Je T'aime 2009 (2cd)

Kurt Cobain made plenty of mistakes in his life, but loving the Vaselines was not among them. Nirvana covered three of their songs, and as Kurt might tell you if he were alive today, from 1986 to 1989 the Vaselines were the best pop band around…

Double disc reissue collection of their three demo releases and their lone full length release "From Within" (1994). All 26 tracks have been remastered for this collection. This compilation features all new artwork, extensive liner notes, full lyrics, and enhanced live concert footage.

CANTINA SOCIALE is a new Italian group. The line-up is: Rosalba Gentile (keyboards), Elio Sesia (guitars, bass, violin), Iano Nicolo (vocals), Gianni Grasso (bass, saxophones), Carla Viarengo (saxophones, background vocals), Marina Gentile (guitars) and Graziano Viola (drums). The music is mostly similar to the seventies groups but there are some modern influences as well. They have more Mediterranean feel in the music than an average Italian symphonic group…

Saga have had their share of lineup changes along the way; one of the most talked about came in late 2007, when longtime frontman Michael Sadler left the band (Rob Moratti was hired as a replacement the following year). Sadler had been Saga's lead singer from the beginning; he was around back when the Canadian prog rockers were still calling themselves Pockets (which was also the name of an Earth, Wind & Fire-ish soul-funk band that recorded three LPs for Columbia in the late '70s), and his departure came after no less than 30 years with the band. Documenting a 2007 show in Munich, Germany, Contact: Live in Munich was recorded/filmed during Sadler's final tour with Saga…

Anyone familiar with the industrial metal band's dark sense of irony should take one look at the title of Rammstein's 2009 album Liebe Ist Für Alle Da ("Love Is There for Everyone") and conclude that this one is a mean monster. Combining the tightness and punch of their 1997 album, Sehnsucht, with the musicianship and elaborate textures of their later work, Liebe Ist Für Alle Da is a grand achievement, skillfully dividing its time between razor sharp metal rockers like "B********," or the opening theme song "Rammlied" and nostalgic cabaret pieces that conjure the spirits of Weil and Brecht at a goth club. The best of the latter is the naked and haunting closer "Roter Sand," but little touches of a sinister yesteryear are everywhere, like the fake vaudeville music in "Haifisch," or the soundtrack strings of "Wiener Blut," which are eventually overcome by a guitar-crunching juggernaut…

Moby's most unified and understated album, and all the better for it, Wait for Me is a morose set of elegantly bleary material, quite a shift from the hedonistic club tracks of Last Night. Dominated by instrumentals, "Shot in the Back of the Head" is the most evocative of the bunch, seemingly pulled from an unreleased David Lynch film scored by the Afghan Whigs circa Gentlemen - a lament from a dustbowl, full of mournful slide guitar and dewy electric piano. Other than "Mistake" - a glum neo-post-punk rave-up that, despite its cathartic release, remains downcast - Moby leaves the vocals to a series of women (neighborhood chums, apparently) who each contribute to one song. The smoky 3-a.m. gospel whispers from throwback soul singer Leela James on "Walk with Me" steal the show.

This album won't supplant Double Live Gonzo! in the record collections of Nugent fans, and it certainly won't win him any new listeners, but just like 2008's Sweden Rocks (and his previous two studio albums), it's evidence that even as he persists in his obnoxious right-wing crankitude on cable talk shows and in print, when the Nuge straps on his Gibson, he can still lay waste to an audience. This July 4, 2008, show, recorded before a rapturous hometown crowd, is a greatest-hits run-through with a few surprises and a version of then-new single "Love Grenade," but the current rhythm section – bassist Greg Smith and drummer Mick Brown – gives the old songs a visceral kick, and Nugent's leads and solos scream and sting as powerfully as ever…

Coming down from the ambitious, politically charged Fundamental, Yes is the sound of the Pet Shop Boys unwinding and returning to their usual fascinations: isolation, fashion, grand arrangements, and witty synth pop anthems. Unfortunately, they're in a slump with their songwriting, and subject-wise, every song here has a companion piece on some earlier album, but that doesn't mean the party is spoiled. The delicate electro opener "Love Etc." is PSB perfection with its memorable hook and faultless construction. Brian Higgins and his Xenomania team (Saint Etienne, Girls Aloud) share songwriting and production duties on the track, and while that later credit continues for the remainder of the album, the hip crew becomes invisible as singer Tennant and synth-man Lowe take over…

The High End of Low is the seventh studio album by Marilyn Manson. Manson first began work on the album with guitarist Tim Sköld. However, Sköld left the band when the vocalist reunited with former bassist Twiggy Ramirez. The album was produced by Manson and Twiggy (who dropped the Ramirez moniker) along with former Nine Inch Nails co-producer and keyboardist Chris Vrenna, as well as Antichrist Superstar (1996) and Mechanical Animals (1998) co-producer Sean Beavan. It was the last album to feature the band's long-time drummer Ginger Fish. The record received mixed reviews from music critics, with several publications praising it as their best album since Mechanical Animals; although others were critical of both its length and more personal lyrical themes…

Like many disco groups of the 70s, Saint Tropez was a producers' brainchild, in this case of American producers Laurin Rinder & W. Michael Lewis who had already been successful with disco groups El Coco and Le Pamplemousse. Saint Tropez was a female ménage-à-trois, three good-looking women, striking in lesbian poses on the covers of the first two albums Je T'aime (1977) and Belle de Jour (1978), both hugely successfull disco albums with big symphonic orchestrations and a tight disco backing, all the instruments played solely by the two producers. Je T'aime offered Serge Gainsbourg & Jane Birkin's well-known classic in an equally sensual disco symphony. They also covered material by Van McCoy and Gregg Diamond's "Heart To Heart" (sung in French as "Coeur à coeur"), originally written for The Andrea True Connection.