Kiss This (The Sex Pistols) – Compilation Album

Rotten And Vicious "Grace" The Cover

Rotten And Vicious "Grace" The Cover

What better way to commemorate the post number 77 of MusicKO than reviewing this compilation album? As you know, the Pistols were to release only one “true” album during their turbulent career, and a soundtrack that had mostly farcical appeal. What this compilation does is to take the entire “Never Mind The Bollocks” album, add the best tracks from the “Great Rock & Roll Swindle” OST and throw in a couple of studio tracks that are found in neither album.

The sequencing of the disc is flawless – my hat off to the one who took care of that. The first 4 tracks are the singles from “Never Mind The Bollocks”, and they are followed by the studio rarities “Did You No Wrong”, “Satellite” and “No Fun”, along with some of the best tracks from the soundtrack album (“I Wanna Be Me”, “No Lip” and “Stepping Stone”). Then, you have the remaining “Bollocks” tracks in the order that they appeared on the original record if you were to take away the singles (which here are placed at the very beginning). This means that “Bodies” is followed by “No Feelings”, “Liar”, “Problems” and so on. Once this section ends, you have Vicious’ “My Way”, and the album closes with an alternate take of “Silly Thing”. This time, Steve Jones handles the lead.

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Elton John – Album Review (Part 2)

(This is part 2 of the review. It discusses the remastered version. The original LP is dealt with in Part 1.)

All the “classic” Elton John albums were re-released in the mid 90s, remastered and with some bonus tracks to offer fans an incentive that would justify the purchase, as well as giving both fans and newcomers a sort of parallel overview of the songs that were released concomitantly yet left off each particular album.

The “Elton John” album is considered one of the best bonus-tracked releases along with the “Captain Fantastic” reissue. It includes three additional tracks: the b-side to “Border Song”, and a single of its own (Rock & Roll Madonna/Grey Seal). Of course, the name Grey Seal rings an immediate bell as the song was to be recorded anew with Elton’s classic band for the successful “Goodbye Yellow Brick Road” album in 1973. The consensus is that the later-day version is more cohesive, yet this early take has historic value since it stands as Elton’s recorded debut on electric piano. Continue reading

Elton John – Album Review (Part 1)

A Somehow Enigmatic Cover, Don't You Think?

A Somehow Enigmatic Cover, Don't You Think?

Elton’s rise to fame was not that immediate as many often think. He had been covering other people’s songs for some time, not to mention being a paid songwriter along with Bernie for longer than was fulfilling. His first solo album went unheeded, despite oozing enthusiasm from every fiber.

If anything, his career was a matter of different pieces falling into position – his lyricist, his producer, his arranger and finally his classic band. On this, his second album (and the one that broke the commercial apathy) we see the addition of two of these figures, namely producer Gus Dudgeon and orchestral arranger Paul Buckmaster. They all had some heavy names on their resumes such as David Bowie and Eric Clapton, and the moment they agreed to work with Elton anything he would put out was to be digested differently, because their experience was to be felt in the final product . Continue reading

A Decade Of Hits (The Allman Brothers Band) – Compilation Album

This Is The Original CD Cover. A Re-release Saw The Light In The Year 2000, And It Features A More Informative Booklet. The White Lettering Is Different.

This Is The Original CD Cover. A Re-release Saw The Light In The Year 2000, And It Features A More Informative Booklet. The White Lettering Is Different.

As you know by now, I am very attached to country music. It is probably my favorite American genre. It was only natural that I would start exploring Southern rock in due time, and that is exactly what has happened. Over the last week I purchased both a ZZ Top “best of” album and an Allman Brothers’ compilation, as well as locating a Lynyrd Skynyrd anthology that I will get my hands on soon.

While I enjoyed the ZZ Top album (and far more than I would have expected, to be frank), the one I came back to the most often this week was the Allman Brothers’ compilation. As its title implies, it collects their salient recordings during a whole decade, (1969 – 1979). Four studio albums and one live recording are covered here. Continue reading

Never Mind The Bollocks, Here’s The Sex Pistols – Album Review

A Classic Cover For A Classic Record

A Classic Cover For A Classic Record

I mentioned in the general introduction that I published yesterday that no band encapsulated the punk movement like The Sex Pistols. As an obvious result, no album stands as a better snapshot of the era than their one and only “true” release, “Never Mind The Bollocks – Here’s The Sex Pistols”. It was released at the height of the movement, in 1977. The singles up to that point were included along with songs like “No Feelings” that had acted as b-sides. Continue reading

Greatest Country Hits (John Denver) – Compilation Album

The Front Cover Of The CD

The Front Cover Of The CD

John Denver (1943 – 1997) was one of the best loved country musicians ever, and deservedly so. He was a compassionate man that was incredibly gifted as a performer, and this compilation (released in 1998) highlights that fact. The title is not 100 % accurate in the sense that not all of the compositions were hits – they were all released as singles, and some flopped like “The Cowboy & The Lady”, arguably the weakest thing on offer here. But regardless of the current performance on the charts, every song is imbued with the characteristics that made John Denver legendary – a great singing voice, an eminent set of melodies and a rush of emotions when one listens to them. Continue reading

The Sex Pistols – General Introduction

I know no single band that encapsulated so much what a musical movement was all about than The Sex Pistols, England’s most remarkable punk rock outfit. Every characteristic feature was palpable in them: the musical abrasiveness, the rampant political stance, the self-destructiveness, and the instrumental lack of prowess. I thought the last part of the previous statement over and over. I did not want to use an expression like “musical ineptitude”, but the fact remains that the true identity of those who played on their one and only album (“Never Mind The Bollocks – Here’s The Sex Pistols”, released in 1977) remains unknown. Continue reading

The Clash (US Version) – Album Review

Rocking The Town To The Clash City Rockers

Rocking The Town To The Clash City Rockers

In the same way that the first albums released by The Beatles and The Rolling Stones were revamped and even drastically modified for US release, The Clash’s eponymous album underwent the cut-and-paste treatment when it was released in the States in the year 1979.

Every person who has listened to the original album (released in 1977, obviously) arrives at the same conclusion: the original has a more organic flow, whereas the American edition features better individual songs. That is nothing surprising – the US edition ended up resembling a sort of mini compilation of their best songs up to that point. Songs that were added to the American release (which boasted 15 songs, as opposed to the 14 the British release included) featured the hits “Clash City Rockers”, “Complete Control”, “White Man In Hammersmith Palais” and “I Fought The Law”, a song which stuck out like a sore thumb because the production values were so much higher. That is something to take into account – the original LP was recorded in a dilapidated warehouse, and it sounded like that. You put something like “I Fought The Law” in the middle, and it feels like placing a scene from “I Am Legend” into “The Omega Man”. Continue reading

The Clash – General Introduction

I Fought The Law...

I Fought The Law...

There are many misconceptions surrounding The Clash. Regarding them as nothing more than punk rockers frequently tops the list. This happens because they started as that, and because one of their most successful songs from later on is a very loud number (you know which one – the one posing the existential dilemma).

Out of the six albums they were to release, only the first two ones deserve a “punk” label. They are the self-titled record (1977) and the one named “Give ‘Em Enough Rope” (1978). The third one (“London Calling”, 1979) had them diversifying their sound notably, until they experimented as much (or even more) than the Beatles in their triple album “Sandinista!” (released in 1980). The final album by the classic lineup was “Combat Rock” (1982), and it yielded two major American hits: the banal “Should I Stay Or Should I Go” and the so-so “Rock The Casbah”. These are the two songs most people associate with the band, and it is a bit shameful because they were capable of so much more than misconceptions arise and it is difficult to set things to right sometimes, even when you are talking to people who are music-educated.

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Elton John – General Introduction

Remember When Rock Was Young?

Remember When Rock Was Young?

It is very, very difficult to generalize about Sir Elton John. As much as I admire the man and his music, I am the first to admit that selectiveness is mandatory when you approach his catalog – and that applies even to his heyday way back in the 70’s.

His heyday way back in the 70’s. Elton achieved a degree of success and resonance no artist could even dare to imagine. And one thing that must be mentioned and remembered is that he fought for every inch of it. He captivated the public with standout records and mesmerizing performances, and he worked relentlessly hard from day one. Continue reading