Illusions is Crematory's third studio album, distributed through Massacre Records.
A short-lived side project assembled by the members of costumed shock thrashers GWAR, X-Cops penned comedic hardcore and speed metal ditties inspired by the humorous darker side of law enforcement. Going under such imaginative stage names as Sheriff "Tubb" Tucker (vocals), Sgt. AlDepantsia (guitar), Lt. Louis Scrapinetti (guitar), Patrolman Cobb Knobbler (bass), Cadet Billy Club (drums), Mountain Bike Officer Biff Buff (vocals), Sgt. Zypygski (vocals), and Detective Philip McRevis (samples), the members of X-Cops locked up their debut album, You Have the Right to Remain Silent, in 1995. But they managed only a single the following year before retiring from the force and, once again, concentrating on donning their GWAR outfits thereafter.
After Debut's success, the pressure was on Björk to surpass that album's creative, tantalizing electronic pop. She more than delivered with 1995's Post; from the menacing, industrial-tinged opener, "Army of Me," it's clear that this album is not simply Debut redux. The songs' production and arrangements -- especially those of the epic, modern fairy tale "Isobel" -- all aim for, and accomplish, more. Post also features Debut producer Nellee Hooper, 808 State's Graham Massey, Howie B, and Tricky, who help Björk incorporate a spectrum of electronic and orchestral styles into songs like "Hyperballad," which sounds like a love song penned by Aphex Twin. Meanwhile, the bristling beats on the volatile, sensual "Enjoy" and the fragile, weightless ballad "Possibly Maybe" nod to trip-hop without being overwhelmed by it. As on Debut, Björk finds new ways of expressing timeworn emotions like love, lust, and yearning in abstractly precise lyrics like "Since you went away/I'm wearing lipstick again/I suck my tongue in remembrance of you," from "Possibly Maybe." But Post's emotional peaks and valleys are more extreme than Debut's. "I Miss You"'s exuberance is so animated, it makes perfect sense that Ren & Stimpy's John Kricfalusi directed the song's video. Likewise, "It's Oh So Quiet" -- which eventually led to Björk's award-winning turn as Selma in Dancer in the Dark -- is so cartoonishly vibrant, it could have been arranged by Warner Bros. musical director Carl Stalling. Yet Björk sounds equally comfortable with an understated string section on "You've Been Flirting Again." "Headphones" ends the album on an experimental, hypnotic note, layering Björk's vocals over and over till they circle each other atop a bubbling, minimal beat. The work of a constantly changing artist, Post proves that as Björk moves toward more ambitious, complex music, she always surpasses herself.
| 1 |  | Dujang Prang | Lamere, Vega | 5:39 | ||
| 2 | | Hammered | Vega | 5:40 | ||
| 3 | | Chennaroka | Vega | 5:13 | ||
| 4 | | Saturn Drive 2 [Subtalk] | Lamere, Vega | 5:42 | ||
| 5 | | Jaxson Gnome | Vega | 5:47 | ||
| 6 | | Life Ain't Life | Vega | 5:42 | ||
| 7 | | Flowers, Candles, Crucifixes | Vega | 6:32 | ||
| 8 | | Big Daddy Stat's Livin' on Tron | Vega | 5:08 | ||
| 9 | | Sacrifice | Vega | 5:39 | ||
| 10 | | The Kiss | Vega | 4:52 |
Another live album, another source of cash flow in Saxon's never-ending mission to relive their glory days at the forefront of the New Wave of British Heavy Metal. Sure, it's never going to happen, but who can fault them for trying to make a living? Recorded during their European tour in support of the surprisingly strong Dogs of War disc, The Eagle Has Landed, Vol. 2 delves deeply into the band's latter-day catalog and offers excellent sound quality to boot. But only Saxon fanatics will feel the need to check out these live renditions.| 1 | | Intro/Warlord | Byford, Glockler | 2:19 | ||||||
| 2 | | Dogs of War | Byford, Glockler | 4:52 | ||||||
| 3 | | Forever Free | Byford, Oliver, Quinn | 4:48 | ||||||
| 4 | | Requiem | Saxon | 5:54 | ||||||
| 5 | | Crusader | Byford, Dawson, Gill, Oliver ... | 5:57 | ||||||
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| 6 | | Lights in the Sky | Byford, Johnson, Quinn | 4:29 | ||||||
| 7 | | Iron Wheels | Byford, Glockler | 4:17 | ||||||
| 8 | | Ain't Gonna Take It | Byford, Carter, Glockler ... | 4:44 | ||||||
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| 9 | | Crash Dive | Saxon | 4:21 | ||||||
| 10 | | Refugee | Saxon | 6:01 | ||||||
| 11 | | Solid Ball of Rock | Broadbent, Tchaikovsky | 5:03 | ||||||
| 12 | | Great White Buffalo | Byford, Glockler | 6:31 | ||||||
| 13 | | The Eagle Has Landed | Byford, Dawson, Oliver, Quinn | 7:37 | ||||||
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| 14 | | Princess of the Night | Byford, Dawson, Gill, Oliver ... | 5:15 | ||||||
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| 15 | | Can't Stop Rockin' | Byford, Quinn | 4:39 | ||||||
| 16 | | Denim and Leather | Byford, Dawson, Gill, Oliver ... | 6:18 | ||||||
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| 17 | | Wheels of Steel/Demolition Alley | Saxon | 12:52 | ||||||
The critics savaged Annie Lennox's sophomore effort when it first came out, and it's easy to see why: it's not that an all-covers album was a bad idea, but she did pick some rather large shoes to fill and she did kind of run roughshod over the songs themselves, taking gritty material by the likes of Neil Young and the Clash and turning it into super-slick electro-pop ear candy. But on the other hand, candy sometimes really hits the spot, and Lennox's rendition of "No More I Love You's" by the ultra-obscure British pop band the Lover Speaks is ravishingly, heartbreakingly lovely. Those who have never heard the Clash's original version of "Train in Vain" might not find her version as objectionable as the critics did, either. But there's no arguing with the critics when it comes to her anemic take on the Al Green classic "Take Me to the River" or her equally numb rendition of Neil Young's "Don't Let It Bring You Down." Those who have given up on looking cool, however, might find themselves able to enjoy her gentle arrangement of "A Whiter Shade of Pale." Don't pay full price for this, but snap it up if you find it in a bargain bin somewhere.  | 1 | | No More "I Love You's" | Freeman, Hughes | 4:51 | |||
| 2 | | Take Me to the River | Green, Hodges | 3:31 | ||||
| 3 | | A Whiter Shade of Pale | Brooker, Reid | 5:17 | ||||
| | 4 | | Don't Let It Bring You Down | Young | 3:36 | |||
| 5 | | Train in Vain | Jones, Strummer | 4:38 | ||||
| 6 | | I Can't Get Next to You | Strong, Whitfield | 3:09 | ||||
| 7 | | Downtown Lights | Buchanan | 6:42 | ||||
| 8 | | Thin Line Between Love and Hate | Members, Poindexter ... | 5:53 | ||||
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| 9 | | Waiting in Vain | Marley | 5:40 | ||||
| 10 | | Something So Right | Simon | 3:54 | ||||
This debut album was an extremely popular record in Africa and Europe; it introduced Kuti's cleaner, more succinct take on his father Fela Kuti's legendary Afro beat sound. Packed with contagious rhythms born of African, jazz, and funk melodies, Femi Kuti represents an important offering to world music. Standout tracks include "Wonder," which is full of funky grooves and pointed lyrics about African unity, and "Survival," with its swinging, hip-rolling percussion.| | 1 | | Wonder Wonder | Kuti | 6:04 | |
| | 2 | | Survival | Kuti | 8:55 | |
| 3 | | Frustrations | Kuti | 9:06 | ||
| 4 | | Nawa (Intro) | Kuti | :30 | ||
| 5 | | Nawa | Kuti | 8:39 | ||
| 6 | | Plenty Nonsense | Kuti | 9:31 | ||
| 7 | | Stubborn Problems | Kuti | 9:32 | ||
| 8 | | No Shame | Kuti | 6:28 | ||
| 9 | | Live for Today | Kuti | 8:56 | ||
| 10 | | Changes | Kuti | 5:59 |
