What this song does have is amazing lyrics. The gist of the message is Auerbach singing about how his lover won't return his sentiment and affection because they don't know what they want. The album closes with 'Mind Eraser'. This mid-tempo semi-ballad is an interesting way to close out the record. Auerbach sings, "don't let it be over..." but sadly, the album can't go on forever and at some point, it needed to end. Still, they did a great job with this record and I recommend it. Especially to older people who feel like they're out of touch with current music trends. Check it out and see what you think.
My final words: A REDNECKIN', HAY-RIDIN', CHICKEN SCRATCHIN', GRITS EATIN' GOOD TIME FROM A BAND THAT SHOULD BE SUPER EASY TO FOLLOW AND ENJOY! THIS ONE IS WORTH OWNING.
THE BLACK KEYS - EL CAMINO
01. Lonely Boy
02. Dead And Gone
03. Gold On The Ceiling
04. Little Black Submarines
05. Money Maker
06. Run Right Back
07. Sister
08. Hell Of A Season
09. Stop Stop
10. Nova Baby
11. Mind Eraser
Atticus Ross, now full fledged NIN member and Trent Reznor have embarked on some interesting projects to date and this 3 disc album is no exception. They've done some stuff like this before, and it's kinda hard to review the work because the songs generally bleed together in a tantric sorta way. They become dark sinister chants that draw you along subconsciously. Unless you're listening for it, you won't realize where one track ends and another begins. That doesn't mean to imply they all sound the same. They don't. But they create the same effect. The soundscape you're hearing builds up around you and you get trapped in it.
The important thing to remember when you're listening to this mostly instrumental album is that it's a film score. The album clocks in around 3 hours, but the actual songs appear in the film with shorter, different edits. There are versions of the album released by the record company that list the tracks according to their corresponding cues and in their edited versions. This version, purchased through Reznor's NIN site, is the work in its imagined entirety. The music is presented in the manner the two men wrote the tracks and fully unedited. Hence the long track times and the trance-like quality many of the songs possess.
The album spans three discs, but the track listing counts the songs as one continuous disc. So... I will break them up by disc at the end of the review, but I will number them according to the way they appear in the liner notes.
There are a few numbers with vocals. The first disc starts off with 'Immigrant Song', a Led Zeppelin cover. Vocals are provided by Karen O of Yeah Yeah Yeahs. I think the track would've benefited from Reznor's vocals rather than a female lead. I suspect they went with a female lead vocal because of the nature of the film. The third disc also contains a cover track with a vocal. 'Is Your Love Strong Enough' is a Bryan Ferry cover and features the singer from another Reznor side project, How To Destroy Angels.
Musically, this is a very satisfying piece of work. However, going track by track isn't an option. First and foremost, I don't have the time to do it right now and second, the similarities between the songs are hard to verbalize without getting technical. I don't want this blog to be one that alienates people in any way. I try to relate the music to my life and hopefully inspire people to relate it to their own.
Suffice it to say, the music follows many of the patterns you've come to expect from Reznor. There's a sense of unease hoovering around. There's also that white noise distortion, the resonating piano, simple but menacing motifs repeating in sinister fashion and an overall feeling of haunting.
When you listen to the music, you start to wonder why video games like Resident Evil haven't hired Reznor to score their games. You can also feel the power and majestic quality of the material projected through your speakers. If you listened to this album while you were falling asleep, I can promise you'd have some strange and disturbing dreams. If you were planning on putting on a haunted house, you'd create more fear if you played this music over the speakers while people were walking through. It's spooky yet effectively conveys the idea of a mystery unfolding. Like Scooby Doo... The underlying message of this film and this soundtrack is rather simple... The monster is actually just a man. Because human beings are the true monsters in this world. And it's that dark revelation, this soundtrack builds up to. That this music ultimately helps reveal. And hasn't that been part of what Reznor was always about? Showing us the dark side of the human condition? Showing us the decay, the rot, the filth, the sadness and tragedy of being human? That even though man rages and defies the natural world, it is nature that will destroy us in the end? Reznor holds our faces up the glass and shows us the things we pretend not to see.
In that very act, he also shows us the way out. How to be better than what we really are. Because the way out is through the damaged areas and broken bits. It's putting the pieces back into place and constantly building what we've destroyed. It's learning from your mistakes. Too often, he's written off and not given credit for his message. Probably more than any other artist alive today, Reznor's music mirrors humanity. More people should listen to him and take him seriously.
Overall, I think you know I find this album exciting and stimulating. I think it's one you should own even if you're not a fan of NIN. My final words: AN UNCONVENTIONAL, UNUSUAL AND BEAUTIFUL SOUNDTRACK TO AN EQUALLY BRILLIANT FILM!!!
TRENT REZNOR / ATTICUS ROSS - THE GIRL WITH THE DRAGON TATTOO
DISC 1
01. Immigrant Song
02. She Reminds Me Of You
03. People Lie All The Time
04. Pinned And Mounted
05. Perihelion
06. What If We Could?
07. With The Flies
08. Hidden In Snow
09. A Thousand Details
10. One Particular Moment
11. I Can't Take It Anymore
12. How Brittle The Bones
13. Please Take Your Hand Away
DISC 2
14. Cut Into Pieces
15. The Splinter
16. An Itch
17. Hypomania
18. Uunder The Midnight Sun
19. Aphelion
20. You're Here
21. The Same As The Others
22. A Pause For Reflection
23. While Waiting
24. The Seconds Drag
25. Later Into The Night
26. Parallel Timeline With Alternate Outcome
DISC 3
27. Another Way Of Caring
28. A Viable Construct
29. Revealed In The Thaw
30. Millennia
31. We Could Wait Forever
32. Oraculum
33. Great Bird Of Prey
34. The Heretics
35. A Pair Of Doves
36. Infiltrator
37. The Sound Of Forgetting
38. Of Secrets
39. Is Your Love Strong Enough?
Kate Bush has become one of those artists I find endlessly fascinating. I've heard a lot of concept albums in my day and most of them completely fail. But somehow, Bush writes the best of them. I'm not entirely sure what the concept of "Hounds Of Love" is, but as a whole, this record is strong, cohesive and enjoyable from start to finish.
The problem I'm going to have reviewing this record is two fold... 1) most of what I take from this disc is what it sparks in my own imagination. And I could write for hours about what thoughts I have when I listen to it or how I feel about it. 2) I have two versions of this record. One of them has bonus tracks and that's the one I'll review since it includes the same tracks as the regular version. Except, I only have the single disc version with me today. So I have to go by my memory to review the 2nd disc.
One of the biggest hits from the album and one of Bush's most well known numbers is the first track on this disc. 'Running Up That Hill (A Deal With God)' is a brilliant number. If you haven't heard it, stop reading this blog, go to youtube or some other streaming site and play it. It's certainly one of the strongest songs from the 80's. 'Hounds Of Love' is the second number. This track was actually the first song I ever heard of hers. There was an old radio program that I could pick up on Thursday nights if I put the radio in just the right place in my mom's bathroom. It was called Rock Over London and it's from this program that I discovered so many different groups. While many of the New Romantic bands were releasing heavily synthesized music, Bush's drum heavy blasting 'Hounds Of Love' was something new and different. The imagery of love as a hound hunting you down is both powerful and primal. Bush's lilting voice and musical sensibility allow her to use more traditional sounds and still sound cutting edge. This is even more evident on the third track, 'The Big Sky'. As broad and expansive as the concept of sky is, the song is just as grand and lifting! It feels huge and encompassing. The build is natural, strong and hugs you like a warm wet rain cloud.
'Mother Stands For Comfort' is a wistful tribute to mothers. The song possesses a rather sad and lonely quality and yet at the same time, there's a feeling of acceptance. You listen and feel like no matter what you do, your mom would still love you. Everything in the song conveys this message. From the lyrics to the punctuated piano playing. If this were the cassette or vinyl version of the album, 'Cloudbusting' would be the final track on side one. In a rather unique fashion, Bush title's the albums' sides. Side one being "Hounds Of Love". It reminds me of her later work on 'Aerial'. She released a double disc and gave each disc a separate title. This song, although one suspects the strings are actually programmed keyboard sounds, stresses the rhythm built around the pulsing orchestral movement rather than a drum or bass track. The drums do come in eventually and add to the build of the track. Once again, the song has a dramatic climax and drifts off into the distance as we here the sound of a train begin to chug and whistle as it leaves the station. In a round about way, everything on this side deals with aspects of love. 'Running...' is about feeling what your partner feels. 'Hounds...' is about trying to escape love. 'The Big Sky' is about the grandeur of love while 'Mother...' describes the quality of love. In this case, the love a child expects from its mother. 'Cloudbusting' is about the anticipation of love. "I just know that something good is gonna happen..."
The second side is called "The Ninth Wave". She gets the title from a piece by Tennyson called, "The Coming Of Arthur". And this side also achieves an effect. It starts with 'And Dream Of Sheep'. A soft beginning that rings and lulls at the same time. Bush sings about shutting out the world and dreaming of sheep. She sings about the droning of engines, the hypnotic quality of the spoken word and how they lead her to the comfort and stillness of sleep. Like the Tennyson poem, this song would be the first wave or first movement and it's soft, relaxing and yet steady. But there's an urgency behind it. In the waves coming up behind. 'Under Ice' takes the idea of sleep to a more permanent level. The story of a skater falling through the ice and being trapped under the frozen surface. 'Waking The Witch' begins after a brief piece of music we'd call a segue today. Untitled, this piece is tracked as part of 'Waking...' and summons the sleeping dreamer back to consciousness. It's followed by a frightening deluge of sound. While Bush sings nursery rhyme lyrics that sound strangely like spells, a darker, more sinister voice trumpets judgement, fire and brimstone like a priest condemning a witch. The terrifying courtroom dialogue is unsettling and the church bells along with the loud drums all contribute to a very complex and disturbing song. Another powerful number. Very powerful.
'Watching You Without Me' is a softer, more heartfelt number describing feelings of separation and the need for understanding. Once again the dominant sound of traditional instruments leaps to the fore. 'Jig Of Life' gets its frantic tempo from a fiddle playing rather aggressively throughout the song. Again, you have a rise in sound. A musical swelling. The wave metaphor continues with another crescendo into 'Hello Earth'. This one starts off as a simple minimalist ballad that has a wave building in itself. The progression is dynamic and harks back to previous tracks through the background vocals. At the end of this song, the album feels like it's had a natural conclusion. But it's not over yet. 'The Morning Fog' kicks in with a major upbeat sound as yet completely unheard of on this record. This is probably my favorite song on the whole album, but it's also the one track that feels out of place. It just doesn't belong here.
There are six additional tracks on one of my versions. The first of these tracks is 'The Big Sky (Meteorological Mix)'. If you thought this song couldn't get any grander or sound more full, you've got another thing coming. This lovely mix also features an additional part with people discussing the shapes of clouds and what they look like. It's whimsical and fun! 'Running Up That Hill (12" Mix)' is fairly faithful to the original with some extended bits and a slightly different arrangement. It's enjoyable as well. Next up is the first of the single b-sides. 'Be Kind To My Mistakes' is an interesting number. I like the song, but I don't feel like it's as strong as some of the other material on the record. Still, it's pretty good. 'Under The Ivy' is a piano solo piece by Bush and she sounds lovely on it. Of all the b-sides, 'Burning Bridge' is probably the track I most enjoy. The drums start and you feel like you're listening to 'Running Up That Hill (A Deal With God)', but then the music bursts forth and you know you're dealing with a much more positive and happy number. Such a great tune! The final number is a cover of a traditional tune. 'My Lagan Love' is an acapella track and Bush delivers a breathtaking version.
Over all, "Hounds Of Love" in any configuration or version is a must own. It's a beautiful piece of work and an example of a songwriter who utilizes her strengths in every possible way to create a story. She'd go on to do it even more successfully later on "Aerial" and "50 Words For Snow", but don't discount or write off this stuff. It's just as brilliant, nuanced and meaningful. My final words: UNCOMPROMISING BRILLIANCE FROM A MAGICAL ARTIST!
KATE BUSH - HOUNDS OF LOVE
01. Running Up That Hill (A Deal With God)
02. Hounds Of Love
03. The Big Sky
04. Mother Stands For Comfort
05. Cloudbusting
06. And Dream Of Sheep
07. Under Ice
08. Waking The Witch
09. Watching You Without Me
10. Jig Of Life
11. Hello Earth
12. The Morning Fog
13. The Big Sky (Meteorological Mix)
14. Running Up That Hill (12" Mix)
15. Be Kind To My Mistakes
16. Under The Ivy
17. Burning Bridge
18. My Lagan Love
Seal... His first two albums seem to be what most people think of when you mention his name. They don't consider the subsequent work. And let's be honest, he hasn't had the same chart success he had back then. But Seal is one of those unique artists... Even if he isn't the same chart topping superstar he was, he's never left us or compromised the integrity of his work. And "IV" proves it.
Seal's principal songwriting partner on this release is a man named Mark Batson. I'm not familiar with him, but I can say he has an amazing grasp of various forms of music. That will be more apparent as I break the album down. 'Get It Together' reminds me of 'Bring It On' from his second album. Not just because of the positioning of the song, but the effect is has on the album as a whole. The song is horn blowing R&B with tons of soul and a great rhythm. It sets the ton of the album just like 'Bring It On' did. It excites you, mellows you and prepares you for the journey you're about to take. 'Love's Divine' is the big single from this record and a song I've related to in my own life. Although the tempo slows a little on this track, it stays incredibly solid and maintains the groove built up to this point. The lyrics are tragically heartfelt and lovely. 'Waiting For You' introduces an almost urban beat. Those great horns are back and the song moves at a jagged pace. It seems to slow and speed up with a classical bridge in the middle. It's also a great song! So we've had a TKO right off the bat.
'My Vision' hearkens back to earlier Seal times. It feels slightly out of place on this record and would've been more at home on his first album. For fans of that record, I'm sure this number is a particular treat. But it moves away from the traditional R&B/Soul feeling this album has created thus far. 'Don't Make Me Wait' starts out sounding like a spiritual before transitioning into a beautiful ballad. 'Let Me Roll' starts off pretty funky. The music is very cool and the beat is groovy. Another stellar track. 'Touch' is one of those ballads that are simply breath taking. Once again, Seal achieves an amazing thing. He writes and performs a ballad worth hearing.
'Where There's Gold' kicks in and you'll be shocked to hear a Reggae beat sliding underneath Seal's animated vocal delivery. This one, although mellow, is still a strong number. 'Loneliest Star' delves into the more popular urban sound. It's another delicate ballad. 'Heavenly...(Good Feeling)' is another one that might've done better on a previous album. This one I can hear on his second album. It's still a pretty good track and I like it a lot. 'Tinsel Town' keeps the echo effect on the drum patch and meanders along at a sexy pace. It sounds like something George Michael would've recorded. Very powerful song though. Even with the softer music, Seal packs a punch on this one. The disc ends with 'Get It Together (Reprise)'. It's essentially an version of the song focusing more on an acoustic guitar in the arrangement. It's a satisfying end to the disc.
Seal continues to deliver quality product even years after he's "Peaked". This is a traditional soul artist who needs more exposure and opportunity. His voice is majestic. My final words: A CLASSIC, WRITTEN IN CLASSIC STYLE!!!!
SEAL - IV
01. Get It Together
02. Love's Divine
03. Waiting For You
04. My Vision
05. Don't Make Me Wait
06. Let Me Roll
07. Touch
08. Where There's Gold
09. Loneliest Star
10. Heavenly...(Good Feeling)
11. Tinsel Town
12. Get It Together (Reprise)
Erasure... What can you say? They built themselves a loyal following during the 80's and 90's that's never waned. Of course my interest lies mainly with Vince Clarke rather than musical partner Andy Bell... But I admit, I enjoy Bell as a vocalist. He's soulful and projects well. He's also full of personality. As a songwriter, I'm often baffled by his lyrics. They're often nonsense... Random words strung together. But whether or not you get into the lyrics with Erasure is kinda beside the point. What is lyrics do is paint a visual scene. Probably more than any other artist, you can fit Erasure songs into your life easily because you latch on to one line and that sums up a moment in time for you. The song then magically becomes that entire situation summed up in one glorious tune. And you will always see it through that lens. Erasure is a highly personal group for many people because of this.
'I Could Fall In Love With You' is the first single from the "Light At The End Of The World" album. It's one of Erasure's dynamic pop efforts that could easily transition to a ballad under the right circumstances. The music is light-hearted and fun. The beat is energetic and Bell really invests himself into the vocal performance.
The first two tracks are edits of a mix by Jeremy Wheatley. They pretty basic mixes and stay relatively faithful to the original version. They're more like arrangements of the existing tracks rather than an actual remix. I'm happy with them.
The next three tracks are edits of a mix by Lee Monteverde. This mix has a heavier rhythm section and barrels along at a great pace. Of the two mixes, it's the superior. The 'Dub 2' is my favorite of the mixes.
The last track is 'I Like It'. This is a non-album b-side. It's not one of their strongest, but it's still pretty good. The tempo is slower than usual for Erasure, but it gives Bell a chance to explore a more complex vocal arrangement. I would normally write this track off, but if you listen to the whole thing, there are so many little interesting moments, you have to like it. It forces you to dig it.
Erasure don't disappoint on this one. You get great value for your money. 5 mixes, a b-side and the album version of 'I Could Fall In Love With You'... My final words: IT'S A WINNER, FOLKS!!!
ERAURE - I COULD FALL IN LOVE WITH YOU
01. I Could Fall In Love With You (Jeremy Wheatley Radio Mix)
02. I Could Fall In Love With You (Jeremy Wheatley Extended 12" Mix)
03. I Could Fall In Love With You (Monteverde Radio Edit)
04. I Could Fall In Love With You (Monteverde Vocal Extended Mix)
05. I Could Fall In Love With You (Monteverde Dub 2)
06. I Could Fall In Love With You (Album Version)
07. I Like It (B-Side)
Traci Lords... Who doesn't know that name? She's infamous. Of course for a gay kid, she was infamous in a fabulous way. I was more impressed that she fooled an entire industry rather than turned on by her. So for me, Ms. Lords was more of an icon.
At the time this album came out, I was really into Juno Reactor. I was desperate for new material. I'd search online for any and all information concerning them. When I found out about this disc I was a bit shocked. For a couple of reasons. 1) I realized I already had it. I'd been given a copy at a release party, and 2) I hadn't listened to it. I immediately put it in and for that year... 1995 or 96, this record was everywhere. At least in Vegas. 'Control' and 'Fallen Angel' mixes were played at clubs and the songs appeared on movie soundtracks. Traci was everywhere.
I think you can probably tell I like this record. Both 'Control' and 'Fallen Angel' are amazing songs and both are collaborations with Juno Reactor. An instrumental version of 'Control' appears in the "Mortal Kombat" film and 'Fallen Angel' appears in "Virtuosity". The third track is another Juno number, 'Good-N-Evil'. The change on the third is different and relies on some strange beat counts. The music incorporates a horn sound giving it an old film score sound. There's a bass heavy synth sound droning along under the main beat that drives the song forward. I like it, but it's unusual. Next up is 'Fly'. She did this one with Babble, a band formed from members of the defunct 80's trio, The Thompson Twins. 'Fly' lacks a lot of the rave quality of the first three tracks and mellows the album out quite a bit.
'Distant Land' could be considered the first ballad of the album. Mike Edwards of Jesus Jones is up to bat for this one. The tune is subdued and mellow. It's followed by another Juno Reactor collaboration, 'Outlaw Lover'... I kinda consider this song the forerunner to 'Pistolero', a Juno track from one of their albums. It's actually quite exciting and I love it! Next up, you have another Babble tune, 'I Want You'. One thing you start to realize quickly is that Babble and Mike Edwards all contribute slower beats and more trippy tunes than the rave material Juno Reactor provide.
'Say Something' is about as fast paced as it gets for Mike Edwards. It's a lightly arranged tune and quite groovy. I really like this tune. 'Father's Field' is a collaboration with Babble and tells the story of a young woman being raped in a field. It's a stark and abrupt. The subject matter alone is controversial. Whether or not the song is autobiographical is unknown, but if it is... Very disturbing. 'Okey Dokey' rounds off the album and is Mike Edwards final cut. It's a loose, fast paced, fun little number with nonsensical lyrics and Lords giving an impromptu Oscar acceptance speech. It's light-hearted and completely at odds with the previous track.
So Lords is a complicated woman. She transitioned from the porn industry to make an even bigger name for herself in other media genres. She's smart, talented and if this album gives us any indication, she's deep and thoughtful. Instead of taking the sure bet by creating dreamy dance tunes with happy-go-lucky subject matter, she challenges us with controversial tracks like 'Control' (which basically suggests getting over a broken heart by surrendering your will to another person.... Hardly standard or traditionally accepted form of treatment), and 'Father's Field'... Wow.
One thing is certain, Lords is not going to be held to any standard we can think of. She'll choose to challenge and defy. In the grand tradition of Grace Jones, I think Lords could have a very successful career in music if she stayed focused on it. My final words: AN AMAZING FRESHMAN EFFORT... LET'S SEE MORE.
TRACI LORDS - 1,000 FIRES
01. Control
02. Fallen Angel
03. Good-N-Evil
04. Fly
05. Distant Land
06. Outlaw Lover
07. I Want You
08. Say Something
09. Father's Field
10. Okey Dokey
This disc is actually part of a trilogy of greatest hits records by LOA. On the heels of "Farstucker", "On The Racks" was released. Europe saw a second greatest hits package, "Private Parts" that same year and two years later, "Greatest T*ts" came out.
What sets this particular greatest hits package apart from the others is the inclusion of the three tracks released on "Private Parts" not released on any album. Unlike "Private Parts", "Greatest T*ts" is a more solid collection. It includes the most popular songs from the band as well as most of the songs they released as singles. Most of the material is fairly well known among LOA listeners. Here's a break down of the tracks and the albums they come from...
There are four songs from the band's first album "Lust": 'I Sit On Acid', 'Rough Sex', 'Take Control' and 'The Most Wonderful Girl'. The three tunes representing "Voodoo-U" are 'Crablouse', 'Marijuana In Your Brain' and 'Do What You Wanna Do'. "Our Little Secret" also has three tracks... 'Pussy', 'Rubber Doll' and 'Lover'.
1999's singles collection, "Expand Your Head" gets a nod with 'Am I Sexy' and "Farstrucker" gets a shout out with 'Scrood Bi U'.
Lords Of Acid are often more of a novelty than a real musical force. In some ways, they remind me of country music. The majority of their work is based on sexual innuendo and shock tactic lyrics. Country is similar. The most popular songs are usually centered around a play on words taken to an absurd extreme. The sexual nature of LOA's subject matter helps it avoid the more cliche song styling of American Country, but it can get old over time.
They're like casual sex. Often, there's no emotional connection, no soul... Of the three new songs, 'Gimme Gimme' is raunchy beats and a demanding mistress, 'Stoned On Love Again' see Praga Khan taking over lead vocals (a rare thing for a LOA record), with 'Nasty Love' being the only remarkable number of the three.
Still, there's no escaping the strength of the hit material they've included on this record. During their Heyday, the Lords were a force to be reckoned with. And this disc makes sure we remember that.
Ultimately, this is a skip unless you fall into one of the following categories... 1) a die-hard fan looking for a complete collection, 2) a fan who wants the three songs in their first US release, 3) a casual listener who wants the hits and strong material only, or finally 4) a new fan looking for a place to jump off and get to know the Lords.
For the rest of you, buy individual tracks or get the albums. "Greatest T*ts" may not be for you. My final words: A STRONG COMPILATION OF SOLID MATERIAL, BUT STILL SKIP-ABLE.
LORDS OF ACID - GREATEST T*TS
01. Gimme Gimme
02. Pussy
03. I Sit On Acid
04. Crablouse
05. Am I Sexy
06. Stoned On Love Again
07. Marijuana In Your Brain
08. Rough Sex
09. Rubber Doll
10. Take Control
11. Scrood Bi U
12. The Most Wonderful Girl
13. Do What You Wanna Do
14. Lover
15. Nasty Love
16. Gimme Gimme (Music Video)
