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Josiah Flores
Josiah Flores

Heavy Metal Hard Rock Music Instrumental Compilation ##VERIFIED##



Chastain emerged in the mid-1980s along with a wave of other neo-classical guitarists. He has released about 50 recordings under multiple names, including David T. Chastain, CJSS, Georgia Blues Dawgs, The Cincinnati Improvisational Group, SPIKE, Zanister, Ruud Cooty and Southern Gentlemen (blues-rock); as well as a number of heavy metal releases under the band name Chastain, accompanied by female vocalist Leather Leone.[3]




Heavy metal hard rock music instrumental compilation



Leon Alvarado, 'The Future Left Behind' (Melodic Revolution). Prog-rock keyboardist Alvarado, who got noticed for his interpretations of works by Genesis, makes his latest full-length a concept record of instrumental music assisted by, among others, Yes members Rick Wakeman and Billy Sherwood.


Hellions, 'Opera Oblivia' (UNFD). Sydney, Australia punk quintet with fresh-faced members looks to break big almost everywhere with nu-metal and hip-hop elements crashing harder into the overall Hellions sound on an obviously rock-operatic third studio full-length.


Many of the these subpantheon best-ofs have awaited judgment foryears. My guarantee: All make sense as individual records. Wheresome artists (Joe Cocker, Alice Cooper, Cheap Trick) fall off sosharply that an even chronological spread does them dirt, the onesbelow are consistent. And where the peak albums of some artists(Joe Cocker, but no longer Steppenwolf) render compilationsredundant, the ones below are functional. Also fun.ABC:The Best of ABC: 20th Century Masters: The Millennium Collection(Mercury)For two whole albums in the early '80s, nearly18 months, Martin Fry poised on the dizzying edge of parody withoutcramping up. Then he nosedived. When he came to, he'd turned intothe disco dandy he'd pretended he was so much smarter than, doomedto envy Neil Tennant till the end of his alienated days. If youwant to honor Fry's artistic integrity, The Lexicon of Love can behad cheap. Poetically, this cheapo looks cheap while making Fryseem more pop-savvy than he actually was.A MINUSCHUCK BERRY:The Anthology(MCA)You remember him. He invented rockand roll--in 40 or so utterly indelible songs, with another coupledozen on the cusp. His CD-era standard has been the three-disc,71-track Chess Box, which sticks a lot of questionablestuff toward the end and retails for around $50. On sale for $20 less andsqueezing a 50-song double-CD into the shelf space of one, this isthe more consumer-friendly option. Except that in a typicalcompletist-baiting maneuver, it adds seven forgettable previouslyuncompileds (OK, "Don't You Lie to Me" is good) and to make roomaxes unquestionable stuff that only begins with "Anthony Boy,"and "Have Mercy Judge." Still ace music, of course--at leastthe instrumentals are under control. But dock it two notches forprofiteering anyway--and avoid the similarly misbegotten new LouisJordan package altogether.A MINUSJERRY BUTLER:The Best of Jerry Butler: 20th Century Masters: The Millennium Collection(Mercury)Before Kenny Gamble and Leon Huffrevved into urban-contemporary grandiloquence, their run with thisformer gospel singer/Impressions cofounder and future songwritingmentor/Chicago alderman defined a style of soul whose cool wouldnever be duplicated. Butler had plenty of voice, but he knewshowing it off was tantamount to admitting he had something toprove. So as he matured he turned conversational, talking his songsout of discretion rather than necessity. Thus he established hissuitability for that "One Night Affair" he hopes you have in mind.He could certainly sustain the illusion for longer than 11 tracks,but not for the 40-plus you get when you supersize him. Anyway, whyoverdo it? Right, Jerry?A MINUSCHAMPION JACK DUPREE:A Portrait of Champion Jack Dupree(Rounder)An expatriate at 50, the overrecorded last of the barrelhousepianists laid down some of his best music in sweet home New Orleansbefore he went back to Hamburg to die at 82: hyped supersession,cockeyed follow-up, posthumous farewell. I've always preferred thefollow-up, in part because it begins with the adoptee's lament"They Gave Me Away," in part because it seems so uncalculated andassociative--an entertainer made not born letting down what hairhe's got left because he's too old to play it safe anymore. All thewildest stuff from that one is here, together with the tighteststuff from the debut and the most responsive stuff from thefarewell. Songster blues. Decrepitude feeling its oats.A MINUSGAP BAND:The Best of Gap Band: 20th Century Masters: The Millennium Collection(Mercury)Bootsy's cousins and Leon Russell'sproteges, the three brothers Wilson were as bland as the twoBrothers Johnson until an accidental 1980 P-Funk rip we'll call"Oops Upside Your Head" transformed them into a great funk band fora handful of silly singles. No champs at hands-on bass and drums,they power-tooled a futuristic electrofunk out of keyboards, soundeffects, and overdubbed trackmastery--think "Burn Rubber," "YouDropped a Bomb on Me"--well before Bowie's "Let's Dance" orClinton's "Last Dance." I miss "Beep a Freak," which used a beeperas a rhythm instrument (eep!), and the payday throwaway they wrotefor Keenan Ivory Wayans one night. But mainly I wish they'd escapedthe African American superstition that ballads are old-ageinsurance. Two too many show up here--which is seven or eightfewer than on the newUltimate Collection, which to squeeze them ineviscerates the classics down to radio length.A MINUSGREAT PLAINS:Length of Growth 1981-89(Old 3C)Every goddamn droneand whine Ron House and his Columbus friends ever released, 51 songsthat evoke both the punk that set them off and the alt-country they spiedcoming down the road. Quick, kids, where do the Great Plains start?Well west of Columbus, right? And by the way, who was this MarkHanna guy? Pol behind four presidents fROMOHIO, two of whom wereassassinated and one of whom Great Plains did a song about. Othersubjects include Abraham Lincoln, Martin Luther King, MartinLuther, Shoeless Joe Jackson, Dick Clark, the fate of the familyfarm, how bad onetime Voice crit Don Howland has to piss, and, mostfamously, why punk rock boys go out with new wave girls. Not all ofit is great, some of it is barely good, and I doubt even his thesisadvisor would listen to House caterwauling 50 straight songs. Buthe knows that, and he wants you to hear them all anyway--surely youdon't think he's in it for the money. A single album by Canton'sown Marilyn Manson will cost you more than both CDs.B PLUSLIGHTNIN' HOPKINS:Blues Masters: The Very Best of Lightnin' Hopkins(Rhino)His juke-joint records long out of juice, Hopkinsunplugged because he saw money in folk music. Like a qualitygangsta rapper, he was cold, wry, and into his own pain, aruminative cuss who moved white fans to rave about improvisation asthey worshipfully awaited whatever bullshit came out of his mouth.Of this there was way too much--he recorded more than John LeeHooker, who unlike Hopkins had a beat. That said, Rhino's selectionof 16 1947-1961 tracks from nine labels is the solidest album everto bear his name. Usually there's accompaniment, bass at least, butHopkins's phrasing is so wayward that the effect is country anyway.Winnowed down to these memorable performances, he's thoughtful andsoulful, evocative and surprising--the back-porch poet of folkdreams.A MINUSSKIP JAMES:Blues From the Delta(Vanguard)James isn't all he'scracked up to be, especially in the '60s. If the catwalking guitarline of "I'm So Glad" could still give Eric Clapton penis envy, hispiano had lost its atonal abandon; if the song he wrote for hisD.C. M.D. has God in it, "Careless Love" is barely filler. Butalways carrying the music is a tenuous falsetto that's been througha lot of bad medicine, a voice that's looked at death from bothsides now and done what it could to aestheticize the terror.A MINUSROY ORBISON:16 Biggest Hits(Monument/Legacy)Not countingimports, there are now 13 best-ofs on 10 labels by this operasinger from the wrong side of the oil rig. Unless you worship ScottWalker, rockabilly, or both (a big unless), you need precisely oneof them. There's no Sun ooby-doobie-booby here, just 16 of the 20tracks on All-Time Greatest Hits of You-Know-Who, where you pay abuck apiece for four expendables, including Roy's third hit, whichpeaked at 27 while the other four went 2-9-1-2, wonder why. Hereyou get what you want: amazing vocal range, a beat that would giveScott Walker lumbago, the mystic miracles "Blue Bayou," "Only theLonely," and "In Dreams," lesser product slow and fast, and one ofthe greatest records ever made: "Oh, Pretty Woman."A MINUSCHARLEY PRIDE:RCA Country Legends(Buddha)Voicewise, as brilliantas Vernon Dalhart, Ray Price, George Jones. Contentwise, as wan asRed Foley, Ronnie Milsap, Eddie Rabbitt. Only for Pride, wan wasperverse. A deeply ambitious sharecropper's son who moved up toMontana to pursue his first love, baseball, and settled for a jobsmelting zinc, Pride didn't stand out because he could dip fromtenor to bass in well-enunciated middle-American smeared with drawland flanged with vibrato. He stood out because he wasn't white.Although it wasn't easy becoming the only black country star ever,once he got over the hump he was the perfect token for Southerntraditionalists eager to find safe common ground with the civilrights movement. Stylistically honky-tonk when Nashville was tryingto be modern, he was never thematically honky-tonk--no drinkingsongs, God knows no catting songs. Yet his skin color wasinescapable. From this Mississippi emigre the pro formacan't-go-home-again of "Wonder Could I Live There Anymore" was anindictment, "voice of Uncle Ben" and all. And how to read thecornball complacency of "I'm Just Me": "I was just born tobe/Exactly what you see/Nothing more or less/I'm not the worst orthe best/I just try to be/Exactly what you see"? Early on somewell-wisher suggested he bill himself George Washington Carver III.But that would have been taking on airs, he'd stick with his ownname thankee, and look what it was. Belated Country Music Hall ofFamer Pride no longer tours regularly. He doesn't have to. He owns a bank.A MINUSSTEPPENWOLF:All Time Greatest Hits(MCA)Though they named heavymetal, sort of, they were more hard rock, in both the principled'60s sense and the prole '90s sense. Rather than swamps of pomp ala Vanilla Fudge, Iron Butterfly, even Blue Cheer, their two 1968albums were floods of sludge. They had tunes, lyrics, verve; theyhad a good beat and you could wheelie to them. Never as slick ashis sunglasses after dark, German-born, Canadian-raised, r&b-loving,legally blind ex-folkie John Kay soon grew full of himself,in a sincere, pot-smoking way. But 30 years later his '70s FMstaples pack more punch than the half of the debut this revision of1975's Sixteen Great Performances leaves in CDNow. They also packmore punch than the lesser leavings of another hard rocker with apop knack and a best-of out, Alice Cooper. Not only is Kay nicer--thegauche "For Ladies Only" isn't hip to the feminist jive like"Only Women Bleed," but it sure tries harder--he has a betterdrummer. Jerry Edmonton, died in a car wreck. He rocked.A MINUSBILLY STEWART:The Best of Billy Stewart: 20th Century Masters: TheMillennium Collection(Chess)Well past his moment at 32, he diedon the road in 1970, leaving this, more or less: two doowop-derivedsoul-r&b sob-song classics, trilled and scatted pull-out-the-stopsdemolitions of Doris Day's "Secret Love" and the Gershwins'"Summertime," and other vehicles for his piercing tenor and sharpgroove--notably "Fat Boy," about an overweight lover who may bebuilt for comfort but is also, for once, insecure. In short, a moredistinguished body of minor music than can be claimed by manybetter-remembered later soul men who'll remain nameless here.B PLUSPETER TOSH:Scrolls of the Prophet: The Best of Peter Tosh(Columbia/Legacy)Tosh's prime was over long before he was murderedin 1987, probably for being the stoned, arrogant gadfly-cum-crankhe turned into. By cherry-picking his 1976 and 1977Columbia albums, culling two Rolling Stones keepers, adding threeworthy oddments, and preserving EMI's 1981 "Fools Die"just in case anybody thinks I'm kidding about far downhill he slid,this showcases the Wailers' only born propagandist. You love BobMarley, I love Bob Marley, but he didn't venture social statementsas hard-hitting, verbally or musically, as "Equal Rights" or"Legalize It." Righteous militance rarely wears well. That Toshcould have done this much with it is worth writing down.A MINUSMERLE TRAVIS:The Best of Merle Travis: Sweet Temptation (1946-1953)(Razor & Tie)The two Jimmie Rodgers songs this adds to theRhino 18-track it supplants are superfluous. He was a fineguitarist, but as a vocalist he wrote novelty songs--so novel theyoften had class consciousness, like "Sixteen Tons," which TennesseeErnie Ford owned as soon as he put his tonsils on it. I miss "ILike My Chicken Frying Size," which exemplifies Travis's gustatorycandor about human relationships. But then there's the newly added"Kentucky Means Paradise," which does the same for his gustatorycandor about food: "You take a chicken and you kill it/And you puthim in a skillet." Not many would mention the killing part, orchange "it" to the more intimate "him" without flinching. Bet Merleliked his eggs really fresh.A MINUSVillage Voice, June 5, 2001 041b061a72


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