Nothing new this week.

due to some family matters that took up the bulk of the week, nothing new this week.

Hope to see you back next week for some updated content.

FDF Vol 2 Issue 164: Motorhead - No Sleep 'Til Hammersmith

By: March

Album - No Sleep 'Til Hammersmith
Artist - Motorhead
Key Players - "Fast" Eddie Clarke - guitar, backing vocals. Phil "Philthy Anima" Taylor -drums. Ian "Lemmy" Kilmister - bass and lead vocals.
Produced By - Vic Maile

Release Date - June 27, 1981

What caused me to blow off the dust? - Rolling Stong just did a spectacular article on Lemmy and I realized it had been some times since I listened to any Motorhead. I am surprised to report that I own more of their "recent" stuff than the older stuff, which is odd.

Overview - This was the first live album from the band was recorded on various nights during a short tour (none of which was actually the Hammersmith). This would be bands lone #1 record (in the UK). The band would fracture from this incarnation within a few years and many purists fine this the best line up. Lemmy has kept Motorhead alive since.

FDF Comments (aka the songs) - The collection opens up with the bands trademark tune "Ace of Spades" with Lemmys bass punching over the top before the band explodes around him. Taylor and Clarke lay the ground work right at the outset with cutting guitar lines and hammered drum lines. The lyrics are at breakneck speed and Lemmy sings with his whisky soaked howl. Taylor smacks the kit as "Stay Clean" opens. Lemmy gets some help from Clarke on the vocals and the band locks into that tight metal infused groove. Lemmy introduces "Metropolis" and Taylor rides over his cymbals before the Clarke comes in. Lemmy has a simple few bass notes and then the tune clicks off. Its a little more "melodic" than the prior two cuts. The guitar has more of a chime to it and the bass, although punchy, has more of a flow to it. Lemmy give the "thank you very much" and he intros "The Hammer" before Clarkes buzzy riff opens and we are slammed back down into the tune. Lemmy sings this one as fast as the albums opener and the band is really in punk rock mode. "Iron Horse" is a punchy more melodic song and towards the end the band almost works on odd time signatures, but it never strays from the deep rooted rock feel. We switch right back into the rock mode on "No Class". Taylor works the drums and the band follows suit keeping the odd time change in the middle. They feel straight forward, but they do what they can to change up the feel. Clarke rolls out a quick solo that is not too flashy. The album is full of trademark Motorhead tunes and "Overkill" is no exception. It is a punk speed metal song from the get go. The audience roars in approval but the band buries them with sound. Clarke scorches another solo and Lemmy howls at the moon per the norm. Taylor tries to click "(We are) The Road Crew" off, but Lemmy wants to dedicate it to the road crew and then they launch in to it. How Lemmy can hold up the growl in his voice is just stunning. The band locks in to a groove and Lemmy delivers the lyrics in rapid machine gun like precision. Lemmy talks up "Capricorn" before it begins and the bass gets the good punch we are used to from Lemmy. Clarke chimes over with some chords, but the bass and drums lock in to the groove. When the chorus comes it is much more basic musically. The band shows how tight they are in "Bomber" and everyone is really set on overdrive as this song just blasts forward with Clarke taking the lead over the band before it all crashes down in the end. The collection ends with the track "Motorhead" which has almost a rockabilly feel to it, but the power of the bass, drums and guitar wash that out of your head, but come the chorus you really can hear it. It is a fun, toe tapping hard rockin tune that wraps up the collection nicely.

Where are they now? - Motorhead are still active both as a studio unit and live act, but some things have changed. Clarke left the band in 1982 and worked in the band "Fastway" and then worked on other projects. He fell ill, but has since recovered and is rumored to be working on some additional Fastway material. Phil Taylor left the band in 1984 but came back in 1987. According to the wiki article on him, he was warned to straighten up his act and was later fired for a poor performance on a record. He is now a member of the band "Overkill". Lemmy still writes and tours as Motorhead and is a sought after guest on records. He is the subject of a documentary that was set to be out in 2009, but looks like we have to wait to 2010. (See links). The bands most recent studio record was called "Motorizer" and it came out in August of 2008.

FDF Personal Comments (aka the Live experience) - The lone time was part of Ozzfest 98. July 9, 1998 and it was only a "second stage" performance and probably just a tad over 30 minutes, but I think the capacity crowd did everything they could to squeeze into the tiny wooded area where the second stage was. They blew the leaves off the trees, I swear its true.


FDF Overall Take - Seriously, watch the the movie trailer below. I need to give these guys way more respect and more of my time. Its been far too long.

Links -
Official site here and myspace.


The movie trailer, here is something that needs to come out..NOW.

Curious? Check out some MUSIC!

No Class
Overkill
The Hammer

Tracks taken from "No Sleep 'Til Hammersmith" which you can buy here .

Disclaimer - For the most part songs listed you can find on iTunes or your local cd shop. The idea is to give you a little taste of the music. Please support the artist buy purchasing some of their work. Songs are posted for about 1 week but can and will be removed at the request of the artist, band, band management etc. If you are one of those persons contact me via the email link in the profile and they will be removed as soon as we are made aware of the request.

FDF Volume 2: Issue 163 - God Lives Underwater - Empty

By: March

Album - Empty
Artist - God Lives Underwater
Key Players - Adam Kary - drums. Andrew McGee - guitar. David Reilly - lead vocals. Jeff Turzo - keyboards/synth.
Produced By - GLU and Gary Richards (Exec. Producer Rick Rubin)

Release Date - September 12, 1995

What caused me to blow off the dust? - I bought the cd for a dollar, replacing a pretty dusty cassette version. It has been a very long time indeed. I think I need to dust more.

Overview - This was the major label debut, and first full length record from Pennsylvania based God Lives Underwater. The band started in 1993, released an ep in 1995 and then later released this record. With the backing of Rick Rubin the band would blend styles and sounds of David Bowie, Nine Inch Nails and other "electronica" styled bands they'd storm commercial rock radio and a few of the tracks were used on movie sound tracks. The band would go on to release a few more records and ep's before disbanding in 2005.

FDF Comments (aka the songs) - "Still" opens the record with a loopy, yet playful sounding keyboard part before the drums and guitar comes in. The guitar is distorted and the drums keep a basic back beat. Reilly sings in a sort of nasal whine, but its effective for the style of music. He sings a little monotone as well, but will pound out the vocals at later times. One of the albums radio singles comes in "All Wrong". The keyboard intro phases over the guitars and drums. The band has a few instrumental breaks and then they come chugging back in. Reilly has a little more flash in his voice and pushes it some. The band lays into the keyboard loop with the guitar riffs washing over it all. "Fool" has a buzzier guitar and more of a hard driving drum line at the intro. Some keyboards wash over before the vocals begin. Reilly is more gruff on this and the keyboard switches to a more playful mode, before the guitars come in and restore order of the track. The title track "Empty" follows, utilizing a familiar keyboard tone and a buzzy guitar once more. The band hasn't spread its wings too much to this point, but come the chorus they do try out a little different direction with a more full sung chorus but it could use more of a backing vocal section to fill it out some. The music though feels like it was locked in a looped segment. "Don't Know How To Be" returns to the sound of the first couple of tracks, with more a focus on the buzzy guitar. When I worked as an intern at WBCN the jock I worked most for used the intro (actually the ending loop is the same) to "No More Love" as a music bed. It presses rewind on my life button every time I hear it. It was good times. This is a perfect example of the band in its strongest form. Focused, punchy and rocking. Great stuff. "23" follows and is a darker, more mellow track that the prior tracks. It is the first foray into a mellow sound on the record for the band. "We Were Wrong" returns to the vibe of the earlier tracks on the record. The guitars and drums return with a fury and the band sounds to be pushing one another. "Weaken" is one of the longer tracks on the record and slowly starts off with a looping keyboard part under the vocals before the guitars come in. They are big power chords, but it doesn't push the song to be any quicker. The band finds a heavier groove as it progresses. By this point in the record you begin to realize there has been no guitar solos, and no one member is show cased above each other. It might not be technically challenging, but the band knows its place and each player sticks with their role. "Tortoise" opens with keyboards over the electric back beat before it slips in to a solid groove. Another strong representation of the bands overall sound. The album closes with "Scared" is an acoustic lead track. The electronics are gone and the band is stripped down. A unique choice to close off the record.


Where are they now? - The band broke up in 2005 and moved on to other projects. Turzo continues to write and perform under the moniker "Wired All Wrong" and when they performed live McGee would perform with them. David Reilly died in his sleep in October of 2005 from complications of a coma brought on by bleeding, as a result of a tooth infection. He was only 34.

FDF Personal Comments (aka the Live experience) - Saw the band on two occasions. The first was February 23, 1996 in an support slot for Spacehog (FDF Looks at Resident Alien). Also on the bill that night was Mr.Mirainga. My buddy Jason and I went and were impressed with all the bands. The other time was part of the WBCN River Rave at the Tweeter Center/Great Woods/Comcast Center in Mansfield on May 31, 1998. The band was on the festival bill with the likes of Green Day, Offspring, Soul Coughing, and Semisonic.

FDF Overall Take - At the time, this was a genre of music that seemed to be getting pushed to the public conscious. It was a hybrid of pop/rock with some industrial flair. It lasted not too long, and few bands were left standing in the end. It is not a terrible collection by any means and has a few decent radio singles.

Links
Fan site here and myspace


Curious? Check out some MUSIC!

All Wrong
Tortoise
No More Love

Tracks taken from "Empty" which you can buy here.

Disclaimer - For the most part songs listed you can find on iTunes or your local cd shop. The idea is to give you a little taste of the music. Please support the artist buy purchasing some of their work. Songs are posted for about 1 week but can and will be removed at the request of the artist, band, band management etc. If you are one of those persons contact me via the email link in the profile and they will be removed as soon as we are made aware of the request.

some albums from my inlaws basement part 2...

here is part 2...

(oh in case you missed it..part 1 is here.
1) This is another record that came home with me. I gave it to my cubemate at work for her birthday. Amazing how big this group was.

2) This is one bad ass...
3) This is great..signed even..thanks Scott Read!
4) I know its a take off of the day the earth stood still, but does Ringo realize nobody really cares about his solo stuff? Peace and love..peace and love indeed.
5) The record was missing from this one..but what studio gave this the green light?
6) Just a great cover..they can't all be bad right?

7) Who doesn't love "Organ Favorites?"...There is One Hour of them after all.... 8) The record was missing on this one...but was this a series in the 70's much like "Now that's what I call Music?"
9) Misty Blue and the wicker chair....I love this one.

10a) This is the back cover for....

10b) This record...freaking record was missing on this one as well. Holy cow I bet this was fantastic.

11) Lots of play on words here. I know Ronstadt was huge, and a sexy icon of the era.
12) We now return you to the matching suit folk band....

This one here was the grand prize winner. No record on the inside...I wonder what fixes a hangover..the secret was on this record...

Some album covers from my inlaws basement..

Back in August the family and I headed back to my wife's hometown for her mothers wedding. One day, I was sent to the basement and told to look through the albums in the basement and take what I wanted. I finally own a "smart" phone and the timing couldn't have been better. Some are better than others, and there are a slew of "bad album cover" sites out there, but it was something to do.

There are a fair number of them so here is part 1.

1) I swear I have seen this one. The cover itself is pretty cheesy....but

1a) Chceck out the back cover. The dude in the back, second from the right...one word my good man. Bandana. We might make fun of Bret Micheals, but they are on to something.

2) Its just Kenny. That beard can soak up a spill better than a shamwow.
3) Another sort of harmless cover, but John Denver, the silouttes...this was wolf shirt before wolf shirt.
4) Who knows it might be good..but this is records I stumbled upon the most, folky looking collections with matching outfits.
5) I actually liked this cover..there are a few I dug, this one sorta hit me with its colors.

6) Wow, I wonder if they toured with Riot.
7) "Other Voices" means "No Jim" so probably "No Thanks"
8) This cover is just awesome. Blonde woman, on shag carpet..sorta cool laid back dude on the couch. Some of these I swear I wish I could have listened to right then and there.
9) There was no record in this one....i think the cover says it all.
10) Back to the folk groups in matching outfits.
11) Love...love will keep us together. Hey Capt...get the dogs we got an album cover shoot.
12) Okay...rinse lather repeat.
13) This is one record that actually came home with me. I mean come on..the freaking Baja Marimba Band??!
14) At the time I am sure this cover, and these outfits were bad ass...



part 2 coming tomorrow...

FDF Volume 2: Issue 163 - Everlast - Whitey Ford Sings the Blues

By: March

Album - Whitey Ford Sings the Blues
Artist - Everlast
Key Players - Erik Schrody, aka Everlast - vocals, guitar(s), dj scratching
Produced By - Everlast, Dante Ross and John Gamble

Release Date - September 8, 1998

What caused me to blow off the dust? I've been singing "Ends" for a few weeks now off and on.

Overview - This is the second solo record from Everlast. Previously Everlast was a member of the rap, hip hop act "House of Pain" and left to work on other projects. He released a solo record that didn't do much commercially then worked with House of Pain before they disbanded in 1996. A popular record when it was released (it would go on to sell more than 3 million copies) Everlast was well on the road to personal recovery after suffering a heart attack before the albums release. Everlast was in such demand he actually worked with Santana on his smash release "Supernatural" when he performed on the track "Put your Lights on" and it would win a Grammy award. Everlast would continue to release solo records, tour and even record the theme to the television series "Saving Grace".

FDF Comments (aka the songs) - The album starts off with a short "skit" called "The White Boy Is Back". Its just a toy organ sounding groove with some back beats and backing singers singing the title. "Money (Dollar Bill)" follows seamless after the intro. Everlast has a deep voice that blends a growl with a whisky soaked hoarseness. The track follows the traditional feel of a rap track with strong back beats over a standard looped track. Rapper Sadat X tosses in some call and response verses with Everlast as the song expands. Everlast is actually rapping pretty quickly as the tune fades. The second single of the record follows in "Ends". A much more laid back affair with Everlast and an acoustic guitar being the focus, with some samples tossed in from time to time. It is a big step from the prior track and his work in House of Pain. I think many folks were surprised this was the same person. The albums first single, and most notable popular song is "What It's Like". Also utilizing acoustic guitars and some scratching the song weaves in and out of moods. This song is still a staple on rock radio stations and it still seems to "work" fine. "Get Down" has a dj scratch right at the start and "get down" is sung over an echo. Everlast locks in to a more straight forward rap on this track. "Sen Dog" is a short phone message recorded skit before "Tired" beings. Keeping with the rap feel the song uses a little more full of a sample. The back beat still drives hard and Everlast goes at it pretty hard lyrically. "Hot to Death" is the first track that seems to use live electric instruments. The drums may be canned, but the guitars and bass feel live. In the liner notes, it appears only the bass was given credit as live instrument. Everlast seems to be on to something here, a little more urgent and grinding of a track it stands out amongst the straight up rap tunes, or acoustic ones. Using the feel of a plane arriving "Painkillers" begins. Everlast raps about being over tired and ready to use some "enhancements" to wake up. There is another short skit/phone message in "Prince Paul" before. "Praise the Lord" begins. The track uses samples from the Gang Starr track "Dwyck". Everlast name checks Darryl McDaniel (Run DMC) and settles in to a tight lyrical delivery on the track. The acoustic guitar returns, but is buried on the mix some, but still offers that punch. "Today (Watch Me Shine)" returns to more of the roots acoustic guitar style found earlier on the record. Everlast keeps an even keel on his vocal delivery and this is a front porch, foot tapper from the first verse. "Guru is another short skit that leads to "Death Comes Callin'". Everlast is even more laid back at the outset but as the first verse kicks off it locks in to a tighter groove. Casual fans would find this track easy to get in to, even with his break beat rapping and dj scratches. "Funky Beat" follows suit of the prior track, with a little less aggressive back beat. There is a little more of a bounce in the loop that is used. On this track Everlast uses another rapper (Sadat X) and he seems to take more of the lead on the track, but he and Everlast compliment each other nicely. "The Letter" is more of a heartfelt slower rap tune that uses the back beats, but with piano over the top. A full horn section is used on the intro of "7 Years" before Everlast comes in. Again, Everlast seems to be breaking out of the mold. With the piano and horns being as strong a focus as the lyrics. The album closes out with "Next Man" another darker, deeper track. Ends on sort of a low note, but still a solid collection.


Where are they now? - Everlast continues to write and perform. He has released a total of five solo records, the most recent being
Love, War and the Ghost of Whitey Ford that was released in the fall of 2008.

FDF Personal Comments (aka the Live experience) - The only time I saw him live was May 28, 1999 at the Tweeter Center. He was the support act on the Lenny Kravitz tour (that also had the Black Crowes opening). I recall catching the later part of his set, but recall the stage being very full with musicians.

FDF Overall Take - There are some real shining moments on the record and I can see casual fans being really sort of hit or miss on his work. Either they'd like the rap stuff, or the acoustic stuff. Although they mesh well I can only assume that people bought this record and were sort of surprised with the content.


Links
Everlast on myspace.

Curious? Check out some MUSIC!

Seven Years
Death Comes Calling
What It's Like

All tracks taken from "Whitey Ford Sings the Blues" which you can buy here.


Disclaimer - For the most part songs listed you can find on iTunes or your local cd shop. The idea is to give you a little taste of the music. Please support the artist buy purchasing some of their work. Songs are posted for about 1 week but can and will be removed at the request of the artist, band, band management etc. If you are one of those persons contact me via the email link in the profile and they will be removed as soon as we are made aware of the request.

FDF Volume 2 Issue 162: Deee-Lite - World Clique

By: March

Album - World Clique
Artist - Deee-Lite
Key Players - DJ Dmitry, Jungle DJ Towa Towa, The Lady Miss Kier Kirby
Produced By - Deee Lite

Release Date - August 7, 1990

What caused me to blow off the dust? - The cd never really had dust on it. The reason being is I had it on cassette tape. I got a promo copy of it when I worked in a record store. The cd I stumbled upon for 99 cents a few months ago. Makes it easier for me to listen to, and share a track or two from if I have on cd.


Overview - Formed in New York City in the late 1980's, Deee Lite released a debut record that blended deep funk and dance grooves that slowly climbed the U.S. Charts. The band would be much bigger on the dance charts vs. the "pop" charts and would release two more albums after this before disbanding.


FDF Comments (aka the songs) - A track added to the cd release was "Deee-Lite Theme" track penned by Herbie Hancock. The looping deep bass track gives a solid back beat and the band introduces themselves as who they are, and where they are from. The spoken portions are repeated over delay and phase before fading out to "Good Beat". "Good Beat" has a heavy dance groove and has splashes of a piano at time. Kier just says she wants a "good beat" and the tempo keeps steady but tosses in various instruments but doesn't stray from the groove it locks in to. Kier has a strong voice and uses it at the right times to really showcase the fullness the band can emote. One can easily hear the sample lifted from "Pump Up the Jam", and the vocal portion of the track is far longer than you'd expect for a dance track. A piano works the opening of "Power of Love" but the bass groove comes up quick and Kier does the harmonies with herself via over dubs (at least according the liner notes). The strong suit of the band is finding a tempo and marking that time. Kier opens up solo right out of the gate on "Try Me On...I'm Very You". After 20 seconds of some soulful singing the back beats come in and the oohs and ahhs begin before the bass bumps once more. There is a horn section utilized on the track and the track rolls from funky beats to soulful based jams. A real solid track. The drums and piano match great on "Smile On" before the horn sections come in. The group is throwing us in an odd direction here. There is a guitar part over the first portion that Kier sings. This track, at least vocally, is less urgent and allows for a more smooth delivery. "What Is Love? - Deee-Lite, Deee-Lite" repeats the song title over a heavy keyboard "boop doop" (one or two notes played at a time). The drums are very canned sounding and its remains instrumental barring the spoken portions until close to the two minute mark. Kier comes in and sings in french from time to time. The track rolls perfectly in to "World Clique" a track with a very familiar back beat and groove. (Pump up the Volume again) Kier sings quicker on this than some of the prior tracks and it has a far more up tempo over all feel (even for a dance/pop record). This was also a single from the record that had some pop radio air play. "E.S.P." is another track that locks in to a deep groove with a catchy back beat. The big money track "Groove Is in the Heart" follows. Surprised the albums single is this deep in to the record but it rewards the new listener right away. The vocals are catchy and it has to be that slide whistle that gets everyone falling into the "Groove". Q-Tip from A Tribe Called Quest as well as Bootsy Collins over vocal support (Bootsy on bass as well) The bass intro grabs you from the start and you shake right along with the percussive instruments. "Who Was That?" continues with the strong/solid back beat and smooth vocal delivery. The guitar has a punch on it working with the bass and you'd swear it was a toss off from an old Stevie Wonder record. "Deep Ending" was the closer of the record "pre cd version". Again, we hit a steady looped back beat and drive with the bass and lock in to the tried and true formula. The cd version wraps up with the instrumental track "Build the Bridge" a track that has a few "whoops" from the singer, but is not an overly interesting track.

Where are they now? - DJ Dmitry lives in Germany and still performs live. DJ Towa Towa also works as a full time DJ and is also a producer. Kier also works as a DJ and solo artist, and performs live from time to time. According to her entry on Wiki there are talks of a solo record being recorded with a future release date.

FDF Personal Comments (aka the Live experience) - Never saw the band live.

FDF Overall Take - It might not be something I'd reach for every day, but this is a solid collection front to back. Really no "skippable" songs. If you were to play at a party you'd probably get pretty deep in to the record before people might notice, or ask who it is..then "Groove" will start and you'll be golden. It is too cheap to not grab. Do it today.

Links
Lady Kier official and myspace pages.

Curious? Check out some MUSIC!

World Clique
Try Me On..I'm Very You
Groove is in the Heart

Tracks taken from World Clique, which you can buy here.

Disclaimer - For the most part songs listed you can find on iTunes or your local cd shop. The idea is to give you a little taste of the music. Please support the artist buy purchasing some of their work. Songs are posted for about 1 week but can and will be removed at the request of the artist, band, band management etc. If you are one of those persons contact me via the email link in the profile and they will be removed as soon as we are made aware of the request.