Drive Like Jehu - 1994 - Yank Crime

The band's second and, unfortunately, final album, Yank Crime is as worthy and awesome as its predecessor, losing not a jot in the change from independent to major label status. Including some longer, more complex tunes this time around, Drive Like Jehu is otherwise essentially unchanged, fusing brawling, crisp rhythms and high volume intensity with technical complexity, feeling like a mad science experiment gone completely out of control. Aside from the guest backing vocals on the frazzled angst explosion "Luau!" by fellow San Diego music fiend Rob Crow, it's again all down to the band's four members, with drummer Trombino providing the strong, take-no-prisoners mix. Perhaps even more than the debut, Yank Crime solidified Drive Like Jehu's reputation as kings of emo. While use of that term rapidly degenerated to apply to sappy miserableness by the decade's end, here the quartet capture its original sense, wired, frenetic, screaming passion, as first semi-created by the likes of Rites of Spring. Whether making it short and sweet, as the surprisingly gentle instrumental "New Intro" demonstrates in three minutes, or taking time, like the nearly ten-minute conclusion "Sinews," the band wastes not a note. Froberg's sense of intense, almost accusatory delivery is astonishingly dramatic throughout, whether in full cry or with a touch of restraint, as on the rhythmic chorus of "Do You Compute." His guitar partnership with Reis is still in full cry, creating honestly epic zoned and screaming feedback roars and waves -- the aforementioned "Do You Compute" is one fine example, as is "Luau!," which builds to a awe-inspiring, eternally ascending rise. While a recording of the band's incendiary live shows would be the best way to remember the quartet, Yank Crime is a thoroughly excellent if unexpected way to bow out, artistic rock that actually, honestly, and totally rocks.

1 Here Come the Rome Plows Drive Like Jehu 5:44
2 Do You Compute Drive Like Jehu 7:12
3 Golden Brown Drive Like Jehu 3:14
4 Luau Drive Like Jehu 9:27
5 Super Inison Drive Like Jehu 7:24
6 New Intro Drive Like Jehu 3:32
7 New Math Drive Like Jehu 4:06
8 Human Interest Drive Like Jehu 3:24
9 Sinews Drive Like Jehu 9:12

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Dokken - 1999 - Erase The Slate

George Lynch departed the Dokken reunion following 1997's Shadowlife, handing the reins over to ex-Winger guitarist Reb Beach. Beach has more than enough chops to fill Lynch's shoes, and although he brings his own musical personality to the riffs and solos, the songs' melodies are still recognizably Dokken. Unfortunately, those melodies are typical of post-reunion Dokken more often than not, with the band seemingly struggling to come up with the big chorus hook and just not quite getting there (a problem, come to think of it, that sometimes plagued the band in their heyday as well). Although Beach acquits himself well, the songwriting ultimately sinks the record; besides, at this stage of the game, it's difficult to believe Don Dokken when he sings "I must confess, I'm the maddest hatter of them all." Erase the Slate is workmanlike retro-'80s hard rock at its best, and thoroughly unmemorable at its worst.

1 Erase the Slate Dokken 3:47
2 Change the World Dokken 4:35
3 Maddest Hatter Dokken 4:38
4 Drown Dokken 4:53
5 Shattered Dokken 4:40
6 One Nilsson 3:10
7 Who Believes Dokken 4:23
8 Voice of the Soul Dokken 4:12
9 Crazy Mary Goes Round Dokken 3:00
10 Haunted Lullabye Dokken 4:47
11 In Your Honor Dokken 4:31
12 [Untitled] Dokken 1:16

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Dead Kennedys - 1982 - Demo Tape

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Doves - 2002 - The Last Broadcast (2CD)

When Doves issued Lost Souls in fall 2000, Britpop was immersed in its melodic gloom-and-doom era, ushered in by the success of Radiohead. The likes of Coldplay, Travis, Elbow, and Starsailor followed in their wake, as did Doves. What separated Doves from the rest was a glint of passion, evident on their 2000 debut, Lost Souls. Two years later, the atmospheric dreamscapes of Lost Souls were torn asunder for the musical daybreak of The Last Broadcast. As it turns out, the psychedelic vibrancy of "Catch the Sun," the brightest track on the album, pointed toward this brave second record. Gone are the hazy space rock trips and the cheerless attitudes; Doves are on the sunny side of the street for The Last Broadcast. The seven-minute sonic boom of "There Goes the Fear" finds Jimi Goodwin sharing vocals with Jez and Andy Williams for a glorious chorus. Each of them switches up vocal duties throughout, lending a joyous feel to the album itself. From the bold front of "Words" to the fiery momentum of "Pounding," The Last Broadcast shows a refreshing rawness that was absent before. The High Llamas' Sean O'Hagan delivers sweeping orchestral arrangements for the sublime "Friday's Dust," while the electronic dewdrops of "The Sulphur Man" push Doves' divine ambience further to the front.Doves were caught up in making grand compositions on Lost Souls, which worked fabulously, but it was too much. They've stripped down to the basics, letting the optimism of The Last Broadcast take center stage. It's a brilliant moment.

		1		Intro	Goodwin, Williams, Williams	1:17
		2		Words	Goodwin, Williams, Williams	5:42
		3		There Goes the Fear	Goodwin, Williams, Williams	6:54
		4		M62 Song	Fripp, Giles, Goodwin, Lake ...	3:48
Composed by: Fripp, Giles, Goodwin, Lake, McDonald, Sinfield, Williams, Williams
		5		Where We're Calling From	Goodwin, Williams, Williams	1:24
		6		N.Y.	Goodwin, Williams, Williams	5:46
		7		Satellites	Goodwin, Williams, Williams	6:50
		8		Friday's Dust	Goodwin, Williams, Williams	3:35
		9		Pounding	Goodwin, Williams, Williams	4:45
		10		Last Broadcast	Goodwin, Williams, Williams	3:22
		11		The Sulphur Man	Goodwin, Williams, Williams	4:37
		12		Caught By the River	Goodwin, Williams, Williams	5:55

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Dexys Midnight Runners - 1982 - Too-Rye-Ay

For one brief moment, Dexy's exploded into America's consciousness -- and what a song to do it with! "Come on Eileen" combines ramalama rock & roll, soul delivery, and Celtic/country flavor into a perfect musical fusion and an irresistible U.K. and U.S. number one hit. Both the song and its video were such hits that years later, ska/punk band Save Ferris made a minor splash with its own version of the tune, while Garth Brooks appeared in a Saturday Night Live skit dressed as the capering, bedraggled Rowland. The rest of the album is nearly as successful, with quite a few numbers that should have matched "Come on Eileen"'s fame. Given that song's obvious debt to Van Morrison's similar fusions, it's no surprise that Dexy's tipped their hat with a great cover of Morrison's "Jackie Wilson Said," another big British single. Throughout the album, Rowland's distinct, unique voice takes the fore, but the revamped Dexy's lineup proves it was the original version's equal, if not better. Given that only trombonist Big Jimmy Patterson remained, and even then only for two tracks, recruiting a new band able to create the "Celtic soul" Rowland dreamed about turned out to be exactly the right move. Excellently produced by Rowland and the legendary Clive Langer/Alan Winstanley production team, Too-Rye-Ay sounds like an old soul revue recorded on-stage, no doubt an intentional goal. Other highlights include the opening jaunt "The Celtic Soul Brothers," which just about says it all both in title and delivery; the slow swirl of "All in All," and the vicious ballad "Liars A to E."

		1		The Celtic Soul Brothers (More, Please, Thank You)	Billingham, Paterson ...	3:08
Composed by: Billingham, Paterson, Rowland
		2		Let's Make This Precious	Paterson, Rowland	4:03
		3		All in All (This One Last Wild Waltz)	Paterson, Rowland	4:07
		4		Jackie Wilson Said (I'm in Heaven When You Smile)	Morrison	3:05
		5		Old	Paterson, Rowland	5:35
		6		Plan B	Paterson, Rowland	5:04
		7		I'll Show You	Paterson, Rowland	2:41
		8		Liars A to E	Paterson, Rowland, Torch	4:11
		9		Until I Believe in My Soul	Paterson, Rowland	6:59
		10		Come on Eileen	Adams, Paterson, Rowland	4:38

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Dirty Deal - 1987 - Dirty Deal EP

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D'Arby, Terence Trent - 1987 - Introducing The Hardline According To Terence Trent D'Arby

Introducing the Hardline According to Terence Trent d'Arby is a strong debut by this young singer, who wrote virtually every note, played a multitude of instruments, and claimed that this was the most important album since the Beatles' Sgt. Pepper. Hits included "If You Let Me Stay," "Dance Little Sister," "Sign Your Name," and the number one "Wishing Well." His first album is a curious mixture of old and new styles. Although the production is quite modern, d'Arby shows his roots in the work of older artists, borrowing a page or two from Michael Jackson and Stevie Wonder, while James Brown appears to have had the strongest influence on d'Arby's stage presence.

		1		If You All Get to Heaven	DArby	5:17
		2		If You Let Me Stay	DArby	3:14
		3		Wishing Well	DArby, Oliver	3:30
		4		I'll Never Turn My Back on You (Father's Words)	DArby	3:37
		5		Dance Little Sister	DArby	3:55
		6		Seven More Days	DArby	4:34
		7		Let's Go Forward	DArby	5:32
		8		Rain	DArby	2:58
		9		Sign Your Name	DArby	4:37
		10		As Yet Untitled	DArby	5:33
		11		Who's Lovin' You	Robinson	4:24

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