CD reviews of: Blitzkid, Alice Cooper, The Datsuns, The Everdead, The Exploited, Fear Cult, Fink, Graveyard Boulevard, Jane's Addicition, KISS, Marilyn Manson, Motorhead, Necro Tonz, Penis Flytrap, Pissing Razors, Iggy Pop, Rock City Morgue, Type O Negative, The White Stripes, and yet another compilation from Cleopatra Records. Enjoy...

Reviews by: David Necro, Ava

Blitzkid
'Trace of a Stranger'
(@ntidote)

Mid-tempo to fast punk with sad and melancholy vocals and killer harmonies. Not to mention lyrics that show a true understanding of the horror genre. This band's latest release is a statement that you don't have to copy the Misfits almost note for note to make great horror rock. I look forward to hearing more from these creeps. Meanwhile, check this out before you check out. As always. -DN

Alice Cooper
'The Eyes of Alice Cooper'
(Eagle)

This is what I'd call a mixed bag. This latest slab from Alice, while pursuing a more straight-ahead (and bare bones) rock n' roll approach, it lacks the depth and darkness of his previous 2; 'Brutal Planet,' and 'Dragontown.' What he have here is more of a 70s glam sound. That's not necessarily a bad thing per se, and the playing by his band is very good on here, but it's not what Alice does best. There are examples of that on this album, most noticably in the songs "Spirits Rebellious," and "This House Is Haunted," which are quite portentous in tone and enthralling. With the song "Man Of The Year," we are confronted with the tragedy of suicide. It's great black humour and delicious irony as even though this guy seems to be perfect, he still isn't happy with life and he ends up offing himself. Of course Alice has been a master of this for years, so it comes as no surprise yet it still tickles the funny bone. However, most of this disc deals with boy/girl relationships, which seem kind of awkward being sung by a married man with 2 kids. On the other hand, these relationships can and do result in much grief, heartache, even insanity. So, it can be looked at as a sort of real-life horror. Hmm...interesting. Another stand-out would be "Detroit City," a tribute not only to the city itself, (where rock n' roll is more than just mere entertainment, it's a culture, a lifestyle) but to the now legendary scene that Alice himself (along with cohorts Michael Bruce, Glen Buxton, Dennis Dunaway, and Neil Smith) was a part of in the early 70s. As the 'Motor City Deadman,' I can safely say that Alice captures the attitude and vibe of my hometown quite well, and it's sure to become a classic in and out of Metro Detroit. At times this disc reminds of 'Muscle of Love,' and it could be said that in relation to his catalog, this would fall right in betweem that album and 'Welcome To My Nightmare.' There's a lot of humour and sleaze here, but not enough of the macabre. So, this isn't Alice's worst album, but it's not nearly his best. This 1 won't have Marilyn Manson going back to the drawing board, and I would kindly suggest to the Coop that instead of re-hashing the past, he might wanna move ahead and pull some real frights (that we've never heard before) out of his hat before he calls it a day. Maybe he will on the next album. We shall see... -DN

The Datsuns
'The Datsuns'
(V2)

The Datsuns (who were named because guitarist Christian Datsun was de-virginized in 1) come up with a raw, sizzling collection of tunes that scream 100 percent sex, drugs, and rock n' roll. Nothing really morbid or dark here, but sometimes you just gotta kick back, have some wild, unadalterated fun, and put the Christian Death, Danzig, and Type O Negative records away for a bit. This disc definitely does the trick, and possibly may remind some of the big name rock n' roll vets (especially Aerosmith) about the kind of music they could (and should) be making. Same goes for the pop-punk and nu-metal geeks as this 1 cd (along with the Rock City Morgue stuff) makes them totally irrelevant. The sooner those bands take a hike, the better. So, go on Datsuns with your bad selves, and may you roll down the "highway to hell" for years to come. -DN

The Everdead
'Slumber Party Massacre II'
(@ntidote)

From Grand Rapids, Michigan, this ghoul little band blends 60s psychedelia, 50s rockabilly, and overall dementia. Plus some very gory lyrics. All of this adds up to a very fun and entertaining presentation. This is their beast to date. Another winner (not a weiner) from Denver, Colorado label @ntidote Records. These guys are right at the top of the current horror tock (or horror punk) heap, and it must be said that they continue the Michigan rock n' roll tradition by being a high-energy and no frills band. So, as with any cd deserving of my recommendation, check this out before you check out... -DN

The Exploited
'Fuck The System'
(Spitfire)

After quite a few "just ok" releases, The Exploited are back with a vengeance. The fire is back, the playing rips, and the production is probably the best ever. This disc bristles with white-hot energy and holds it's figurative middle finger in the air.
Wattie gets his points across this time by calling out liars, saying "fuck you" to everyone (especially the system,) and of course his unique socialogical views. The supporting cast does their job well with hard-charging and pounding tempos, soaring lead guitar work, and hooligan choruses. It's dark, loud, and defiant. What all of this adds up to is an Exploited album that is very comparable to their classic work. Nope, punk's still not dead. True punk, that is. Which is what's on this cd, motherfuckers. -DN

Fear Cult
'Visionary Complex'
(Cleopatra)

No, Goth's not dead, and this album is what every goth club should be playing more often instead of that awful death disco crap. What we have here is some intense guitar-driven Gothic Rock, that does use electronics, but judiciously. In a business sense, it's a great marketing decision to mix up the more danceable side of goth with hard deathrock, which is appealing to both old and new fans of the genre alike, and may even bring in people from other audiences as well. But what's more important (to you the reader, and I suspect the band as well) is the artistic side, and Fear Cult is more than a poor man's London After Midnight, albeit louder and heavier. There is a tangible, eerie vibe created that is surrounded by mystery and intrigue. Nothing here is boring or repetitive, and this cd says modern all the way; most notably in the production, but also in the passionate performances therein by Nikki Star (bass,) Van Shock (guitar,) and Tony Havoc (drums.) It reminds you of what was going on 20 years ago; but it's not retro or rehash, and it's not too electronic and dance-oriented. Which is a very ghoul thing, no? The lyrics on this album deal with nothing too surprising; sex, sin, religion gone mad, and heartbreak. However, it avoids the cliches of most bands in this genre, as singer/leader Matt Riser draws from emotions within rather than just trying to get your attention or sympathy. Fear Cult don't take the goth thing too seriously as there's a lot of tongue in cheek going on within this album. In addition, they strike me as a fun band who aren't afraid to rock out and play stuff that's catchy and melodic, yet still staying dark and thought provoking. Let's face it, these 4 aren't posers, and a lot of bands, gothic or otherwise could learn a lot from them. They are as they appear to be. In closing, a very unpretentious release from a very unpretentious band, who I hope shake up a genre that I love to death, but unfortunately has become too damn pretentious. -DN

Fink
Son Of Finkenstein
(@ntidote)

This South Bend, Indiana band combines happy melodies with lyrics on the more horrific and scuzzy side. It's obviously not meant to be taken too seriously. It is fun, and in a lot of places reminds you of classic Cheap Trick and early glam rock. The playing is ok, however a bit more energy needs to be there as the songs tend to drag quite a bit; not enough bite, not enough balls. The production is absolutely...well, there doesn't seem to be much there at all. Maybe that's the point, but it stifles the music and the emotion therein. Not my cup of tea, it's just not poisonous enough... -DN

The Graveyard Boulevard
'Toe Tags & Body Bags'
(@ntidote)

Before we begin, a little history lesson...The Graveyard Boulevard are the ex-Frankenstein Drag Queens minus ex-singer Wednesday 13 (who of course went on to greener cemeterys with the Murderdolls.) So, here we have their debut release, 'Toe Tags and Body Bags.' Well, how do I put this...it's mostly cheezy campy glam rather than spooky or macabre horror or death rock. But when it is, it's pretty cool; straight-ahead punk n' roll with creepy riffs. The production isn't that great as well, rather mucky I'd say. This isn't the worst of horror rock or horror punk, but it's far from the beast. I would venture a guess that either Wednesday 13 made the right move by moving to another crypt or that these guys require his presence very badly. I dunno, you judge for yourselves and hand down the final verdict. -DN

Jane's Addiction
'Strays'
(Capitol)

Gone from the scene a lucky 13 years, Jane's Addiction picks up right where they left off. This is an album that bristles with dark surrealism, profoundness, and the bump and grind aspect of secuality. It represents a band who had survived childhood tragedy, drug abuse, inner conflict, and has lived to tell us about it. This evident in more intropective lyrics, and not so much coming from the streets of L.A. Although the song "Wrong Girl," is possibly the most street-wise tune yet from them.

The band is noticably tighter, this even with a new member in bass player Chris Chaney. Dave Navarro's riffs and solos are absofuckinlutely brain-sizzling, Stephen Perkins lays an extremly tight and solid groove, and Perry Farrell's vocals are as demented and direct as they ever were. However, the compositions are less tribal and experimental; more straight ahead, hip-shaking rock n' roll is the order of the day here. Nevertheless, they know what the Hell they're doing as each member's playing compliments the other perfectly, and getting Bob Ezrin (Alice Cooper, KISS, Pink Floyd, etc.) as a producer was a smart and savvy move. Not only does it give credibility to the project, its the best Jane's Addiction has ever sounded recording-wise. Fiends, the scene is kinda pathetic at the moment. So, thanks to the guys for releasing this; it couldn't have come at a better time. I sure hope it shakes things up like it once did all those years ago. Time will only tell. -DN

KISS
'Symphony: Alive IV'
(KISS Records/Sanctuary)

As some of you may or may not know, this wasn't the original 'Alive IV.' The original was supposed to come out on KISS' old label, Mercury, back around the time of the 'Farewell Tour.' I haven't heard bootlegs of that, but if that had come out, it would have been 1 of the last recorded performances with now-departed original (and arguably best) guitarist Ace Frehley. However, KISS has delivered an 'Alive IV,' which features Ace's replacement (and 1 time tour manager) Tommy Thayer.

Yeah, yeah, that's old news. So, KISS went to Austraila to record this with the Melbourne Symphony Ensemble and Orchestra on (as the cover says) 2-28-03. According to Paul Stanley, "it was an unholy marriage of black tie and black leather, and the child it bore has made both parents very proud." Oh yeah Paul? the KISS Army will be the judge of that. It's sold pretty damn good, so I guess the fans do like this...but which fans? Anyway, how is this damn thing? Well, to answer your first question, Tommy Thayer can play. This 2 cd set shows it clearly. However, something's missing, that something extra that Ace provided. Sorry to say, but that's the way I feel here. As many quirks as Ace has, which Gene Simmons (and others) have told us about, you can't beat the chemistry that the original 4 had. Maybe this Gene's way of teaching Ace a lesson, I dunno. That's between Gene and Ace; we don't know what really goes on behind the scenes, so i'm not holding (or wasting) my breath on the whole controversy. If you kids wanna, knock yourselves out and slap yourselves silly.

Alright, getting back to this cd (or cds)...it starts off pretty kool with a killer trio of early classics; "Deuce," "Strutter," and "Let Me Go, Rock N' Roll." From there it kind of slides downhill with "Lick It Up," and "Psycho Circus." What saves the whole opening set from being a snooze (other than the 3 tunes mentioned above,) is a particularly sleazoid and raucous version of "Calling Dr. Love." Sure, as 1 of Gene's calling cards, he's gonna make sure it's damn good.

Then we have the dinner music with the ensemble...what a let down. After a decent set of some kick ass rock n' roll, we have some of KISS' worst tunes in "Beth," and "Forever." It's done acoustically, and while it's good for easy listening radio, it's not indicative of what KISS is about. Maybe I'm wrong here, but it's like neutering a pit bull, and it goes no place fast. To be fair, Gene does lay down powerful vocals on "Goin' Blind," some pure pure singing that I really didn't think the Demon was capable of. Things do get better with the symphony, but it's hit or miss. They're just out of place on "Rock and Roll All Nite," and "Shout It Out Loud." I mean, it's almost laughable at times. The guitars seem to have been turned down vis a vis the opening set. Just so we can hear a violin, big fuckin' deal. Although, the symphony isn't a total waste as they add a lot of drama and a cinematic vibe to "God of Thunder," "Love Gun," and "Black Diamond." Actually, even "Detroit Rock City." What the symphony does then, is it fleshes out the stories and themes present in those songs. Otherwise, it's like bad elevator music; it's fucking annoying and gives you that restless "can't sit still" feeling.

Don't get me wrong, this 'Alive' doesn't suck. You see, my measuring stick is that always tasty slice of raw power, 'Alive!' I don't KISS can top that 1, but then again, a bad KISS album is a lot better than other people's best. I know a lot of KISS freaks are with me in my wishes for KISS to go back that dark, sleazy, and scuzzy presentation they had from their debut up until 'Rock And Roll Over.'

So, we wanted the best, but we get the best? Well, the jury's out on that 1. I think it's there, but you really have to listen for it. Performance alone, I think it's a job well dome. Gene's a beast, Peter's pounding away, and Paul is well, being Paul. So, there you have it, and you don't have to worry about Gene suing your ass like he just might do to my undead ass after reading this review! -DN 

Marilyn Manson
'The Golden Age of Grotesque'
(Nothing/Interscope)

There comes a point in time where every established
musician and/or performer faces one serious dilemma, excluding an
over-inflated ego, and that is the question "Do people even give two shits
about me anymore?"
 In Manson's case, the answer is beginning to lean more towards a
collective NO. But, and there is a but....In this he and his band have an
advantage, because when your audience and everyone else expects you to keep
on doing the same thing, or re-using the same stale ideas, you must either
crash and burn or knock them on their unsuspecting asses.
 While the music itself is certainly a little less than exciting, the
overall aesthetic on Golden Age is fresh and even somewhat surprising.
Portrait was childish in a sense, but only in the nicest sense of the term,
being that this laid the foundation for what the band would go on to
portay. It was fun, sassy even. Antichrist and Mechanical Animals, though
on complete opposite sides of the spectrum, were both admirably "artistic"
and moving in the sense that they had an ongoing theme, and one that made
perfect sense at that. Holy Wood completely threw all of this out the
window and was a flat-out concept album. Considering this, Golden Age could
almost be the end of the "full circle".
 This holds true mainly because the message is less probing, and a little
more reminiscent of the early days, when things were tongue-in-cheek. Also,
it is interesting to note that while this holds true, the album still
overflows with many cultural and, of course, controversial topics and
references, which is great since the music is often so disappointing.
 Whether or not you are a fan of Manson and what he "stands for" hardly
matters. The factor here is if he is able to catch and hold your attention,
and if he can, he is obviously still doing something right, whether you
find him intriguing, played-out, or downright obnoxious. -Ava

Motorhead
'Extended Versions'
(BMG)

Hey, now this is pretty damn cool! A budget priced (don't pay more than 6 bucks) cd that contains 10 tunes off of the 1999 live album 'Everything Louder Than Everyone Else.' Matter of fact, this budget cd sounds a bit better than the original 2 cd set. So, there you go; if you still don't have a Motorhead album in your horrible little hands, what the fuck are you waiting for? GO BUY THIS NOW. There's very few bands that deserve the 5 or 6 bucks, let alone anything higher.To me, this is 1 of the most perfect stocking stuffers, house warming gifts (your neighbor's lawn be damned,) and PTA raffles. This really is a big deal, as due to it's low price, Motorhead music will seep into more homes around the world. Plus, it goes without saying that there's some real hot performances on this thing. Another added bonus is the killer black and white photo of Lemmy, Phil, and Mikkey that graces the front cover. Alright, have I convinced you little monsters to buy this, or what? Yes, it has "Killed By Death," and "Orgasmatron" on it, ok? -DN

The Necro Tonz
'Welcome To Cocktail Hell'
(necrotonz.com)

Terror-ific (and well-performed) lounge music from those "swank purveyors of cemetery sounds," The Necro Tonz. The perfect songs to drink absinthe martinis to (with a shot of formaldehyde.) Very hypnotic and relaxing, with singer Necrophilia sounding every bit as smooth and sexy as she looks. Definitely a "Diva of The Dead." A enchanting combination of the morbid, romantic, and the humorous which is great from snuggling up with your favorite boil or ghoul in the old coffin as soon as the sun comes up. Their cover of the Misfits' classic, "Skulls," is not to be missed. If you're looking for something different in the death music genre, look no further. I've been to 'Cocktail Hell' myself, so get ready for a real ghoul time, and don't forget to order me a bloody mary once you get there. Heh-eh. -DN

Penis Flytrap
'Dismemberment'
(Black Plague)

Alright, a lot of bands try to be horrific, dark, and gruesome. Most of them either take themselves too seriously or come off as hacks. Then you have this bad 'Saturday Night Fever' in a graveyard crapola maquerading as goth. Bullshit. Goth and Deathrock comes from punk and rock n' roll whether ya like it or not. Leave it to the Queen of Deathrock, Dinah Cancer to show 'em how it's done. Assisted by Lucifer Fulci (bass,) Elvorian Von Spivey (guitar,) and the enigmatic Hal Satan (drums;) Penis Flytrap, like the band before it, 45 Grave, suggests the danse macabre yet rocks like a mutha. The prefect cd to ravage your lover under a full moon, a Halloween party even if it isn't October 31st. It's very lively and direct, for such a deadly band. It's more undead than dead. From the sound of it, this band plays for keeps. And let me tell ya, I got a boner at the end of "Scream My Darling." Of course; who wouldn't wanna be Dinah's boy-toy for the night? Hey, if you don't make it out of there alive, at least you had a good time, right? I don't have that problem, as I am undead myself. (ha ha) -DN

Pissing Razors
'Evolution'
(Spitfire)

Scalding, brutal thrash metal (with themes of death, despair, and the pain of life without getting whiny like the shitty nu-metal scene) from the el loco hombres out of El Paso, Texas, Pissing Razors. At time it is reminsicent of Pantera and Fear Factory in tone; however, the songwriting strikes me as more intersting, commanding, and thought-provoking. I really don't understand why these guys haven't had the success of the above mentioned bands. Well, if they continue to release albums such as this 1, they just may. You never know... -DN

Iggy Pop
'Skull Ring'
(Virgin)

Well, well, well, what do we have here? The first studio recordings from the Stooges in 30 years, on Iggy's latest solo album no less. Hey, better than nothing, right? In what is an all-star supporting cast which includes 2 songs backed up by Green Day, 1 by Sum 41, 2 duets with transgender rapper Peaches, and the rest by Iggy's long-time back-up band The Trolls, The Stooges tunes win this battle royal hands down. Continuing their legacy, and it's almost if they've never stopped playing; the very same feeling that came over me in witnessing their homecoming gig in the Motor City (see my review in 'Live Undead' for more on that.)  The riffs, the beats, and the whole goddamn enchilada is there creating once again a wild and chaotic atmosphere with heavy doses of sex and death for good measure. Finally, some good production for these guys as these are the best sounding Stooges recordings to date. Amazing after all these years, and you have to wonder why Iggy refused to work with the Asheton brothers (Ron and Scott) until now. Most of this cd is excellent as well, and will give nightmares to the PMRC (not to mention the FCC) with tons of sleazoid imagery running throughout. The only clunkers on this are the songs that Green Day, Sum 41, and Peaches contribute to. They aren't complete crap, however they pale in comparison to what the Stooges and the Trolls do here. Actually, the Green Day and Sum 41 songs are the best thing I've heard from either band. If you listen closely, you can hear Iggy cracking the whip. The tunes with Peaches, a electro-garage-rap hybrid, are great for the dance floor on fetish night (or at a strip joint,) but don't make for the greatest listening experience. And Iggy himself? Well, this album has some of his best vocals in years, head and shoulders above his last release, 'Beat 'Em Up,' which sounded like he was going through the motions that Brian Johnson of AC/DC did for a while. The Trolls (Whitey Kirst-guitar, Pete Marshall-bass, and Alex Kirst on drums) have improved as well since that last album, much tighter and focused, and they manage to come up with some killer riffs, and bass/drum parts, instead of chord bashing and half-assed jams. If this album were a pyramid, you'd have Iggy and the Stooges up on top, The Trolls struggling to get there, Green Day and Sum 41 sliding down the sides of it, and Peaches walking like an Egyptian down on the desert sands. On the front cover is Iggy's hand showing you his what else? His skull ring, and I'd like to know where I can get 1 of those. On the back, Iggy is sticking his tongue out at us, will make Gene Simmons (of KISS) either proud or will make him want to file a lawsuit. It's anyone's guess... -DN

Type O Negative
'Life Is Killing Me'
(Roadrunner)

It might have been quite easy to give a well-rounded,
informative review of, say, “October Rust”. This was certainly an album
with its own sound. However, this does not hold true for their most recent
release, “Life Is Killing Me”, an album that showcases fifteen slabs of
music that all sound completely different. I know at this very moment there
is some picky little music cynic who is saying, “All of Type O’s material
sounds the same!” I beg to fucking differ, and that is an understatement.
 So to make things simple for you (and more importantly, ME), I present you
with a song-by-song analysis.

-Thir13teen- It’s sludgy. It’s depressing as hell. It’s a Type O Negative
intro.

-I Don’t Wanna Be Me- Alright, so obviously we have a change of pace here.
Change is always good, true? Very up-tempo if there ever was such a thing.
Although, I hope no one actually dances to this.

-Less Than Zero (<0)- When the band wrote the basic structure of this song,
they deeply pondered, “What is it that is missing?” And then it hit
them-sitars and tamburas!

Todd’s Ship Gods (Above All Things)- By far one of the most beautiful
songs on the entire album, this one chronicles Pete’s feelings towards his
father. And serving as a bonus, if you listen closely you can hear the
seagulls at the beginning. Why can’t they pull that off live?

I Like Goils- This one is pretty self-explanatory if you take the time to
read the lyrics. The music is very fast-faced, and Sal Abruscato’s vocals
add a nice touch. Also, judging by the infamous Playgirl centerfold, we can
all rightly assume that the girls like Pete back.

A Dish Best Served Coldly- Now this is certainly a song that changes
considerably throughout. Lyrics speaking of resentment and regret give the
music a nice hostile feel, and that feeling is always the best.

How Could She?- Although this track is not all too memorable musically
compared to the others, it is amusing to say the least. It still takes the
cake in terms of most unique subject matter. What other song will ever
mention Vanna White? Hopefully none!

Life Is Killing Me- VERY catchy vocal pattern in this one, and the
mid-paced tempo gradually gives way to a more sluggish, doomy guitar riff.

Nettie- Judging by the subject matter, this one is most likely more
personal to Pete than the rest, and should not be expected to be heard live
anytime soon. Very emotional, with a simple but beautiful melody.

(We Were) Electrocute- Definitely more of an acquired taste in terms of
what you will enjoy the most off the album, but Electrocute still stands
its ground sonically and thrives in a world of its own.

IYDKMIGTHTKY (Gimme That)- Listen to that intro and tell me that is not
one of the most pissed off things you’ve ever heard!

Angry Inch- You were expecting at least one cover, weren’t you? Good. This
is also very pissed off, but the tongue-in-cheek humor nearly overshadows
that. That’s perfectly fine though, because the topic of sex changes should
hold your attention any day!

Anesthesia- Just flat-out beautiful, with a sweeping keyboard line and
many sudden changes. This is also probably the song that would sound best
live.

Drunk In Paris- I couldn’t tell you why, but this instrumental gives me
the creeps. I also could never imagine these guys in Paris…

The Dream Is Dead- Albums should always end on a good note, and what
better way to do that than declare that love is nonexistent?

These fifteen songs all showcase the band’s trademark
ability to combine morbid (not to mention corny) humor with beyond
melancholy themes, and I must say, it is not a bad result whatsoever. -Ava

Various Artists
'Graver's Paradise'
(Cleopatra)

What a surprise, yet another comp (no, you little creeps, I'm not referring to the buffets here in Vegas) from Cleopatra. With this 1, they appeal to both new and old goths, and whoever is affilated with that scene. From a marketing standpoint, it's a no brainer. As far as the music, the most lethal stuff on here is courtesy of Rosetta Stone, Mission UK, Bella Morte, Switchblade Symphony, Fear Cult, and the Genitorturers. The rest is that ebm/synthpop crap, which has nothing to do with a "gravers paradise" any more than that bimbo Britney Spears. Who knows and more importantly, who cares? The good stuff on here makes this a worthwhile purchase as you can easily seperate the good and the bad, the real and the fake, etc. If you end up liking everything, so be it. Maybe this is alright after all. -DN

The White Stripes
'Elephant'
(V2)

Blending emotions, let alone conveying emotion is not an easy task for any band. With all of the hype and success surrounding this album, you have to have your doubts. Are The White Stripes really that good? The answer is, yes. Even though they still can't play for shit (in a technical sense,) the emotional roller coaster that you get put on with this album is always entertaining, and makes up for any lack of musicianship. The emotions The White Stripes present here run the gamut from the eerie and sinister with songs like "Cold, Cold, Night," "Little Acorns," "The Hardest Button to Button," and "Seven Nation Army," to the naive and innocent, in "There's No Home For You," and "You've Got Her in Your Pocket," to the downright silly in "Well It's True That We Love Another." A strong aura of foreboding and mystery dominates this disc, and it's easy to imagine this duo (helped by their ghastly appearance) was some little known 60s or 70s garage band from Detroit, and are now back from the grave. There's an urgency and sincerity about this album, and 1 that is filled with raunchiness and nastiness, yet has a more than a touch of elegance. You also have to wonder how 2 skinny white kids play this hard, and are so masterful of these heavy blues riffs and beats. In addtion, the production is an interesting aspect, being as this was recorded on equipment 40 years old or older. Whatever was done, the sound quality is louder and clearer than most discs recorded on the latest digital gizmos. Therefore, the argument that less is more rings more than a few bells, and the simple things in life are what matter most. In an increasingly complicated and maddening world, this notion is most welcome. So is the parallel dimension of sorts the this band has created and revels in on this disc, and in general. 1 that offers pure escapism, and again, emotion. That's what music and especially what rock n' roll is about. -DN

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