Friday, March 30, 2012

FDF Volume 3 Issue 260 - 'Til Tuesday - Welcome Home

Album – Welcome Home
Artist – Til Tuesday
Key Players – Michael Hausman – drums and percussion. Aimee Mann – vocals and bass. Robert Holmes – guitar and backing vocals. Joey Pesce – piano, synthesizers and backing vocals.
Produced By – Rhett Davies

Release Date – 1986

What caused me to blow off the dust? - For some reason when I do the Boston bands I get an immediate reaction. I've been pondering this one for a few weeks so now was just as good a time as any.

Overview – This is the second album from the Boston band 'Til Tuesday. It would peak at #49 on the Billboard album chart. The band formed in 1982 and won WBCN's “Rock and Roll Rumble” in 1983. The band would get a name for itself even further with the debut album and track “Voices Carry”. That song and subsequent video would help the band win “Best New Artist” on the MTV Video Music Awards. Even with this steam the band released this record, and although a critical hit, it hardly cracked the top 50 and the lead off single didn't break the top 20. The band would release a third record in 1988 but then call it quits.

FDF Comments (aka the songs) - The album opens with the track “What About Love” which would also be the first single off the ten track collection. It is a heavily keyboard based track. Holmes has a few guitar chords, but Pesce fills the track with various tones. Mann begins to sing. Her vocals are somewhat hushed, and deep, but she is able to hit some decent range on the track. Her bass playing is sadly not very high in the mix as the drums from Hausman seem to swell even more with the keyboards. Holmes has a short guitar solo after the second verse. It is not horribly long, or overly interesting actually, but it fits the track fine. The band runs through the chorus again before closing out the track. The second track, and second single from the record comes in “Coming Up Close”. A very pretty rock track with a ballad vibe to it. The guitars on the track are solid. Mann takes the first verse with not much other than the guitar from Holmes and a few long notes from Pesce. After she completes the first verse Hausman lightly taps off some rim shots. Come the chorus the full band comes in and Mann really shines. Her vocals are haunting but filled with an abundance of emotion. Holmes changes with acoustic and a little more electric for some bigger ringing notes. Pesce has a few nice piano runs during the chorus, but this is Mann's track. It just is. “On Sunday” has an 80's synth pop feel from the start. Hausman has a steady and basic drum track with Pesce playfully bouncing off various keyboard runs. Its gets a bit more of a rock feel as the chorus comes and Mann is in fine form with some really strong vocals. The vocal overdubs are also very strong. A solid track from the musical and vocal standpoint. Pesce blends sythns and piano as “Will She Just Fall Down” starts. Holmes strums a few guitar notes and then Mann begins the vocals. Again, the use of vocal over dubs is strong with Mann having seemingly the perfect voice to do this with. Only Pesce seems to veer outside the comfort zone of the track, but he never goes too far out. Pesce and Holmes are both right up in the mix at the start of “David Denies”. It calms down as Mann begins to sing and Hausman joins in on a more restrained tempo. Mann has a little more of a flutter to her voice as it builds to the chorus, but she gets a lot stronger as the chorus is sung. Holmes plays some soaring guitar lines and Pesce plays equally as strong. Sounding very “late 80's” synth pop the track “Lovers Day” gets started. Pesce finds a particular vibe on the keyboards and Holmes is left to chime a few sporadic guitar chords as Mann sings. The urgency at the end is strong with her repeating the line about urgency. We slow it down for “Have Mercy” and the song picks up as the chorus approaches. The members all seem to swell at the same time and Mann continues to shine vocally. Holmes takes the longest solo he has taken in a few tracks and Hausman and Pesce seem to be okay, as they lay a solid foundation for him to work. Mann has strong work on the bass, something that peeks out now and again. Pesce and Holmes start of “Sleeping And Walking” together with Hausman keeping a steady, but subtle pace. The band seems to hit their stride on these more mid-tempo, semi rock tracks. Each member feels comfortable in their roles and the tracks stand out for that reason. “Angels Never Call” has a smooth bass intro from Mann who plays right with Hausman. Holmes add a few chords that fit right in. Pesce also adds in to the overall vibe if the track with some synth sections. “No One Is Watching You” concludes the record with Mann and Pesce being the only two at the start, before the band comes in. As the song grows Mann really seems to wear her emotion on her sleeve and the band compliments her well for a strong album closer.

Where are they now? Pesce left the band shortly after this album was released. I haven't found much on him. Hausman is a manager of various musical acts/performers and is Mann's manager as well.
Holmes has worked in various capacities as a musician, forming new bands and solo works. He lives in New England. Mann has released several solo albums, appeared on TV and film and continues to write, perform and work on her art. She has been married since 1997.

FDF Personal Comments (aka the Live experience) – I never saw the band perform live.

FDF Overall Take – The albums hasn't aged the best honestly. Mann sounds wonderful and the band is tight, but at the same time it feels very dated. Don't get me wrong, there are some solid tracks on here, but most folks would probably find this to be one of those “I like the tracks I like a lot” and the rest are sort of “there”.

An older fan site can be found here.

Curious? Check out some MUSIC!

What About Love (Official Video)

What About Love (Live)

Coming Up Close has your copy.

Friday, March 23, 2012

FDF Volume 3 Issue 259 - The B-52s - Cosmic Thing

Album – Cosmic Thing
Artist – The B-52's
Key Players – Keith Strickland - guitars. Kate Pierson – vocals. Cindy Wilson – vocals. Fred Schneider – vocals.
Produced By – Nile Rogers and Don Was

Release Date – June 27, 1989

What caused me to blow off the dust? Admit love Roam.

Overview – The new wave pop rock band was formed in Athens, Georgia in 1976 have released eight studio albums (this one being the fifth and biggest seller). The odd ball party band has had their ups and downs (the 1985 death of guitarist Ricky Wilson) and label issues, but their “reformation” in 1989 and the release of this record re-launched them as pop/party music masters. The album would sell well globally and spawn four top 100 singles and go 4x platinum in the USA.

FDF Comments (aka the songs) – The 10 song album opens up with the title track “Cosmic Thing”. It jumps right out of the gate. Schneider sings quickly and Pierson and Wilson offer the great high harmonies and wall of sound for backing vocals. Strickland is quiet on the guitar offering up short fills. The track is delivered at a quick pace and is a solid and fun opener. The keyboard repeat the same loop as “Dry County” gets off the ground. The track is a little slower as the vocals are sung. It does have a lazy feel. Strickland is responsible for the keyboard line along with Philippe Saisse. Sonny Emory keeps the track tight with the slapping snare drum. The homage to just sitting on your porch in a swing, being unable to drink alcohol is the message you get here. The track actually has two separate choruses. One is used early, and the other late. Wilson and Pierson get the credit for the lead vocals on the next track, “Deadbeat Club”. Emory plays drums on this track and once more shows his attention to the snare, snapping of it quickly and often. The ladies harmonies are wonderful with neither stepping on the other. Each is given their moment and they are just so tight the merge is seeming less. A really solid track. The most well know track from the band has to be “Love Shack”. Either you love it or hate it, I don't think there is a middle ground on it. When it comes down to it, and if you can listen to the vocals on the track. Between the Wilson and Pierson high harmonies to Schneider offering up his quirky yelps and lines. It is a fun song, really it is. The Uptown Horns are responsible for the compliment to everything. Pierson is plays the keyboards on the track, but it is not high up in the mix. Still, its a solid track. The sounds of spring was over the speakers as the track “Junebug” gets ready to start. Strickland has the keyboard into with Schneider striking the percussive instruments. Not to be outdone, drummer Charlie Drayton pushes everyone forward. Schneider takes the first few lines, but Pierson and Wilson take turns before the three sing together. The track is on the quick side, with the vocals seeming frantic at times with the ladies shouting “Go,Go Go!” with a lot of pep and vigor. Wilson and Pierson again join forces as another big hit from the band “Roam”begins. The ladies again are the lead vocalists on the track. Bassist Sara Lee (who has been on a number of tracks) is solid giving the solid bottom that Strickland finds easy to do guitar runs over. One thing I never realized, or noticed, is the fact Schneider is not on the track at all. “Bushfire” has drummer Charlie Drayton getting things moving. Schneider sings the first line, but the drums click down and the ladies share vocal duties again. Strickland has a crunchy and quick guitar line that pushes the cut forward. Although overall a strong tune, it doesn't really break itself out. A track I always dug, and perhaps due to a very cool split screen Saturday Night Live performance (I swear) of the track “Channel Z”. Drayton gets things off to a steady pace and it must be the twangy guitar rungs from Strickland that grab me, or, as always, the great work of the three vocalists. Solid “deep track” from this record. Producer Nile Rogers plays some of the guitar parts on “Topaz”. You can feel his funk influences as the guitars have short, almost cutting wah wah lines. Wilson and Pierson are a little lighter with their singing and Schneider will chime in about every third or fourth line. Sara Lee is on bass and drummer Leory Clouden and as per the album, tight and composed. The record concludes with the track “Follow Your Bliss”. Largely a “lead vocal” free track Pierson and Lee offer some backing vocals but this is a guitar showcase for Strickland. The track has a bit of blues guitar playing with Lee and Clouden again on support. There are three various keyboard parts by Strickland, Lee and Richard Hilton that all mesh well. An almost “calming” close out track to a fun, party record.

Where are they now? - The band are still active. They perform live at a steady, but casual pace (indications of 50-75 shows a year), but have been quiet with a studio album for a bit of time. The last studio album was the 2008 release “Funplex”. Wilson and Pierson always seem to be popping up as guest vocalists and Schneider hosted a radio show on Sirius for a few years.

FDF Personal Comments (aka the Live experience) – I've never seen them live.

FDF Overall Take – Okay so you hate Roam, or Love Shack, but get over it. The band is tight, and we don't get vocals like this very often anymore. There are some hidden gems on this record, so its okay to toss this on again (in your car is fine) and find the magic. They are not 1 or 2 hit wonders here, they've been doing it for a fair number of years. Your older ears will hear things you never knew were there. Try it again for the first time.

Official site.

Curious? Check out some MUSIC!


Dry County (Live)

Channel Z (The SNL Rehersal) Very cool

The album is pretty easy to find.


Happy Sixth Birthday to this blog. Never thought it would have lasted. Lots of changes, a few take downs (hence no more mp3's) but still somewhat fun.

Thanks for reading..really.


Friday, March 16, 2012

FDF Volume 3 Issue 258 - Chapterhouse - Blood Music

Album – Blood Music
Artist - Chapterhouse
Key Players – Stephen Patman – guitars and vocals., Andrew Sherriff – guitars and vocals. Simon Rowe – guitar. Russell Barrett – bass.
Produced By - Ralph Hezzard, Pascal Gabriel, Simon Postford, Paul Rabinger

Release Date – October 1993

What caused me to blow off the dust? - Just combing the shelves for something new to write about and listen to all over again. No other reason other than, at this time, it hadn't been done.

Overview – This is the second (and final?) album from English “shoegaze” band “Chapterhouse”. Formed in the late 1980's the band would work on material for more than a year before recording their demo. They'd release a debut to moderate success and then follow it up in 1993 with this record. They'd struggle with some lawsuits regarding sampling and they'd go dormant for close to 15 years before doing a few shows and short tours.

FDF Comments (aka the songs) – The 11 track 55 minute albums with the dreamy “Don't Look Now”. There are syth samples that provide the ambiance as the vocals are sung. At about the 20 second mark it gets more of a “techno” electronic drum beat. The guitars hit like a wall after that atmospheric intro. The riffs continue seemingly on a loop before the main vocals begin. Close your eyes and envision a VERY foggy stage with slow pulsating lights and you get the idea of the vibe of the track. “There's Still Life” has acoustic guitars and then Barrett's bass line is more up in the mix. It still has a very atmospheric vibe as the two acoustic guitars mesh well with the bass line. A longer electric guitar solo comes forth about the one minute mark, but it wrapped up within 15-20 seconds. The band runs the same formula for the duration of the track. One of the songs released as a single comes in “We are the Beautiful”. A big, thunderous drum sound with the big riffed guitars throw up that wall of sound at the start. As the vocals start everything seems to settle back some, until the chorus kicks in. The vocals are brooding, but never forced. There is hints of female backing vocals which add a nice touch. For a band that has the spacy feel at times, this is a driving track. The drums are heavy, but the guitars are not at the same intensity as “Summer's Gone” begins. Once the vocals begin everyone settles back some. Barrett has a swooping bass line and Rowe and Sheriff seem to find a comfort zone. We get more of a techno beat for the track “Everytime”. The drum click seems to speed up some as the band joins in. Again, Barrett walks up and down the bass before the guitars strike. Again, the vocals are breathy and laid back which actually works okay with the temp of the track. There is a longer instrumental break down on this track before the looping drum track returns and the guitars come back in. The last minute plus is the same driving drum loop with a guitar solo over the top. The track fades directly in to “Deli”. After a bit of atmospherics a lengthy spoken word portion is spoken and the band seems to start to join. There appears, so it seems, to be a tabla being used (perhaps electronically manipulated). Other than the spoken word portion the track remains vocal free as the band is slow to really go anywhere with the track. The samples are the cornerstone of the track but you feel the band could have taken this song further. We continue with a tribal drum feel as “On the Way to Fly” begins. A long guitar slowly builds and with one crash the others join in. There are noticeable backing vocals in the track as “oohs” and “ahhs” add to the sound scape. The three guitars seem to go in various directions with various results. One is deeper, driving while the second rings over and the third chimes with the bass. The vocals are lush once more and the track has that infectious beat that holds your attention. Another song released as a single follows in “She's A Vision”. The guitars start off and the drums clack a mechanical beat, but the vocals sound great. “Greater Power” is slow to get off the ground and you wait for close to a minute before you are shocked awake. This is about as rocking a track as we've heard from the shoegazers. The vocals are strong and the music becomes this great wonderful wall of sound. A really solid example of the bands capabilities and sound. The bass continues to really shine (to these ears) and the band is very much firing off one another. Barrett rings out a few bass notes as “Confusion Trip” begins. We go back to the acoustic guitars once that comes in but the electrics are layered over. It has full sound but seems to be a little too slow for the music. The album concludes with “Love Forever”, a track that has a flowing back beat and it relies heavily on the percussive instruments. Again it feels very much the same, with the repeated guitar lines and vocal verses. It never seems to go anywhere. It sounds “okay” but sort of a let down for a closer.

Where are they now? - The band fell dormant after this record for a decade and a half. The guys would go off to their projects and their records would be out of print for many years. In 2008 they started to play some shows and in 2010 they did a few short tours. A US Tour was postponed due to the Icelandic Volcanic Ash cloud and then rescheduled. There is no news on new music from the band.

FDF Personal Comments (aka the Live experience) – I only saw the band once. Paradise in Boston opening for the WonderStuff. It was February 23, 1994. One of the biggest things I remember about the show was that it was snowing like crazy, all day. The show was on, then off, then on again. My buddy Jay and his girlfriend at the time picked me up and we headed in. The venue was pretty empty due to the weather, but we made it. Long ride to and from, but I recall it being a pretty darn fun show.

FDF Overall Take – There are some real strong moments on this record. She's a Vision and We are the Beautiful are stand out tracks for sure and there are a lot of “shoegaze” tendencies. Chances are you are or were aware of the band. Not a lot out there, but worth checking out for some spacy early 90's alt rock.

Official Site

Curious? Check out some MUSIC!

Don't Look Now

She's a Vision

We are the Beautiful (Live)

The album was out of print, then reissued. Might not be super easy to find, but if oyu look at places like this you'll be all set.

Friday, March 09, 2012

FDF Volume 3 Issue 257: Various Artists - Saturday Morning Cartoon's Greatest Hits

Album – Saturday Morning Cartoons' Greatest Hits
Artist - Various
Key Players -Various
Produced By – Ralph Sall

Release Date – December 5, 1995

What caused me to blow off the dust? - Just thought this would be a lot of fun to dust off again

Overview – A collection of alternative rock acts performing some of their favorite theme songs to Saturday Morning Cartoons. Is there much else to tell?

FDF Comments (aka the songs) – I'll go track by track on this. The links you will see here are to prior Forgotten Disc Fridays that have been done on that artist.

Liz Phair withMaterial Issue – The Tra La La Song (One Banana, Two Banana) from “The Banana Splits Adventure Hour”. The group as a lot of fun, with Liz having the bulk of the vocals and Material Issue being more the band. They don't deviate from the them much other than more of a focus on the rock band aspect. The original track actually cracked the Hot 100 in 1969 landing at #96.

Sponge - “Go Speed Racer Go” (from Speed Racer). Vinnie from Sponge has sort of a monotone delivery of the track. The full band is held back some, but it has the driving beat. The theme song was actually added for US audiences to the cartoon. This is a pretty straight up representation of the theme.

Mary Lou Lord with Semisonic – Sugar Sugar (from the Archie Show) – much like the first track, Lord is the lead vocalist with Semisonic being the backing band. The song has the fun bounce of the original version with Lord having a soothing vocal delivery.

Matthew Sweet - “Scooby-Doo Where Are You?” - Sweet could pass for the original version. He has just that right vibrato in his voice. When the full band comes it and Stuart Johnson gives the drum kit a solid beating you actually think it is the real theme. Sweet has a guitar solo so they do have a little more fun than the other artists up to this point. One of the stand out tracks to this point.

Juliana Hatfield and Tanya Donelly - “Josie and the Pussycats” - The two Boston based ladies harmonies really well on the theme song. Both Hatfield and Donelly play guitar and fire off one another. Lisa Mednick has a short Hammond B-3 solo after the second run through/verse of the theme.

Collective Soul - “The Bugaloos” - I had to look up what the Bugaloos were. It was a Krofft live action puppet (Land of the Lost/HR Pufnstuf etc) it aired from 1970 to 72. The song and show are unfamiliar to me so its hard to say if its true to form. It sounds like Collective Soul mostly due to lead vocalist Ed Rolands voice (duh). The band is well known for “Shine” in which there is a wall of guitars, and you get them here as well.

Butthole Surfers - “Underdog” - Now we are talking. Gibby Haynes has the usual vocals through a megaphone at the start as King Coffey rumbles across the drum kit. The band sticks with the “ooh ah oohs” from the song and actually keep it pretty true to form, but its a unique take at the same time. Paul Leary has a distorted, but quick guitar solo to offer up and they come back around for another run of the verse.

Helmet - “Gigantor” - This is the second Japanese series brought to America for this collection. It came to America in 1966. I don't recall this show either, but I like the way Helmet handles this track. John Stanier has the usual high piccolo snare drum sound. The band has the speed you'd expect and Page Hamiltons vocals are easy to hear. Guitars are big, and up in your face, but its that “thwap” of the drums that makes this a Helmet track. Just think big guitars and the stop/start riffs that go along with Helmet and you'll feel right at home.

Ramones - “Spider-man” - Hey, its the Ramones and Spider-Man..can you really go wrong. Probably the song that had me buy the whole collection this was showcased on many a mix tape (man I miss those days). There is nothing I can say on this realistically. Read that first sentence all over again. Nuff said. Oh, its over so quick, they do it twice.

Reverend Horton Heat - “Johnny Quest/Stop That Pigeon” (from Dastardly and Muttley in Their Flying Machines). - Quest actually started off in prime time in 1964 before getting moved. Scott Churilla gets a work out as Quest starts and Rev gets right on the guitar to play along. Rev says (in the liner notes) this was the most fun he had in the studio as the track changes key six times and that it was damn hard to figure out. There are no lyrics for Quest and they seq very well. Jimbo Wallce gets his big bass thumps going as Quest wraps up and then Rev starts the vocals for “Stop...” You can almost hear the smiles in their voices.

Frente! - “Open Up Your Heart and Let the Sun Shine In” (from the Flintstones) – As you probably have figured out this is not the theme. Pebbles and Bamm Bamm found their voices as a vocal duo in the episode “No Biz Like Show Biz”. The duo forms a rock band years later but this is a shining moment for the “duo”. Frente! Singer Angie Hart does a nice job and the song retains much of the same “sunny” sentiment.

Violent Femmes - “Eep Opp Ork-AH-AH (Means I Love You) (from the Jetsons) – Another track that was not a theme. Pulled from a 1962 episode called “A Date With Jet Screamer” Judy Jetson wins a date with the rock star. You can't escape that nasal delivery of lead singer Gordon Gano but the harmonies are fun. Gano has a quick guitar solo before a nice distorted melodic bass run comes from Brian Ritchie. They do this again later in the track and then go double time for the later portion of the track.

Dig! - “Fat Albert Theme” - The trade mark big bass intro is there. Phil Friedmann does a solid job. As the song start you get a real good true to form cover. It just sounds as big as you think it should. The band has a longer jam before the bass grabs you again. Singer Scott Hackwith gives us the “Hey Hey Hey..” and they come back around

Face to Face - “Popeye The Sailor Man” - Drummer Rob Kurth works slowly to get things to take off. Matt Riddle plays the theme on his bass and Kurth rings off the cymbal. The guitars come in and about the 50 second mark it takes off. Trever Keith pushes the guys with his vocals. You find you recall all the lyrics..even the second verse...its odd. Also, just so you know..its not Olive Oil..her last name is Oyl.

Tripping Daisy - “Friends/Sigmund and the Seamonsters” - Another one from Sid and Marty Krofft the band seems to be having a lot of fun with this. I recall the show, not the theme very well. Wes Berggen is given some time on the guitar to solo, but the track keeps it pretty tight. About the 2:35 mark it runs over to the actual theme which is sped up and DeLaughter is has his vocals pretty heavily compressed.
Tim DeLaughter has since gone on to front the band with the most members outside a symphony in the Polyphonic Spree.

Toadies - “Goolie Get-Together” (from the Groovie Goolies) – Even the picture of this cartoon doesn't strike a chord. I don't recall this at all. In reading the band sang a rock song in every episode. The Toadies drive the track with heavy guitars and pounding drums. I honestly can't compare it to the original.

Sublime - “Hong Kong Phooey” - Let me just get this out there...I LOATHE Sublime. They drive me crazy for some reason. The band make this their own, and one of the most memorable tracks on this collection is...well..skippable. I just can't get in to Sublime.

The Murmurs – “H.R. Pufnstuf” - The Murmurs are a female duo of Heather Grody and Lesha Hailey who both sing and play acoustic guitars. The ladies sound good together and the acoustic guitars are a nice touch to this theme. The theme is 'dark' at first when our hero “Jimmy” gets lost at sea. The second part is a far more psychedelic 60's sounding pop song.

Wax - “Happy Happy Joy Joy (from Ren and Stimpy) – A good song selection for an album closer. Also, not the theme, but the most memorable Ren and Stimpy song (Next to Canadian Kilted Yaksmen). Singer Joe Sib speaks the first few lines and then the band takes off. This is a hardcore/punk really sped up version. It has a ska feeling as well, with some horns tossed in. It is very chaotic, but a good fun take on the tune.

FDF Overall Take
If you love 90's alternative music you are golden with this collection. It will bring you back to your youth, have you crack a smile, and re-hear that theme song all over again.

See the post, for links to past FDFs on those artists.

Curious? Check out some MUSIC!

Matthew Sweet - Scooby Doo Where are You?

Butthole Surfers - Underdog

Ramones - Spider-Man

Violent Femmes - Eep Op Ork Ah-Ah

Dig! - Fat Albert Theme

The album is out of print but not to hard to find, you can get it at

Friday, March 02, 2012

FDF Volume 3 Issue 256 - Ultra Vivid Scene - Rev

Album - Rev
Artist – Ultra Vivid Scene
Key Players – Julius Klepacz – drums. Jack Daley – bass. Kurt Ralske – vocals and guitar.
Produced By – Kurt Ralske, Fred Maher

Release Date – October 19, 1992

What caused me to blow off the dust? - I did the old “stare” at the cd racks and said “oh here is one”.

Overview - Personally I stumbled upon the band on college radio. I was taking classes at a Community College and was driving back home listening to WZBC, which is Boston College's radio station. I had about a 20 minute window on my ride where I'd get the signal so I had to be sure to have a pen handy and hope the DJ would tell me about the band(s) played. I heard “Mercy Seat” (from their debut) and had to track down the cd. My friends were exposed to it soon after I got it and all seemed to like it more than the next. This was the third and final album from the New York based band.

FDF Comments (aka the songs) – The 9 track 50+ minute album starts with “Candida”. What stands out right away is the prominent bass line. Matthew Sweet is the guest bass player on the track. Ralske plays acoustic guitars and has a quite soothing voice. Klepacz and Sweet really seem to find a groove with each other as the bass and percussive instruments really stand out on this quirky pop rocker. “Cut-Throat” has a lone guitar and percussive shakers at the start. The electric guitar then phases up and Daley finds a nice pocket for the bass. Ralske has a unique vocal style. It can be viewed as a little whiny at times, but it fits the mood with this longer notes and he sings in a light baritone. This track finds a bit more of the swirling guitars and it gets a touch of the conga drums as well. Ralske once again takes right to the acoustic guitar as “Mirror to Mirror” begins. Klepacz has a simple drum portion but Daley once again seems to find a nice tight bass line. Ralske sticks with the acoustic guitar on the verses where on other tracks we get the electric, either as ambiance or as a lead. There is a short burst after the second verse, but it is a quick and dirty “solo” before coming back to the acoustic guitar. Klepacz gets to take off some and has some fun beating on his drum kit and the band tries to follow suit, and does so very well. “The Portion of Delight” has a very bright guitar sound (Rickenbacker perhaps?) The bass and drums are tight, but seem to be okay with the slower tempo. It feels a little “plodding” but he vocals sound great, just the right bend it pitch. Ralske finds some decent range but the over all “sound” of the song is big, which is awesome. There is a good solid long session of instrumental jam that is great. The bass and guitar are really subtle on the intro to “Thief's Love Song”. After a few moments Ralske gets heavier on the strings, but its more single chords. The song is on the slower tempo side of things with a slow drum line. Matthew Sweet returns to the bass on “How Sweet” a track that seems to phase between headphone speakers for a trippy experience. The bass line is very strong and there is more work on the backing vocals. The song has more of a verse/chorus/verse vibe keeping tightly focused. Ralske has a long guitar solo, but still it is kept brief. It actually has a funky feel too it after the solo with the percussive instruments playing off the guitars.. The guitars have a deep sound to them at the start of “Medicating Angels”. The bass then takes over as the lone instrument, with a little flutter from the guitars. It is a quiet, slow to get going, type track. As the song gets rolling, after close to 2 minutes, the bass line again is really the stand out instrument. It has just the right amount of compression and the band finds their Jesus and Mary Chain influence brought right up with a wild fuzzy guitar rumble to the thundering drum work from Klepacz. If there ever was a “single” from this record it would be found in the track “Blood and Thunder”. A lone guitar quivers before the bass joins. The tambourine slaps, the drums start to rumble. It is a slower, but big build up and at the 0:58 second mark it all comes together. This is the SHIT folks. The drums and guitar are perfect. This is 90's alternative music. The music just rules. When Ralske starts to sing everyone cools down and he sings over a predominate drum rumble but the “whacka/chaka” sound off the guitar that brings it all together just rules. Just watch the darn clip..crank'll get it. The guitar solo owns too. One of the finest songs of the early 90's. A scratchy record sound is heard as the album closer “This is the Way” is played. The recording almost sounds as if it is a recording of a recording. Strings and guitar accompany Ralske. The song keeps this sound for the duration.

Where are they now?Ralske has gone on to do solo work, and has also produced albums for such artists as Rasputina, Ivy and Charles Douglas. His last known musical endeavor was the solo release in 2001 Amor 0 + 01. Since that time, Ralske has achieved acclaim as a visual artist

FDF Personal Comments (aka the Live experience) – I was pretty sure I saw the band twice, but I'll need some buddies of mine that might read this to help confirm. My one “for sure” moment with them was when they opened for Ian McCulloch at the Living Room in Providence. It may have been on tour for this record, but I could be off. My gut tells me their opening slot was part of the debut album, but I'd need to search the inter webs. According to the bands Wiki page there was not ever a lot of touring done by the band so I guess I was lucky. For this album alone they only did one month of US tour dates.

FDF Overall Take – Its not a bad record, but a little erratic. I think where its good its VERY good but there are a few too many “ehh” moments. Blood and Thunder make the entire cd worth it though.

Curious? Check out some MUSIC!

The album is out of print, but you can track down sellers of used copies on