Archive Review: Radio Birdman's The Essential Radio Birdman (2001)

The Saints may be Australia’s best-known punk export, but for this scribe’s hard-earned cashola, I’d choose Radio Birdman as the more raucous of the two. Formed by American expatriate Deniz Tek – born in Michigan and weaned on the Stooges and the MC5 – Radio Birdman lasted for just four years and a handful of albums. They were skewered by the notoriously effete British music press and their single U.S. album release was widely ignored. Throughout it all, the band has lived on through rare recordings and bootlegs, building a devoted cult during the past two decades that rivals that of similar high-energy outfits like the Dictators or New York Dolls.

Radio Birdman's The Essential Radio Birdman (1974-1978)

The Essential Radio Birdman (1974-1978) should appeal to even the most dedicated of collectors. The compilation offers all the songs from both the Australian and U.S. versions of the band’s excellent 1978 debut album Radios Appear as well as their 1981 follow-up, Living Eyes (recorded in 1978). Two songs are provided from the original self-produced 1977 EP Burn My Eye, the album closing with three live tracks from a 1977 performance. Fully 12 of the 22 tracks collected on The Essential Radio Birdman (1974-1978) have never been released officially in the United States.

So what is it about Radio Birdman that attracts such fanatical acolytes? It’s a curious mix of American roots-rock, the madness of late 1960s Detroit bands like the Stooges, Up, SRC, and the MC5 and the peculiar Australian perspective created by residing at the end of the earth. When Deniz Tek moved to Australia in 1972 to study medicine, he brought with him the spirit of the slash-and-burn six-string style of Wayne Kramer and Fred “Sonic” Smith. Matched with fellow guitarist Chris Masuak’s metalstorm fretboard technique and surfer Rob Younger’s tortured howl, Radio Birdman cranked up the volume and kicked out electric jams that energized a generation of Aussie musicians behind them.

Tek’s lyrics were street-smart and darkly poetic, seeped in Velvet Underground imagery and Motor City sensibility; tuneage like the desolate “Murder City Nights” or the nostalgic “I-94” rock with a primal passion and fury that was shared by just a handful of mid-‘70s bands. “Aloha Steve & Danno” makes good use of the Hawaii Five-O TV show theme, pairing it with the band’s destructive twin guitars and pop-influenced rhythms while “Alone In the Endzone” echoes the Doors, featuring razor sharp riffs and Younger’s Morrison-like vox. Radio Birdman threw elements of three-chord rock, electric blues, and metallic drone into the creative blender and came up with a powerful, no-frills sound that resonates as loudly in 2001 and it did in 1977.

The Reverend’s Bottom Line

If you listen to the Dictators, the New York Dolls, Johnny Thunders & the Heartbreakers, the Flamin’ Groovies, Sonic Rendezvous Band, the Streetwalkin’ Cheetahs, or any other devotees of the Detroit rock sound, then you owe it to yourself to discover Radio Birdman. The Essential Radio Birdman (1974-1978) is a hard-rocking introduction to this sadly overlooked band, a great collection of classic punk rock tuneage from “Down Under” that should appeal to new and old Radio Birdman fans alike. (Sub Pop Records, released July 17, 2001)

Review originally published by Alt.Culture.Guide™, 2001

Buy the CD from Amazon.com!

New Music Monthly: June 2019 Releases

We're standing on the brink of summer and the outlook is groovy! There are only four weeks in June's release schedule, but there's a lot of rock 'n' roll goodness here to kick off the season. You'll find new albums by folks like the Black Keys, Chris Stamey, Bruce Springsteen, the Raconteurs (with Jack White), the Chris Robinson Brotherhood, Santana, Peter Frampton, and Lukas Nelson & Promise of the Real, among many others. There are a few choice archival releases this month as well, including a long-lost live Neil Young album, a vinyl reissues of James Taylor's One Man Band and a 25th anniversary vinyl reissue of Americana legend Dave Alvin's classic King of California album (with bonus tracks).

Speaking of the archives, Krautrock and prog fans will like Universal's reissues of seven classic mid-to-late '70s albums by the legendary Tangerine Dream on CD with bonus tracks. Isaac Hayes' classic soundtrack to the movie Shaft gets a deluxe reissue, Prince is represented by a collection from his vaults, and Warren Haynes and Gov't Mule return with a red-hot live set. It's safe to say, no matter your taste in music, there's something in June to tickle your fancy!

If you’re interesting in buying an album, just hit the ‘Buy!’ link to get it from Amazon.com...it’s just that damn easy! Your purchase puts valuable ‘store credit’ in the Reverend’s pocket that he’ll use to buy more music to write about in a never-ending loop of rock ‘n’ roll ecstasy!

JUNE 7
Perry Farrell - Kind Heaven   BUY!
Peter Frampton Band - All Blues [w/Sonny Landreth]   BUY!
Dylan LeBlanc - Renegade   BUY!
Gary Nicholson - The Great Divide   BUY!
Gary Nicholson (as 'Whitey Johnson') - More Days Like This   BUY!
Pelican - Nighttime Stories   BUY!
Santana - Africa Speak   BUY!
Silversun Pickups - Widow's Weeds   BUY!
Slowness - Berths   BUY!
James Taylor - One Man Band [vinyl reissue]   BUY!
Neil Young & Stray Gators - Tuscaloosa [1973 concert]   BUY!

JUNE 14
Chris Robinson Brotherhood - Servants of the Sun   BUY!
Roger Daltrey - The Who's Tommy Orchestral   BUY!
Isaac Hayes - Shaft (Music From the Soundtrack)   BUY!
Iron & Wine/Calexico - Years To Burn   BUY!
Lukas Nelson & Promise of the Real - Turn Off the News, Build A Garden   BUY!
Bruce Springsteen - Western Stars   BUY!
Tangerine Dream - Cyclone [CD reissue]   BUY!
Tangerine Dream - Encore [CD reissue]   BUY!
Tangerine Dream - Force Majure [CD reissue]   BUY!
Tangerine Dream - Phaedra [CD reissue]   BUY!
Tangerine Dream - Richochet [CD reissue]   BUY!
Tangerine Dream - Rubycon [CD reissue]   BUY!
Tangerine Dream - Stratosfear [CD reissue]   BUY!

JUNE 21
Collective Soul - Blood   BUY!
Def Leppard - Def Leppard - Volume Two [box set]   BUY!
Hollywood Vampires - Rise   BUY!
Hot Chip - A Bath Full of Ectasty   BUY!
Chuck Mead - Close To Home   BUY!
Prince - Originals   BUY!
The Raconteurs - Help Us Stranger   BUY!

JUNE 28
The Allman Betts Band - Down To the River   BUY!
Dave Alvin - King of California [vinyl reissue]   BUY!
The Black Keys - Let's Rock   BUY!
Generation Axe - The Guitars That Destroyed The World [Steve Vai, Yngwie Malmsteen, Zakk Wylde]   BUY!
Gov't Mule - Bring On the Music  [live]   BUY!
Magma - Zëss
Chris Stamey - New Songs For the 20th Century   BUY!

Album of the Month: The Black Keys' Let's Rock. It was another tough decision this month, with cool new music coming from talents like Chris Stamey, the Raconteurs, Bruce Springsteen, and Lukas Nelson, among many others. I'm going with the Black Keys this month, tho' as Let's Rock is the blues-rockin' duo's first new LP of studio material in five years and is said to be a return to the guitar-heavy sound of their early material. Recorded in the frontman Dan Auerbach's Nashville studio, it will be good to hear singer/guitarist Auerbach and drummer Patrick Carney back in the groove again!

Archive Review: Current 93's Black Ships Ate the Sky (2006)

From Devendra Banhart to Sufjan Stevens, lots of folkies are gettin’ their freak on these days, and none of these humble troubadours is freakier than Mr. David Tibet. The stunning genius behind the ever-evolving collective that is Current 93, Tibet made his bones during the heady industrial-music daze of the mid ‘80s. Slicing and dicing and experimenting in sound effects with Burroughsian zeal, Tibet’s collaborative efforts with fellow travelers like John Balance (Psychic TV/Coil) and Steven Stapleton (Nurse With Wound) throughout the decade were complex, dark-hued and hauntingly beautiful tone poems that often verged on madness.

Somewhere along the way, Tibet got in touch with his inner-folkie and throughout the ‘90s he pursued his unique vision of “apocalyptic folk,” combining the adventurous musical experimentation of his early work with traditional and often exotic acoustic instrumentation. The resulting recordings were brilliant and challenging, the meager instrumentation pushing Tibet’s quivering vocals to the forefront, his voice wrapped around mystical tales and somber dirges. It is unlikely that Tibet ever thought that his work would impact an entire genre of music, albeit one as marginal as the current “avant folk” movement, but two-dozen years after his initial recording, Tibet’s importance and influence continue to grow.

Current 93’s Black Ships Ate the Sky

Black Ships Ate the Sky is Current 93’s first album in five years, a stunning collection that is both eerily alluring and magnificent in the breadth of its emotion and instrumentation. Working with his old friend and frequent collaborator Stapleton, guitarists Michael Cashmore and Ben Chasny, and cellist John Contreras, as well as guests like Marc Almond, Bonnie ‘Prince’ Billy and the legendary British folklorist Shirley Collins, Tibet has created a work for the ages. Black Ships Ate the Sky is, says Tibet, “the closest I have come to picturing what I hope, and feel, and love, and fear.”

“Yeah,” you say, “all this hyperbole is well and good. But what does the damn album sound like?” Well, gentle reader, Current 93 defies categorization or comparison, refuses to be pigeonholed, and laughs in the face of mundane, focus group-driven trends. Current 93 simply is. As for Black Ships Ate the Sky, imagine the sweatiest, most flesh-tingling wet dream that you’ve ever enjoyed, and combine it with the most frightening, horrible, spine-tingling nightmare that you’ve ever suffered through. That’s the sound of Current 93. Black Ships Ate the Sky is bracketed by eight varying versions of the ancient hymn “Idumea,” each sung by a different vocalist, providing thematic continuity through the album and a foundation for Tibet’s ruminations on our final judgement, which take on a Biblical intensity.

David Tibet’s voice cuts through the mix like the Reaper’s scythe, a siren’s call to salvation or damnation – depending on your perspective – and the choice is entirely up to you. The instrumentation is at once both perverse and gossamer, a soundtrack to purgatory; Norwegian death metal bands dream of writing music this extreme. The guitars rumble, at times, like the four horsemen on a three-day drunk while delicate notes dance across the lyrics like fireflies in a mating frenzy. Punctuated by found voices grabbed from the ether, Tibet’s lyrics are obsessed with intangibles such as love and fear, and by the cold realities of death and loss. This is “folk” music only by the furthest stretch of the imagination, Tibet and crew bending and stretching the form for their own use, musicologists collecting random sounds and influences from across the globe in a quest to create a new folk idiom for the post-industrial age.

The Reverend’s Bottom Line

Confused? Now you know how I always feel after listening to a Current 93 album. The experience is exhilarating and infuriating, the music, vocals and lyrics working on both a conscious and subliminal level. This is the musical nirvana that fringe-folkies from Mike Heron and Vashti Bunyan to the current crop of talents have attempted to achieve for nearly half a century now. Current 93 combines the best of industrial music’s myriad of influences with classic British folk, a mystical tradition and a global vision to create both the most challenging and the most seductive music that you’ll ever hear...and you’ll never hear anything else like it in this world. (Durtro Jnana Records, released May 23rd, 2006)

Review originally published by Alt.Culture.Guide™, 2006

Archive Review: Pere Ubu's The Tenement Year (1988)

Once upon a time, oh, say a decade ago, in the land of the expanded consciousness, there roamed a merry band of surrealistic music-makers led by a strange, tormented soul known as David. These troubadours, dubbed Pere Ubu by their followers, created a unique hybrid of rock ‘n’ roll, jazz, classical, and avant-garde electronic experimentation which enthralled any listener and served to fire off more than a few lazy nerve synapses. Before they disappeared into total obscurity, they left behind a handful of recordings, modern musical masterworks which illustrated their combined talents and created an artistic legacy of near-mythical proportion.

After several years of meditation, inner reflection, and personal projects Pere Ubu has re-formed to record and release The Tenement Year, an artistic tour de force of major proportions. The band, led by vocalist, songwriter, and poet David Thomas and included the multi-talented Chris Cutler (ex-Art Bears), soars and glides through eleven new, original songs like Icarus triumphant. Aiming for the sun and hotter than a solar flare, Ubu takes conventional musical tradition and turns it on its pointy lil’ head, moshing up a cacophonic blend of strange instrumentation, white noise, and industrial rhythms fronted by the tortured, howling vocals of the frantic Mr. Thomas.

The end result is aural excitement, an album unlike anything you’ve ever heard, sheer mind-expanding vinyl poetry that takes rock ‘n’ roll to a netherland that it’s never before witnessed. Find out for yourself why Pere Ubu’s early works influenced the creations of Joy Division, Throbbing Gristle, Psychic TV, and Devo, among others. The Tenement Year is certain to be every bit as influential. (Enigma Records, 1988)

Review originally published by The Metro (Nashville), 1988

Buy the CD from Amazon.com: Pere Ubu’s The Tenement Year

Archive Review: Iggy Pop's Instinct (1988)

Jimmy Osterberg was one of our childhood idols, you know. The levels of gratuitous, hormone-induced violence performed by even the meekest of adolescent males suffering through puberty during 1969 and ’70 were reflected in and, in some instances, given form by Osterberg a/k/a Iggy Pop. Through his chosen medium, rock ‘n’ roll, and his awesome vehicle, the Stooges, Pop preached the gospel of angst and alienation, singing with a madman’s fervor that appealed to the budding anarchist in all of us.

Iggy lived and breathed the auto-erotic ether of self-inflicted nihilism, nightly plunging through that white light/white heat wall-of-sound to swan dive, headfirst, into the gaping, toothy maw of Death. Painfully flagellating himself with the mike stand in a rite of passionate (un)holy penance; unflinchingly rolling, nearly-naked, across an onstage blanket of blood, feces, and jagged shards of glass; always pulling back at that final moment, never quite breaking through, collapsing in a pulpy heap of battered flesh to be carried offstage for another night’s attempt at destiny.

Unlike Jim Morrison, or even Janis Joplin – both peers of Iggy’s – Pop survived his frequent sojourns into the abyss, fading into late ‘70s obscurity until resurrected by the Thin White Duke to act as an elderly icon for a generation of young, would-be punks hell-bent on self-destruction. Nearly 20 years after the Stooges’ influential vinyl triptych of sonic style and three-chord artistry; after almost a dozen solo elpees which run the gamut from brilliant to brain-dead, Iggy is back with a new label and a new album, Instinct. Working for the first time with producer Bill Laswell (Material, Mick Jagger, Afrika Bambaata)…an odd couple matching if ever there was one…Iggy has put together a tougher-than-steel band led by the blitzkrieg six-string mastery of ex-Sex Pistol Steve Jones that comes mighty close to the aural purge-and-stomp abilities of the heyday Stooges.

Walking the thin line between punk power and metal overkill that he created, Iggy has returned with a saber-rattling fury, knocking down ten new numbers as only Pop could. Jones’ chainsaw guitar riffs compliment Iggy’s guttural vocals, which range from stark primal screams to smoky, lounge-lizard-styled dirges. The angst is still there, and the alienation is tempered by age and an often-cynical romanticism. Iggy may have grown older, but he’s gotten no softer…there’s life in the ol’ boy yet…and with albums like Instinct, Pop can and will influence an entirely new generation of youth looking for a little of that old search and destroy action while he still remains a rock ‘n’ roll idol for us jaded anachronisms. (A&M Records, released 1988)

Buy the CD from Amazon.com: Iggy Pop’s Instinct

Review originally published by The Metro (Nashville), 1988

Archive Review: NoFX & Rancid's BYO Split Series, Volume 3 (2002)

The idea of the “split” disc certainly isn’t a new one – I remember seeing “battle of the bands” styled albums that pitted the Beatles against some lightweight pretenders like the Four Seasons in the bins some thirty years ago. Punk has picked up the tradition with mixed results, tho’ I wouldn’t trade my Rudiments/Jack Kevorkian’s Suicide Machines split CD for anything less than a C-note. BYO Records has made an art form out of what is essentially a commercial marketing ploy, matching dissimilar bands together on a single disc to great effect. This NoFX/Rancid pairing is the third in the series, with each band delivering covers of five of the other band’s tunes, and let me say that it kicks ass in more ways than I can recount here…
   
Although both NoFX and Rancid are part of a California punk rock tradition, the resemblance ends with their geographic proximity. Influenced by bands like Black Flag and the Circle Jerks, NoFX have always followed a sort of tongue-in-cheek, smutty juvenile hardcore aesthetic, which in turn has been watered down and exploited by such bubblegum punk poseurs as Blink-182. From their ska-punk roots in Operation Ivy to their current status as indie-rock royalty, Rancid has always been a group of died-in-the-wool Clash acolytes.

The dissimilarity in the styles of the two bands is what makes this split disc work, however. NoFX nail Rancid’s Clash fixation with manic readings of tunes like “Olympia WA” and “Tenderloin,” Fat Mike, El Jefe and the boys waxing Rasta with a reggae-tinged take on “Radio.” For their part, Rancid mix things up a bit and crank up the volume, sounding like nothing so much as a bunch of drunken frat boys. “Moron Brothers” is a frenetic musical leap-of-faith while covers of “Stickin’ In My Eye” and “Bob” roar from 0 to 100 mph with high-octane sound and seemingly endless energy. The disc closes with “Vanilla Sex,” a brilliant anti-censorship screed that Rancid infuses with new spirit and perspective. Altogether, the ten tracks offered here will have you bouncing off the walls like some sort of gleeful punk rock dervish. (BYO Records, released March 5, 2002)

Review originally published by Big O magazine (Singapore), 2003

Buy the CD from Amazon.com: NoFX & Rancid’s BYO Split Series, Volume 3

Archive Review: Timothy Truman and the Dixie Pistols' Marauders (1988)

If I’ve said it to you once, I’ve said it to you a million times – the best rock ‘n’ roll music isn’t necessarily found on the major labels. Case in point: Timothy Truman and his merry band of houserockin’ fools, the Dixie Pistols; Truman is best known as the writer, artist, and creator of the Eclipse Comics publication Scout, an intelligent and original graphic portrayal of the United States of the next century, a visionary work that is at once both terrifying and intriguing. A flexi-disc included as a bonus “soundtrack” is an issue of Scout illustrated Truman’s skills as a bona fide rocker and led to the release by Eclipse of Truman’s and their first vinyl project, Marauders.

Truman and the Dixie Pistols practice the working man’s blues, worshipping at the altar of Robert Johnson and kicking out a righteous blend of soul-tinged, blues-infused rock ‘n’ roll madness, creating a mutant hybrid that started 50 years ago in the Mississippi Delta and has roared as an angry golem aboard a hell-bound, lightning-powered locomotive in the soul and spirit of every sad-singing, passionate axeman and artist from Johnson through B.B. King, Albert King, Elmore James, Eric Clapton, John Mayall, and legions of others attending the selfsame shrine.

Marauders holds within its grooves the aural essence of the smoke-filled bar, the straight bourbon shot with a beer chaser, and the alluring stare of that woman at the next table. Serving up a healthy dose of house-party, bring-down-the-roof madness, Truman and the Dixie Pistols romp and frolic through ten numbers that are hotter than the dog days of summer and more soulful than a roomful o’ blues!

Marauders is the real thing, folks – sincere, inspired, joyful music unencumbered by music industry expectations, commercial concessions, or corporate image-mongering. Musically, Truman and the Pistols are a skilled bunch of musicians with frequent flashes of brilliance. Although the tunes are derivative in the genre’s style, the material is original and respectful, showing a love for the tradition without being revivalist or patronizing. All in all, Timothy Truman and the Dixie Pistols’ Marauders is an entertaining, enjoyable album and a hell of a love of fun. The best music isn’t necessarily found on those big boy labels, a fact proven by this sleeper of a disc, a solid debut from a group that nobody’s heard of, released by a comic book company. (Eclipse Records, released 1988)

Review originally published by The Metro (Nashville), 1988

Archive Review: The Mooney Suzuki's Electric Sweat (2003)

There have been many artists and bands that have genuflected before the altar of Detroit rock ‘n’ roll, but among the many acolytes infected with the “Motor City Madness,” few have delivered the goods with the intensity and integrity of the Mooney Suzuki. While the critical establishment wets its collective short pants over the Strokes (this humble scribe included), across town the Mooney Suzuki is breathing fire and shooting thunderbolts from their instruments with the best impersonation of a sixties-era garage band that you’re likely to hear circa 2002.

Electric Sweat, the New York City foursome’s dynamic sophomore effort, continues the high-voltage overkill established by their year 2000 debut People Get Ready. With axes set on stun, Sammy James Jr., John Paul Ribas, Graham Tyler and Will Rockwell channel the ghosts of the MC5, the Yardbirds, Iggy, and countless other grunge masters in songs like the anthemic “In A Young Man’s Mind” or the Farfisa-drenched R&B rave-up “It’s Showtime, Pt II.” James’ vocals evoke memories of Rob Tyner while Tyler’s careless dedication to craft makes his six-string weapon of destruction roar and wail like metal clashing against metal. Feedback seeps into every corner of these songs, rock ‘n’ roll lightning dancing across every track on Electric Sweat.

Even the CD booklet brings back memories of smoke-filled nights in Ann Arbor, the photo of the four mopes in the Mooney Suzuki resembling a younger, contemporary Sonic Rendezvous Band. Forget about the Strokes, the White Stripes, the Hives and any other pretender to the throne – the Mooney Suzuki are the real thing, as true to the promise of rock ‘n’ roll  as a stack o’ tattered old copies of Creem magazine. Roll over Beethoven; tell Lester Bangs the news – the Mooney Suzuki are here to rock your world! (Gammon Records, released April 9, 2002)

Review originally published by Big O Magazine (Singapore), 2003

Buy the CD from Amazon.com: The Mooney Suzuki’s Electric Sweat

Archive Review: Alice Cooper's Welcome To My Nightmare (1975/2002)

When Alice Cooper, the band, broke up in the mid-‘70s due to the rigors of stardom (insert imagination here), many thought that Alice Cooper, the man, was history. Alice was, after all, an honest-to-god freakshow, the controversial artist behind such future classics as “School’s Out,” “Billion Dollar Babies,” and “I’m Eighteen.” Without the backing of strong musicians such as Michael Bruce and Glen Buxton, cried the critics and other observers, Cooper was on his way to becoming nothing more than an interesting footnote in the checkered history of rock ‘n’ roll.

The 1975 release of Alice’s solo debut, Welcome To My Nightmare, proved the critics wrong and provided Cooper with some degree of vindication. With the benefit of hindsight, we critical types now consider Cooper to be one of the legends of rock ‘n’ roll, a heavy metal godfather who has influenced artists such as Marilyn Manson and Rob Zombie, among many others. Back in ’75, though, teenage whiz kids such as myself couldn’t have cared less about the ruminations of a bunch of erudite college grads slumming in the ghetto of rock criticism. Alice Freakin’ Cooper had a new album out and for hundreds of thousands of high school stoners, rockers, and underachievers, that was good enough for us!

Conceived by Cooper as a concept album (which tied in with the effects-laden stage show and wildly successful tour that accompanied Welcome To My Nightmare), the album both blazed new trails and also revisited classic Cooper-styled songs. It introduced Cooper the ‘crooner’, yielding a monster hit in the ballad “Only Woman Bleed” that won the artist a new distaff audience and opened the door for power ballads by contemporaries like Ozzie and a slew of ‘80s hair bands. Welcome To My Nightmare also further defined horror rock with monster cuts like the title track, “The Black Widow” (complete with children’s choir) and “Cold Ethyl,” with narration provided by the crown price of terror, Vincent Price. “Department of Youth” was a stylistic throwback to Cooper’s previous band sound, with Detroit rocker Johnny “Bee” Badanjek delivering a solid drumbeat behind Cooper’s vocals. To replace the muscular sound of his long-standing band, Cooper recruited Lou Reed’s rock ‘n’ roll animals, guitarists Dick Wagner and Steve Hunter, who stacked up fiery riffs like so much sawmill fodder throughout the songs on Welcome To My Nightmare. 

The remastered Rhino reissue of Welcome To My Nightmare brings new brilliance to the sound of this classic album and adds previously unreleased live versions of “Devil’s Food,” “Cold Ethyl,” and “The Awakening” culled from an ABC television special. Manic liner notes from Cooper biographer Jeffrey Morgan and a handful of rare photos round out an exceptional package. Although I personally would like to have seen Rhino begin their restoration of the Alice Cooper catalog with early albums like Love It To Death or Killer, the work that they’ve done with Welcome To My Nightmare and, previously, Billion Dollar Babies, is nevertheless impressive. If your knowledge of Alice Cooper is limited to his early band work or more recent metal horror albums, you owe it to yourself to check out Welcome To My Nightmare. (Rhino Records)

Review originally published by Alt.Culture.Guide™, 2002

Buy the CD from Amazon.com: Alice Cooper's Welcome To My Nightmare