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When Pantera belter Philip Anselmo sings, "It's like religion without a Bible," on "Hellbound," he could be talking about his own band. As Anselmo says in the midst of his metal-revivalist rant "Goddamn Electric," Pantera tap into a part of you that's "always sixteen" and restore your trust "in whiskey and weed and Black Sabbath." Despite the title of their tenth album, the great thing about these terrifying Texans is that they don't, in fact, reinvent the steel when it comes to heavy metal. Pantera rely on the genre's primal elements of rage and analog noise, with the only tweak being an increased commitment to cacophony -- just when a song comes close to being catchy, guitarist Dimebag Darrell and drummer Vinnie Paul chop it up with squealing dissonance. Reinventing the Steel is both dumber and smarter than it has to be: brutal enough to please underground purists and familiar enough for weekend headbangers. When you hear the lock-step crunch of "Hellbound," all you can say is, "Hell, yeah!" 

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In an era when pop nihilism fulfilled its dark promise all too regularly, Pearl Jam not only survived, but thrived to become one of rock's greatest bands. This 33-track double-disc career retrospective documents the arc of a career that went from arena and radio triumphs in the early 90's (while Nirvana's promise imploded in the wake of hype, Pearl Jam's crowd-pleasing fame only burgeoned) to the uncompromising, core audience-focused tack that carried the band into the 21st century. Shrewdly compiled by the band into an "Up" disc that chronicles the band's driving, Stone Gossard-Mike McReady fueled hard rock dramatics (including such early career landmarks as "Jeremy," "Alive" and "Even Flow" alongside more aggressive fare like "I Got the Shit Down" and "Spin the Black Circle") and a "Down" side that focuses more on Eddie Vedder's brooding, often dark ballads ("Old Woman..," "Yellow Ledbetter," their unlikely hit cover of the oldie "Last Kiss"), it's a collection that underscores both the band's range and musical integrity. Though centered on the band's pre-Vitalogy studio era and containing no new material, longtime producer/collaborator Brendan O'Brien contributes remixes of "Once," "Alive" and "Black" that offer new insights on the familiar, while non-album tracks like "Man of the Hour" and "State of Love and Trust" considerably enhance the overall listening perspective here.

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The Clash's label didn't believe this debut would sell in the United States. By the time CBS got around to releasing a stateside version of the U.K. album, the British original had become an import hit. While the U.S. release contains klix tracks such as "Complete Control" and "Clash City Rockers," it's still missing "Cheat," "Protex Blue," "48 Hours," and "Deny." No matter which version you prefer, The Clash is a fearsome listen. Joe Strummer reviles the system at every turn, while Mick Jones wields his guitar like a switchblade. Yet even on their debut there are hints of future musical adventures. Junior Murvin's "Police & Thieves" is solid reggae, while "White Man in Hammersmith Palais" expertly interpolates the reggae groove into their punk attack. 

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Despite the tepid production by metal guru Sandy Pearlman, the Clash's sophomore album, Give 'Em Enough Rope, manages to burn with white-hot intensity. Though not as amateurish or snarling as their debut album, Rope finds the boys flexing their songwriting muscles. The first three songs ("Safe European Home," "English Civil War," and "Tommy Gun") stand among their most powerful and leap from the record with brute force. Though they hit a few clunkers ("Cheapskates"), this album is a near classic and gives a hint of the band to come that would light up the world with London Calling.

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Bursting at the seams with creative energy, the Clash's stunning 1979 double album more than made up for the artistic and commercial disappointment of its predecessor, 1978's tried-too-hard Give 'Em Enough Rope. With ex-Mott the Hoople producer Guy Stevens harnessing their sound as never before, the band yielded what proved to be the best work of their career. Bouncing from hard rock (the apocalyptic vision of the title track) to rockabilly ("Brand New Cadillac") to reggae ("Rudy Can't Fail") to pop (the Top 40 hit "Train in Vain"), the Clash knocked down all musical walls and, in the process, ended the argument over punk's viability in the U.S. 
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Digitally remastered from the original production master tapes, this a reissue of the 1979 & third album by 'the only band that matters'. Features the original artwork and all 19 of the original tracks, including the hidden hit 'Train In Vain (Stand By Me)', their first U.S. single to chart (it reached #23 at the time).

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What the hell is this? Though the two-record sprawl of London Calling--with its exploratory mutations of reggae, rockabilly, and even disco--proved that the Clash weren't content to lie fallow in a punk-rock ghetto, nothing prepares you for Sandinista's messy melange. For 36 tracks (the Clash originally released this as a three-record set for not much more than the price of one), the band tackles everything in sight, including waltz, gospel, disco, children's ditties, funk, reggae, dub, delicate instrumentals, psychedelic explorations--hell, they even play a Clash rocker or two. Though many have said there is a single great album hidden among the three here, it's the pure chutzpah of Sandinista that makes it such a particular pleasure and a brain drain at the same time. It's the document of a band that can do anything and tries to do everything. It's the glorious sound of failure. And if that ain't the Clash, what is?
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Digitally remastered from the original production master tapes, this a reissue of the 1980 & fourth album by 'the only band that matters'. Features the original artwork and all 36 of the original tracks, including 'The Call Up', 'Somebody Got Murdered', 'Police On My Back', 'The Magnificent Seven' and 'Hitsville U.K.'. 'Sandinista!' broke the top 30 in the U.S. at the time. 

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The final album by the Clash's original Strummer/Jones incarnation is also their most inconsistent. There were musical and ideological rifts developing within the band, and it shows: the experimentation is almost as wild as Sandanista!'s (and the biggest experiment is heading away from their punk shiftiness and into a commercial rock sound), but they seem to be enjoying it less. The band's stabs at funk and poetry aren't terribly successful, but it all came together for two massive hits: "Should I Stay or Should I Go?" has the biggest, stupidest, most perfect riff this side of "Louie Louie," and "Rock the Casbah" pulls the band's politics, fine-honed sarcasm, and saw-toothed guitar sound into the service of a dance-floor beat. 
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Digitally remastered from the original production master tapes, this a reissue of the 1982 & fifth album by 'the only band that matters'. Features the original artwork and all 12 of the original tracks, including the top 50 hit 'Should I Stay Or Should I Go' and the top 10 smash 'Rock The Casbah'. 'Combat Rock' was the English new/ punk rock group's biggest album in the U.S., reaching #7 at the time. 

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The Clash were the only first-generation punk band capable of (or perhaps interested in) tailoring their up-from-the-gutter firepower to suit arena-size audiences. Here, at last--a decade and a half after their demise--is proof of their substantial stage skills.
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Touted for many years as the greatest live band in the world, the only surprise about this live album is that it's taken so long to appear. Recorded between '78 and '82, it captures the London punk torchbearers in all their fury--Strummer spitting out vocals like every breath is his last, the guitars of Jones and Simenon taut and abrasive. Even after all this time, songs like their debut album's scathing "Complete Control" and the dub-fired "Armagideon Time" blister out of the speakers, sending streams of scouring guitars and tight, chunky reggae rhythms into the atmosphere. 

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Digitally remastered from the original production master tapes, this a reissue of the 1993 retrospective for 'the only band that matters', England's best punk/ new wave group, The Clash. Contains tracks from their 1980 mini-album 'Black Market Clash', plus some other non-album A-sides & B-sides, as well as some rare tracks every true fan needs. 21 tracks in all.

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Give Up, the debut release by this indie supergroup composed of Ben Gibbard from Death Cab for Cutie and Jimmy Tamborello from Dntel, is a smart, quaint, and often transcendent little pop record. The roots of the album lie in "(This Is) The Dream of Evan and Chan," a woozy, gorgeous song recorded for the rad 2001 Dntel album Life Is Full of Possibilities. With Jimmy in L.A. and Ben in Seattle, the two simply mailed tracks back and forth, collaborating via (you guessed it) the United States Post Office. Lyrically it’s far breezier and happier (though not too happy) than anything Gibbard had written up to this point for Death Cab. The music is an elastic, very smart update of synth-pop, and the melodies crystal clear, while the backing vocals courtesy of Jen Wood and Jenny Lewis are Spartan and pretty. The songs stick in your head for days at a time. Forget the tags that have been thrown up against this music--Poptronica? New new new order?
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The collaboration between Death Cab For Cutie's Ben Gibbard and Dntel's Jimmy Tamborello is an album of breezy electronic pop that updates classic 80s synth-pop with contemporary beats. The line-up also features Jenny Lewis from the band Rilo Kiley. Sub Pop. 

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http://mio.discoremoto.virgilio.it/lodger00/Lodger.part1.rar 

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http://mio.discoremoto.virgilio.it/lodger00/Lodger.part2.rar 

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http://mio.discoremoto.virgilio.it/lodger00/Lodger.part3.rar 

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http://mio.discoremoto.virgilio.it/lodger00/Lodger.part4.rar 

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The Follow Up to the Band’s Critically Acclaimed Debut ‘youth and Young Manhood’, ‘a-ha Shake Heartbreak’ . The Band Recorded the Album with Producer Ethan Johns (Ryan Adams, Counting Crows) Over Five Weeks in Studio City, California During the Summer of 2004. 

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Ska music has been deeply ingrained in the punk rock culture since the Clash adopted their rude boy stance near the end of the British punk invasion and the 2-Tone label put ska on the map. Suddenly, punks stopped kicking the crap out of each other long enough to dance. The debut release by Orange County, California's Sublime is a positively infectious record that marries varied styles of dub, reggae, rap, sampling, scratching, and badass dancehall ska with old-school punk overtones. Musicianship on this record is exceptionally tight, featuring Brad Nowell's innovative guitar work and bright, soulful voice. Packed with 40 oz. of rock (21 tracks) including the ultimate pot-smoking anthem "Smoke Two Joints" and the novelty hit "Date Rape." 

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Let's get the inevitable comparison out of the way: like the Postal Service, the Junior Boys craft a wan indie electro-pop variation on blue-eyed soul. But in contrast to Ben Gibbard's romantic yearning, Junior Boys singer Jeremy Greenspan's voice emerges from the depths of a post-traumatic chill, emanating a disappointment too laconic to accurately be called sadness. "High Come Down" could be Darryl Hall produced by Timbaland, but only in an alternate universe where neither man was interested in selling records or monopolizing your attention--the beats shuffle of their own accord rather than skittering playfully, and Greenspan sings as though there's a sleeping baby in the next room. The group's new-wave influences are similarly easy to spot, yet they appear only as silhouettes, drained of the original artists' egotism. Over time, the Junior Boys' teasing reserve proves itself as engaging as most other artists' forceful intensity.
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So, yes, despite the high dance IQ and its luxuriously monochromatic sensuality, the record does seem very... indie. On "Teach Me", Greenspan is requesting to "show me what it's like to give back pain," as his paper-thin voice projects honesty, vulnerability and the puppy-dog loyalty of sentimental, pale-skinned boys. So thankfully that's the fey, Anglocentric early 80s sense of the phrase "indie," then, albeit dressed up with graceful, hopeful romanticism rather than self-deprecating fatalism. At times, that sense of hope seems buried under throbbing beats or kept at arm's length by cold, pristine sonics, but dip your toes beneath that sleek surface and you'll find an album of great warmth, beauty and even soul.

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Ted Leo And The Pharmacists' latest album "Shake The Sheets" is a triumph on nearly every level. Produced by Chris Shaw (Dashboard Confessional, Bob Dylan, Public Enemy) in New York City during the spring of 2004, it is informed by almost every political and cultural conversation happening in our world today, but presents the conversation with a message of hope and humility. 
Ted is a special artist whose most recent full length, 2003's Hearts Of Oak, dominated critics' lists for the year, garnering glowing features and positve reviews in SPIN (9 out of 10), Rolling Stone (3 Stars), Alternative Press (5 out of 5), The New Yorker and Entertainment Weekly as well as tremendous support from the punk press and online music sites. His nearly incessant touring over the last three years has won him legions of fans around the world that are hotly anticipating his newest album. At College Radio, "Hearts Of Oak" peaked at # 7 on CMJ Top 200; # 8 on CMJ Core and was #2 most added. Oak also enjoyed 7 weeks of impressive commercial specialty radio play including specialty chart peaks of #1 on the FMQB Magazine Chart, #3 on the R&R Magazine Chart. The video for "Where Have All The Rudeboys Gone?" got numerous plays on MTV2 and Fuse and Ted Leo hosted an episode of MTV2's Subterranean. Ted Leo And The Pharmacists even performed on a 2003 episode of Late Night With Conan O'Brien.


With a fantastic producer and great studio (James Iha's Stratosphere in Manhattan), Ted was finally able to achieve the cleanest, biggest sound he has ever had. "Shake The Sheets" is his greatest work to date and surely the album to push him through to even bigger success.