Friday, October 24, 2014

FDF Volume 3 Issue 355 - Marvin Gaye - The Last Concert Tour


Album – The Last Concert Tour
Artist – Marvin Gaye
Key Players – Marvin Gaye – vocals.
Produced By - (Compiled by) Marc Fieldstone, Trevor G.Shelton and Gerry Young

Release Date – October 29, 1991

Overview – Recorded during his final tour in the summer of 1983 the red hot Marvin Gaye was back on top. With a top 40 hit “Sexual Healing”Gaye found a resurgence in popularity. Less than a year later he'd be dead, shot by his father after an argument.

FDF Comments (aka the songs) – The collection opens up with “Introduction”, which is just simply the emcee introducing Marvin to the stage. It rolls right over to “Third World Girl” which has the band in fine form. One immediate thing you'll notice is the quality of the recording. Gaye's vocals seems distorted and “warbly” at times. The packaging indicates that the disc was recorded live to 2 track stereo tape on analog gear etc etc. That being said, in this day and age live stuff can be cleaned up, at least some. The liner notes don't mention band members either. A rough cut brings you to  “I Heard It Through The Grapevine” which has a different audio source and sounds a little less noisy. Gaye chats up the audience before hand as the band lays down a funky groove. The bass player later in the track finds the slap/pop and great fills. The version is a bit more gritty than the single most would know, and feels even more full with extended horns. “Come Get To This” is a slower ballad where you could see Gaye shirtless singing to a lady in the audience. Its just paints that picture, even if it never happened you can figure it out what the tune feels like. There is a rough and abrupt change and “God Is My Friend” begins. This is a track where you'd wish it all “sounded” better as its Gaye with a solo piano. What could have been..... “What's Going On” follows. Arguably one of, if not his biggest (or very least most well know) track. The band is locked in and Gaye sounds solid hitting all the vocal marks and is in very fine voice. “Ain't Nothing Like The Real Thing” has Gaye taking his time getting started, even offering up a towel he has used to the ravenous female audience. His take on the Ashford and Simpson tune is respectable with his band and backing vocalists. “Your Precious Love” mixes well from the previous with the band still in their pocket ready to rumble forward. Gaye croons calmly and it too then rolls great over to “Love Twins”. Gaye did this song with Donna Summer and mentions her at the start. The bass work is solid and it has that really great groove. The horn section adds a lot, but the bass gets you right there all the time, its a short track that moves right over to “If This World Were Mine”. Gaye does a lot of chatting as “Joy” begins telling the audience about his father being a preacher and watching him be overcome with joy from the lord. This is a track that could really use the clean up. The band is just ripping on this and you can feel the energy, but it still seems compressed. It just needs to be fuller in the mix. The bass line is killer and the sax solo at the end is top notch with the backing vocals really going it just needs that push over the top. The track “Intermission/Interlude” is just that, a jam that must have taken place mid set to allow for a costume change or what have you. “Inner City Blues (Make Me Wanna Holler)” is the first song after the intermission track and we are back much like the feel of “Joy” Another of the bigger Gaye songs comes in “Let's Get It On” and from the opening guitar wah wah the audience loses their minds and he has them in the palm of his hand. “Distant Lover” slows it down and “Rockin' After Midnight” rolls right back with the funk feel. The song that brought Gaye back in to the public eye in the 1980s was “Sexual Healing” and as the keyboard pops off the keyboard you can hear the audience swell in anticipation and once Gaye sings “lets get down tonight” the audience goes wild. The version is pretty cut and dry, nothing that was broken out from the radio single,but a track he of course needed to do live. There is some interaction with the audience that one would expect. The collection ends with the track “The Final Chapter” which is the band looping on the hook of Sexual Healing and the emcee imploring the audience to give it up “one more time” for Marvin. There is a series of thank yous and Marvin saying he might be done performing live and giving his life to God. Its not really a song, but a moment in time captured that fades out with the audience and band.

Where are they now? Gaye was murdered by his father on April 1, 1984

FDF Overall Take/Was it worth Dusting Off? - Its really a live collection of some of his more well known tunes. The downside to this is just the recording quality. It sounds a bit like a bootleg yet it was released by a major label. Cleaned up somehow it might be worth a re-visit, but even with all the hits and Gaye back in the public eye even the most casual of music fans will be put off by the quality of the recording.

Links, find out more, follow em and buy!



Disclaimer – I am just a music fan. Feel free to comment about something that may be written incorrectly about the band/members etc. I strive to have a fun and enjoyable site. This site used to post mp3s but ran in to many issues. The audio clips provided are usually from YouTube. No copy write infringement is intended. Please alert me if something should be pulled. Finally, support the artist featured, or your favorite artist by purchasing their music, seeing their shows if possible and saying hi. They need your support.

Friday, October 10, 2014

FDF Volume 3 Issue 354 - Animal Logic - Self Titled.


Album – Animal Logic

Artist – Animal Logic

Key Players – Deborah Holland – vocals. Stewart Copeland – drums. Stanley Clarke – bass

Michael Thompson – guitar and banjo

Produced By – Stanley Clarke and Stewart Copeland

Release Date - 1989

Overview – This is the debut record from the band “Animal Logic”. The trio consisted of Deborah Holland on vocals, Stewart Copeland, well know for his work as the drummer in the Police and jazz bass player Stanley Clarke. The band would not last very long, releasing just two records.



FDF Comments (aka the songs) – The ten tracks clock in just shy of 40 minutes. The album opens with
 "There's A Spy (In The House of Love)" ”. Right away you are greeted with the solid and strong vocals of Holland. Coupled with the systematic drumming of Copeland and rich bass fills from Clarke, you are in for a ride. “Someday We'll Understand” is awash with atmospheric keyboards and again as Holland begins to sing you are pulled in. She has a very strong voice. There is a bit more pop in Clarke’s bass work and Copeland shines as expected. Michael Thompson is the guitarist on all the tracks and he has a nice intro as “Winds of Santa Ana” begins. The track has a little less driving force at the start and its a bit more of a laid back delivery, yet Holland still pushes her range, and it is especially noticeable during the chorus. A bit more acoustic/flamenco guitar greets you as “I'm Through With Love” and it has a fun tempo. The band is not locked in to one style, which keeps you guessing and the listen all the more refreshing. Copeland is right out of the gates on "As Soon As The Sun Goes Down" as it starts as the prior song is fading. Clarke joins in the party and the two lock in to a groove before Holland comes in. Another solid effort. “I Still Feel For You” finds Copeland with that trade mark cymbal work. His drum strikes are always so punchy and you know right away it shim playing. The chorus is solid and the band continues the path of catchy tracks. Clarke gets his due at the intro on “Elijah” and the band then settles in. There is a bit more banjo work from Thompson on this track, but Clarke still continues to find that solid bottom. “Firing Up the Sunset Gun” finds that bass sounds that has made Clarke well known and the he kicks back to let Holland open up. The more I listen the more I tend to fall in love with Hollands voice. She really shines. “Someone To Come Home To” finds the band at about their “rocking-ness” and its a good shell to come out of. “I'm Sorry Baby (I Want You In My Life)” wraps up the record and the track has horns and is much more piano led then we've gotten used to. Its a pretty song, ends the record on sort of a down note though.

Where are they now? - The band dissolved and the members have been on to other projects. Copeland and Clarke work in various bands and produce etc. Clarke has a new album that came out on September 30th. Holland has released seven albums since the demise of the band. A few under the band “Refugees” and a few solo albums.

FDF Overall Take/Was it worth Dusting Off? - Musically it is a a terrific record. There are some very talented and skilled players on the record. It might be a bit too campy for some. Not sure if the lyrics are corny or not., but it feels a bit more like a record your Mom would listen to. Not that its a bad thing, your mom has incredible taste. Might not pull you in all the time, but I find it a rewarding collection of songs.

Links, find out more, follow em and buy!





Out of print but you can find  here

Disclaimer – I am just a music fan. Feel free to comment about something that may be written incorrectly about the band/members etc. I strive to have a fun and enjoyable site. This site used to post mp3s but ran in to many issues. The audio clips provided are usually from YouTube. No copy write infringement is intended. Please alert me if something should be pulled. Finally, support the artist featured, or your favorite artist by purchasing their music, seeing their shows if possible and saying hi. They need your support.

Friday, September 26, 2014

FDF Volunme 3 Issue 353 - Brad - Welcome to Discovery Park


Album – Welcome to Discovery Park
Artist - Brad
Key Players – Shawn Smith – vocals, piano, guitars, drums, synth, bass. Regan Hagar – drums, synth, guitar. Mike Berg – keyboards, piano, bass, guitars, synth, organ. Stone Gossard – guitars, drums, organ, synth, bass guitar. Jeremy Toback – bass.
Produced By – Brad, Skip Drinkwater and Phil Nicolo

Release Date – August 13, 2002

Overview - This is the third studio album from Seattle Washington band “Brad”. Formed in 1992 the band is made up of friends and collaborators. The band writes and performs at their own pace and have five full length releases. They are probably most well know as Stone Gossard of Pearl Jam's side project.

FDF Comments (aka the songs) – The thirteen tracks are just shy of a one hour running time. Smith is out front as “Brothers and Sisters” begins. The piano is heavy in the mix and then then the ring of Gossards guitar comes out. The tempo is somber, and it really is a a showcase for Smiths smooth vocal. The track continually grows with the band coming in stronger and fuller as Smith leads the charge with Hagar keeping the tempo spot on. "Shinin"  is more acoustic based as it begins. There is a bit more a programmed drum feel and Gossard seems to lock in to one steady progression, but Toback gives a swoop on the bass and there are slides and keyboard runs to swallow you. The electric guitars are out on “Drop it Down”. It has a deep keyboard drive to it, with the bass punching in as well and Smith is a bit more staccato is his vocals during the verses, but he hangs it out more on the chorus. It feels like the band is not sure where they want to go, the lyrics are repeated and the riffs follow suit. I could have been a bit more focused for these ears. Berg again holds down the fort as “Never Let Each Other Down” begins. Hagar and Smith join and for a bit are just a trip. A bit more layers of keyboards come in with subtle bass, but there is no guitar for much of the song, only coming in after the second run at the chorus. “If You Could Make it Good” starts similar as the prior track with a lone piano and much of the same somber mood but as the song progresses there is a bit more urgency. The piano is heavily played and Hagar gets to get after the drum kit for the first time on the record. There are layers of keyboards but the piano is really struck heavily. We get a bit more of the garage feel with "Revolution" . A more compressed vocal and some crunchy guitars. We've been waiting for this I have to admit. The bass line is terrific, Smith is responsible for it and the guitar solo. You need to hear for yourself. As you read the liner notes it becomes further evident that this is really a Shawn Smith project. Case in point on “Takin' it Easy”. Smith is credited with vocals, piano and guitars. Berg has piano duty on
“Sheepish” and Hagar is in no rush to move things along. Gossard and Smith tangle on the guitars some. It begins on the slow side but as a band they know when to push it some and it grows nicely for the duration capping with a strong solo from Smith. “All Is One” is a trio of players on the track. Smith with vocals and guitars, Berg on bass guitar and synth and Hagar on the drums. The track has a big feel to it, sometimes almost downright powerful. Smiths vocals seem a bit buried but at times he showcases his strong voice over it all which is great. When a full band plays you get results like “Couch T-Bone”. It just feels more complete, the layers are there and there is a lot of interplay. A solid album cut. We get it again on “La,La,La” as the band finds their rocking side and another about face on the piano led “Yes, You Are” that ends with a great guitar solo from Thaddeus Turner. The final track is “Arrakis” an atmospheric track with piano, keyboards and synth leading the way. Gossard is on the bass and Hagar is held in check. A quiet, and seemingly fitting close to the record.

Where are they now? The band are still active in the studio and live. They released their last studio album in 2012 called “United We Stand” and have toured since. Hagar, Gossard and Smith have remained with the band since the start.

FDF Overall Take/Was it worth Dusting Off? - There is no doubt that there is some talent in this band. I'll admit what lead this to me originally was that Stone Gossard was involved. I kept wanting the record to really break out though. Its good, and sometimes you need to appreciate things as a whole rather than single tracks, which is hard to do in this day and age.

Links, find out more, follow em and buy!




Disclaimer – I am just a music fan. Feel free to comment about something that may be written incorrectly about the band/members etc. I strive to have a fun and enjoyable site. This site used to post mp3s but ran in to many issues. The audio clips provided are usually from YouTube. No copy write infringement is intended. Please alert me if something should be pulled. Finally, support the artist featured, or your favorite artist by purchasing their music, seeing their shows if possible and saying hi. They need your support.

Friday, September 19, 2014

FDF Volume 3 Issue 352 - Ours - Distorted Lullabies


Album – Distorted Lullabies
Artist - Ours
Key Players – Jimmy Gnecco – lead vocals and guitars on all tracks
Produced By – Steve Lillywhite, Mark Endert, Jimmy Gnecco, Mark Endert and James Bray

Release Date – May 15, 2001

Overview - This is the first official album from the New Jersey formed band “Ours”. For the most part the band is the brainchild of singer/songwriter and multi-instrumentalist Jimmy Gnecco. Gnecco has always felt that adding new members to the mix keeps it more creative. This album was released and found modest success and the band started to make a name for themselves while supporting other major acts on tour. Within about 3 years the band had three releases. They might not be well known, but Gnecco's voice along with a strong live reputation have a fan base that is ever growing.

FDF Comments (aka the songs) – Gnecco really does the bulk of the work on this 12 song record. Opening with "Fallen Souls" one thing that stands out right away his is vocals. The deep baritone can quickly change to a falsetto and the music swirls around him. He'll reach up vocally and then come right back down. The guitars are solid and the drums and bass keep everything in check. Right out of the gate you get an understanding this guy has some talent. “Drowning” has a great drum and guitar intro that attacks the listener. The vocals are a bit more falsetto here but the production showcases the bass well. “I'm A Monster” finds Gnecco more laid back than the other two tracks. More acoustic and hushed drums give him room to expand vocally. More pianos and orchestral sections find him in a very comfortable place. Released as a single  "Sometimes"  was met with moderate success. The guitars are layered and it has that big rock intro that grabs you. It was a solid choice for a single. “Merryhead” is a bit more erratic at the start with the vocals off set to the beat and everything getting quiet and Gnecco croons and with a drum beat its set back in motion. A bit more keyboard layers here too to break up the rock/slap back beat. One needs to remember that much of this record is just one guy and "Here is the Light"  will have you wondering how he does it. You'll need to listen for yourself to get it.“Medication” is a quieter track with more focus on the acoustic side of instruments, but that changes as the drums come in. It builds in speed but the string layers add a great touch and his vocals here might be the finest on the record. We continue “quiet” with “Dancing Alone” but Gnecco breaks that vibe and the full band joins in as he continues to shine vocally. Again, the layer upon layer of instruments is just astonishing. “Bleed” fits right in with the feel of the record with his vocals all over the range (a good thing). “Dizzy”also is right at home. For the duration of the record I keep feeling like I hear Jeff Buckley, and that is not a bad thing. “Meet Me In the Tower” is another testament to that fact. “As I Wander” closes the album with acoustic guitar, bass and Gnecco. After a bit there is some electric guitar, but nothing is in a rush and Gnecco seems to be even higher with his falsetto than ever before.

Where are they now?  Gnecco is still busy with the project. He released a solo record in 2010 and 2011. Ours most recent release came out in 2013 entitled “Ballet the Boxer 1”

FDF Overall Take/Was it worth Dusting Off? There is no denying that he is very talented and this album showcases so much.  Its sadly overlooked and the people that do know of the band, and his work will talk your ear off (in a good way) to get you to pay attention.  Its okay to jump on now.

Links, find out more, follow em and buy!







Disclaimer – I am just a music fan. Feel free to comment about something that may be written incorrectly about the band/members etc. I strive to have a fun and enjoyable site. This site used to post mp3s but ran in to many issues. The audio clips provided are usually from YouTube. No copy write infringement is intended. Please alert me if something should be pulled. Finally, support the artist featured, or your favorite artist by purchasing their music, seeing their shows if possible and saying hi. They need your support.

Friday, September 12, 2014

FDF Volume 3 Issue 351 - Soul Asylum - Grave Dancers Union


Album – Grave Dancers Union
Artist – Soul Asylum
Key Players - Daniel Murphy – guitar, vocals. Grant Young – drums. Karl Mueller – bass. Dave Pirner – vocals, guitar.
Produced By – Michael Beinhorn

Release Date – October 6, 1992

Overview – This is the sixth studio album from Minneapolis, Minnesota band “Soul Asylum”. Formed in 1981. Up to this point the band had recorded and toured with little fanfare but with the release of this record they'd sell 3+million copies, peak at #11 on the Billboard chart, and win a Grammy award. They'd play the inauguration party for Bill Clinton. They'd continue along nicely for a few years but album sales began to drop and the band was released from their major label (Columbia). The band would rotate a few members over the next few years, but in 2012 they did release new material.

FDF Comments (aka the songs) – Opening with what was the first single from the record
“Somebody To Shove” kicks off the 12 song 45 minute album in fine form. The wall of guitar grabs you and when Pirner begins to sing the Young and Mueller bottom rumbles forth. The layers of guitar on the chorus and the urgency in Pirners voice just continues to grow. A song you'll still hear often enough on radio. “Black Gold”, another big radio single for the band lulls you with some acoustic guitars but then kicks it up with the buzzy rock feel. Young is laid back as Murphy and Pirner intertwine the guitar lines. The mix of acoustic and electric is a nice touch and Pirner has some solid vocal chops with his range. The track that most folks would remember this band for would be the acoustic lead"Runaway Train" . Well known for a video that showed the images of missing children it was instrumental in many reunions with families. Pirner and Murphy seem to find a solid place to play off of and Young has a pretty solid bass line when you really listen to it. The first three songs off the record were released to radio as singles, and you probably hear them all these years later. The band gets a bit more rocking on “Keep It Up” with the low end rock riffs and driving beat. For the first time as well you hear some of the good harmonies and backing vocal work with Pirner and Murphy. They space out some, going more acoustic with “Homesick”. The song has a more spread out feel to it with the band taking its time both musically and lyrically. "Get On Out" finds the band it a bit more of that 'foot stompin' rock mode. It feels new for the band, on the record at least. It stands out and just gets that good rock and roll build and guitars and just a fevered tempo. Lots of fun to listen to, it should have had a hard end vs a fade, but its a solid tune. “New World” is another quieter acoustic guitar based track. This is a pretty track that shows that the band is more than a one trick pony. “April Fool” brings back more of the swooping bar room rock. The guitars bite and the cymbals crash with tense breaks before they open for the chorus. The big 80's feel on the build up to the chorus is another fun touch. A lost or buried track that is fun to hear after many years. Another big single for the band came in “Without a Trace”. Another one that is hard to see as “forgotten” I guess. Another good guitar battle is found on “Growing in to you”. Pirner is a bit more snarly on his vocals and the bass and drums have the urgency to really drive the track. The track “99 %” has a similar feel. There is more distortion on the vocals which gives it that Seattle sound to some extent of what was popular around this time, but the music is pretty solid. Closing out the record is “The Sun Maid” another quieter acoustic lead track.

Where are they now?  Mueller died of cancer in 2004. Murphy left the band in 2012 with the desire to lead a quieter life. Pirner, who is friendly with director Kevin Smith, scored “Chasing Amy” and contributed music to “Clerks” and “Clerks 2”. The bands most recent studio release cam out in 2012 was called “Delayed Reaction”

FDF Overall Take/Was it worth Dusting Off? - Listening in full some 20+ years later it holds up well and its easy to see/hear why it was a big hit for the band. They focused on what worked for them, solid instrumentation with catchy vocals. It is/was dirty feeling, but maybe not grungy as grunge, but that made it stand out all the more.

Links, find out more, follow em and buy!

Fan site -here




Disclaimer – I am just a music fan. Feel free to comment about something that may be written incorrectly about the band/members etc. I strive to have a fun and enjoyable site. This site used to post mp3s but ran in to many issues. The audio clips provided are usually from YouTube. No copy write infringement is intended. Please alert me if something should be pulled. Finally, support the artist featured, or your favorite artist by purchasing their music, seeing their shows if possible and saying hi. They need your support.

Friday, September 05, 2014

FDF Volume 3 Issue 350 - Garbage Garbage







Album - Garbage
Artist - Garbage
Key Players – Duke Erikson – guitars, keyboard, bass. Steve Marker – guitars, bass, samples, loops.
Shirley Manson – vocals, guitar. Butch Vig- drums, loops
Produced By - Garbage

Release Date – August 15, 1995

Overview - Formed in 1993 the Madison Wisconsin based band “Garbage”. Manson was coming out of the band “Angelfish” and the others worked in various levels of production and engineering (as well as bands). They'd release this, their debut that would become a worldwide hit. It sold well, but with regard to US Charts it peaked at #20, slowly getting there despite the singles doing well. The band would continue to write and tour. They are active again, but see the “where are they now” for updated information.

FDF Comments (aka the songs) - The twelve tracks clock in just over 50 minutes. Opening with
“Supervixen” you will be impressed with the production. When you have a few of them in the band you'll notice the focus. The full band opens up and when Manson begins to sing it is a bit hushed until they head to the chorus when Vig gets the drums going a bit more. Erikson has a pretty good section on the guitar and Manson exudes sex appeal as she purrs the lyrics. “Queer” was the third official single to be released from the record. The shimmering guitar line and smooth vocals pull the listener in. A bit more focus on the keyboards and loops here than the opener. The track swells to the chorus and the bass work is smooth and clean. It has a pretty smooth overall vibe and then Erikson and Vig get it pushed some, but Mansons vocals smooth it all out. The second single released from the record was “Only Happy When It Rains” and you'll hear this on the radio still fairly often. The track is a standout of a bit more of the rocking side of the band. The guitars and Manson are the focus on this track. Soak it in once more.  “As Heaven Is Wide” is more bass driven with Manson sliding in. There is a bit more keyboard interplay as well with Vig having a robotic drum tempo laid down. We are a bit more straight up rock as “Not My Idea” rolls out. The guitars are right in your face, but are tight and clean. The loops and keyboards give the song the electronic back beat and Vig does the fills. Marker and Erikson swap guitar lines. “A Stroke of Luck” is a track that is heavily focused on the keyboards. Again with the layers and the basic back beat Manson is hushed and slow to break out allowing the music to really fill any gaps. The first single released off the record was “Vow”. The guitars reverberate across the speakers and after a little from Manson the full band comes in. It has a big full rock feel to it, but there are stronger songs that could have, should have been the lead off single. Its strong and would serve as a fine example of what the band is about, so that must have been the reasoning. (Actually it was released as a single at the time because it was the first song that was fully produced) The fourth song released as a single (and second you probably still hear pretty regularly) is "Stupid Girl"
 It always gets me with the the same drum riff a “Train in Vain” by the Clash, but its a solid track that still stands up well. (Also the drums are sampled off “Orange Crush” from R.E.M). The attack is back on the track  “Dog New Tricks”. The buzz of the bass drives the track and Manson is off to the races. Once the chorus comes in the band really seems to come together in one joyous riff. The intro on “My Lover's Box” gives you the impression they are going to rock, and they do, but hold it to the chorus. The guitars get a work out on “Fix Me Now” which is a nice change. At times it feels a bit too slick so when the band goes “traditional rock” its refreshing. “Milk” closes out the record, which was the 5th and final single to come off the record. Manson is much more laid back and the keyboards are there to provide ambiance.

Where are they now? - The band has actually gone on hiatus a few times, actually disbanding once while recording of their fourth album. They'd reform and complete it, tour, but halt that to go on hiatus.
During down time the band had other projects from acting to production. Vig has produced many records including the upcoming release from the Foo Fighters. Their most recent studio album was released in 2012 called “Not Your Kind of People” but there are talks of a new album coming out in 2014.

FDF Overall Take/Was it worth Dusting Off? - This is a good snapshot of the mid 1990s. Its got the grunge elements that folks might have wanted at the time, but the clean and solid production give it a really solid “listen”. Combine the sultry Shirley Manson and you've got a winning combination. The band is back together so it will be interesting to see where they take it to next.

Links, find out more, follow em and buy!



Disclaimer – I am just a music fan. Feel free to comment about something that may be written incorrectly about the band/members etc. I strive to have a fun and enjoyable site. This site used to post mp3s but ran in to many issues. The audio clips provided are usually from YouTube. No copy write infringement is intended. Please alert me if something should be pulled. Finally, support the artist featured, or your favorite artist by purchasing their music, seeing their shows if possible and saying hi. They need your support.

Friday, August 29, 2014

FDF Volume 3 Issue 349 - Morphine - YES



Album - Yes
Artist - Morphine
Key Players – Billy Conway – drums. Dana Colley – baritone sax. Mark Sandman – 2 string slide bass, vocals.

Produced By – Marks Sandman and Paul Q. Kolderie

Release Date – March 25, 1995

Overview - This is the third studio album from the Boston band “Morphine”. Formed in 1989 the trio blended jazz and alternative rock. Using non conventional lead instruments the band carved out a niche. They were more successful over seas, but this album was their first to crack the Billboard top 200. The band would build a niche audience and actually become very popular outside the United States. The sudden passing of Mark Sandman halted the band in their tracks.

FDF Comments (aka the songs) – The albums 12 songs track out to just 37 minutes. Opening with
"Honey White"   the band sets that tone right away..a very unique sound with a baritone (in a rock band) being such a dominate instrument. Conway settles a great back beat and Sandman and Colley just rumble with the bass that finds a both swing and kick to it. Sandman doesn't have a ton of vocal range on the track, but his voice is perfect for the layers of bass being used. With just two strings on his bass Sandman has a pretty cool intro on “Scratch” and then Colley comes right up. The track is a bit more laid back than the opener, but the groove on the track is infectious. Colley gets a bit more of a showcase on the track and your toes will be tapping along with your head bobbing. He nails it. “Radar” has a bit more a dual layer with Sandman and Colley at the intro. Conway never really opens up huge, but holds that back beat. Sandman has another cool bass intro on “Whisper” and Conway eases back as does Colley who almost whispers his notes, but spreads out mid song with a soaring solo.  “Yes” is another departure for the band. They change it up on each track it seems. A bit more smooth, but still a funky rumble of a track while a track like “All Your Way” just grabs you with the bass line and baritone sax. It always grabs you, but the band will change from a hard punch to a smooth groove to grab your attention. “Super Sex” as the title would imply is a track with a bit more of a drive to it with swirling bass lines and quivering saxophone sections. “I Had My Chance” slows it down with Sandman having the lead and Conway in no rush. Colley then comes in and its enough to give you chills. The swell of it all is grand. “The Jury” intro sounds like something Tim Burton would use in one of his films. There is a spoken word intro but the bass guitar has a “watery” sound to it and Colley sounds busy, but its not overpowering. We get a rock-a-billy intro with "Sharks" . When Sandman is singing the band lays back, but once its their turn to play it all takes off. “Free Love” has much of the same feel as sharks, a bit plodding at times, but the band continues to alter their sound on each track. Wrapping up with “Gone For Good” the band takes a real departure. Mark plays an acoustic guitar and the vocals are very hushed, almost just a man and his guitar.

Where are they now? - On July 3, 1999 Sandman collapsed on stage while performing in Italy. He was pronounced dead of a heart attack and the band disbanded. Following Sandmans death Colley and Conway set up “Orchestra Morphine” a band set up to tour and celebrate Marks life, as well as raise funds for the Mark Sandman Music Education Fund”. Conway and Colley also worked with former Face to Face lead singer Laurie Sargent to form “Twinemen”. The two have also worked in management and production and got together again in 2009 as “Members of Morphine”. With new vocalist Jeremy Lyons the band changed their name to “Vapors of Morphine” and still preform live.

FDF Overall Take/Was it worth Dusting Off? - It is a fun and interesting listen. I will admit I don't know a ton about the band. Them being “in my backyard” I wish I saw them live as the tunings, instruments and just overall cool factor are just off the charts. There is a best of collection out now where new fans can dip in, but I am sure you'd be pleased with any of the releases.

Links, find out more, follow em and buy!

Facebook page (quiet since 2009)
There was a documentary made about Mark called “Cure for the Pain” you can read more about it


Disclaimer – I am just a music fan. Feel free to comment about something that may be written incorrectly about the band/members etc. I strive to have a fun and enjoyable site. This site used to post mp3s but ran in to many issues. The audio clips provided are usually from YouTube. No copy write infringement is intended. Please alert me if something should be pulled. Finally, support the artist featured, or your favorite artist by purchasing their music, seeing their shows if possible and saying hi. They need your support.