Repo Man

Repo Man Review by Stephen Cook
As a backdrop to his fast-paced and cartoon-like debut chronicling the wayward life of Los Angles repo men, punk auteur Alex Cox did well to use music from the city's early-'80s hardcore punk scene; the tongue-in-cheek histrionics of Fear and the Circle Jerks (who appear in the movie as a punk band-turned-lounge act) fit flush with the film's mix of displaced suburban youth, gruff, and wizened repo veterans, Mexican hoods, industrial-skid row scenery, and irradiated UFO conspiracy theorists. Along with tracks by punk godfathers Iggy Pop ("Repo Man") and Jonathan Richman (writer of "Pablo Picasso"), the album's additional L.A. hardcore highlights include Black Flag's "TV Party," Suicidal Tendencies's "Institutionalized," and the Plugz's "Hombre Secreto (Secret Agent Man)." The Plugz's noir-ish, punk en espanol tracks, in fact, formed the trademark sound of the film. One of the first soundtracks to use pre-existing band cuts in lieu of an original score, Repo Man is a fine, if not terribly thorough document of L.A.'s punk heyday.

If Al Kooper isn't a living American musical legend, no one is. Who else has performed with Bob Dylan, The Rolling Stones, Jimmy Hendrix and countless others? And not just performed but been an important component of legendary songs (how about the Hammond organ on both Dylans' Like a Rolling Stone and The Stones' You Can't Always Get What You Want)? As a solo artist he is best known for his work as a founding member of both the Blues Project and Blood Sweat and Tears. Many more famous recordings have followed and lead us to this great selection - a CD that is, in my opinion, a classic: a two-CD Al-fest. Recorded live at NYC's Bottom Line, Al performs his great tunes from the Blues Project and Blood Sweat and Tears, as well as his solo recordings such as I Stand Alone. The excitement from the packed audience is only rivaled by the intensity Al and the band bring to such classics as I Can't Quit Her, Somethin' Goin' On and New York City (You're a Woman). It's Blues, Jazz, Rock and Roll and a great time, as only Al Kooper can bring.

“Cool Science Fiction – A vivid world of intrigue and violence.” The year is 2117. In the farthest reaches of Earth’s territorial space a spree of depraved murders have local cattle ranchers fearing for their families. A fear, they will soon discover, that is more than justified. Apparently, John Gallic’s reputation proceeded his arrival to the fringe-world of Muleshoe. A reputation suggesting he be given a wide berth. As the new Territory Abettor, commonly referred to as a Frontier Marshal, Gallic would be there for the long haul…

2014 album from the AC/DC drummer. Over the past 20 years or so amidst time spent drumming for Australia's favorite rock export AC/DC, running a studio and a restaurant, racing cars, flying helicopters and a bit of farming in the land of the long white cloud; Melbourne born drummer Phil Rudd has been quietly writing an album worth of songs. From the rollicking first single "Repo Man", a gentle reminder about karma; to the rocking title track "Head Job", which does not have intimate connotations but is a play on words about going to the pub to commiserate with your mates about someone doing your head in. From the upbeat dirgy groove of "Bad Move" to the relationship-driven "Crazy"; Rudd has delivered a very personal album "about the shit that goes on." as the great man himself said. Perhaps with the exception of "40 Days & 40 Nights", these songs were more inspired by everyday personal experiences in life rather than being about touring the globe with the world's biggest rock band.

The musical adventures Lucky's had with his JSP albums - as headliner, co-headliner and guest artist have ranged from hard-edged modern blues recordings of his own sessions to the funky mix that is the music of wife Tamara's soulful/poppy stylings. So where goes this new album? Back to the roots is where… this is Lucky at three o'clock in the morning. Unique electric guitar styling is joined by acoustic and slide work and classy piano. The band is recorded live in the studio with Lucky adding keyboard overdubs - who better? This is an album for even the most jaded old blues collector - but the music's elusive new audience will also love this slice of the 'real deal' from a living musician. Along the way, many will conclude they've encountered a musical genius.

Al Kooper, by rights, should be regarded as one of the giants of '60s rock, not far behind the likes of Bob Dylan and Paul Simon in importance. In addition to co-writing one classic mid-'60s pop-rock song, "This Diamond Ring" (though it was written as an R&B number), he was a very audible sessionman on some of the most important records of mid-decade, including Bob Dylan's "Like a Rolling Stone." Kooper also joined and led, and then lost two major groups, the Blues Project and Blood, Sweat & Tears. He played on two classic blues-rock albums in conjunction with his friend Mike Bloomfield. As a producer at Columbia, he signed the British invasion act the Zombies just in time for them to complete the best LP in their entire history; and still later, Kooper discovered Lynyrd Skynyrd and produced their best work. Instead, in terms of public recognition, Kooper has been relegated to second-rank status, somewhere midway between John Mayall and Steve Winwood. Apart from the fact that he's made, and continues to make great music, it's the public's loss that he's not better respected outside the ranks of his fellow musicians.