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Tape #1 Live
Her
Alternative & Indie - Released May 6, 2016 | Universal Music Division Virgin Music
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Too Fast For Love
Mötley Crüe
Rock - Released January 1, 1981 | BMG Rights Management (US) LLC
On their debut album, Mötley Crüe essentially comes across as a bash-'em-out bar band, making up in enthusiasm what they lack in technical skill. Yet that's part of the appeal of Too Fast for Love, a chance to hear the band without the glossy production of their later, most popular work, showcasing their down-and-dirty roots. The fact that pop-metal songwriting was not really a consideration helps the album come off as more genuinely trashy and sleazy, celebrating its own grime with exuberant zest. This is the Crüe playing it lean and mean, effortlessly capturing the tough swagger that often came off a bit more calculated in later years, and it's one of their most invigorating records. [In 1999, the Crüe remastered and reissued Too Fast for Love on their own Motley/Beyond label with four bonus tracks: three interesting previously unreleased songs and a version of the title track with a different intro.]© Steve Huey /TiVo
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Too Fast For Love
Mötley Crüe
Rock - Released January 1, 1981 | BMG Rights Management (US) LLC
On their debut album, Mötley Crüe essentially comes across as a bash-'em-out bar band, making up in enthusiasm what they lack in technical skill. Yet that's part of the appeal of Too Fast for Love, a chance to hear the band without the glossy production of their later, most popular work, showcasing their down-and-dirty roots. The fact that pop-metal songwriting was not really a consideration helps the album come off as more genuinely trashy and sleazy, celebrating its own grime with exuberant zest. This is the Crüe playing it lean and mean, effortlessly capturing the tough swagger that often came off a bit more calculated in later years, and it's one of their most invigorating records. [In 1999, the Crüe remastered and reissued Too Fast for Love on their own Motley/Beyond label with four bonus tracks: three interesting previously unreleased songs and a version of the title track with a different intro.]© Steve Huey /TiVo
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Giant Steps/De Old Folks At Home
Taj Mahal
Pop - Released January 1, 1969 | Columbia
Hi-Res
In less than 24 months, Taj Mahal (guitars/vocals/banjo/harmonica) had issued the equivalent of four respective long-players. The electric Giant Step (1968) was released alongside the acoustic and decidedly rural De Ole Folks at Home (1968). The nine cuts on Giant Step feature support from the instrumental trio of Jesse Ed Davis (guitar/keyboards), Gary Gilmore (bass), and Chuck Blackwell (drums). They back Taj Mahal on a wide selection of covers ranging from Carole King and Gerry Goffin's "Take a Giant Step" to the upbeat and soulful reading of the Huddie Ledbetter blues staple "Keep Your Hands Off Her." The arrangements are unique and offer the artist's distinctive approach. Nowhere is this more evident than the practically jovial midtempo "Good Morning Little Schoolgirl" or the freewheeling abandon brought to the 18-wheeler anthem "Six Days on the Road"." Similarly, it recalls the version of "Ain't That a Lot of Love" from Taj Mahal's preceding LP Natch'l Blues (1968). Additionally, Blind Willie Johnson's "You're Gonna Need Somebody on Your Bond" stands out with a strong and soaring gospel-flavored arrangement. The project concludes with "Bacon Fat," a number attributed here via Garth Hudson and Robbie Robertson of the Band. That said, it may be better-known from the man they called Mr. Rhythm, Andre Williams, whose scattered down-home spoken interludes punctuate his February 1957 Top Ten R&B hit -- which incidentally was created under the working title "Diddle, Diddle Womp, Womp." Parties searching for an apt introduction when discovering Taj Mahal's voluminous catalog are encouraged to consider Giant Step as a highly recommended reference point.© Lindsay Planer /TiVo
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You Can't Do That On Stage Anymore, Vol. 5
Frank Zappa
Rock - Released January 1, 1992 | Frank Zappa Catalog
Booklet
For the fifth volume in the You Can't Do That on Stage Anymore series, Frank Zappa prepared two unrelated discs. Disc one features the original Mothers of Invention in unreleased live and studio recordings mainly from 1969 (but also one from 1965 and a couple from 1967-1968). Disc two documents the 1982 European tour. There is something wicked -- almost obscene -- in this pairing, and it surely was intentional. Throughout the 1980s, fans of the early Mothers had attacked Zappa's integrity in the case of the re-recorded CD reissues of We're Only in It for the Money and Cruising with Ruben & the Jets, and often despised the scatological antics and straightforward rock stylings of his latter bands. This was a calculated move, a way to say: "So you want unreleased material from the early Mothers? OK, but you'll have to pay for the 1982 band -- and hopefully listen to it, too." The material on the MOI disc occasionally features meager sound quality (as expected), but it contains many gems for the aficionado ("Run Home Slow," the hilarious "Right There," and "No Waiting for the Peanuts to Dissolve" stand out). This is a place for fans to salivate over bits and pieces, not for newcomers to get the full picture about Zappa's pre-1970 career. On the other hand, the performances on disc two are of more general appeal. Although the 1982 band had not really been documented yet (left only a few tracks on Vol. 1 and Vol. 4 of this series), it was not the case for its repertoire. Of historical significance are "Dead Girls of London" and "Shall We Take Ourselves Seriously?" The other tracks show good performances but don't stand out as particularly original or essential.© François Couture /TiVo
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