To Hell With Love

Bob Dylan - Trouble No More: The Bootleg Series, Vol. 13, 1979-1981 (2017) {2CD, Complete Artwork - box with 72 page booklet)
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© 1979-81, 2017 Columbia / Legacy / Sony Music | 88985454672
Rock / Folk Rock / Blues Rock / Rock & Roll / Gospel / Singer-Songwriter

Bob Dylan converted to Christianity in 1979. Like many who have been born again, Dylan spoke and sang solely of his faith for a brief period – roughly half a year, beginning in November of 1979 and ending in May of 1980. Facing a fan base who were generally furious at his newfound religion, Dylan started to thread some oldies into his set lists but he didn't leave gospel behind until he released Infidels in 1983.

On the surface, the music of Love/Hate's debut may seem no different than most any late-'80s L.A. pop-metal, but the band's performance exudes a fury and belligerence that posers such as Poison or Warrant could never even grasp; actually, they would turn on their heels and run away screaming from it. The band literally "plays on 11," from the very first crunching power chord of the title track to the last cymbal crash of the frenzied "Hell Ca., Pop. 4." In between, they alternate the sheer power of "Rock Queen," "One More Round," and "Straightjacket" with the haunting yet beautiful melodies of "Mary Jane" and "She's an Angel."

Perhaps realizing that The Juliet Letters was one step too far, especially after the willfully eclectic pair of Spike and Mighty Like a Rose, Elvis Costello set out to make a straight-ahead rock & roll record with Brutal Youth, reuniting with the Attractions (though Bruce Thomas appears on only five tracks) and Nick Lowe (who plays bass on most of the rest). Unfortunately, all this nostalgia and good intentions are cancelled by the retention of producer Mitchell Froom, whose junkyard, hazily cerebral productions stand in direct contrast to the Attractions' best work. Likely, Froom's self-conscious production appealed to Costello, since it makes Brutal Youth look less like a retreat, but it severely undercuts the effectiveness of the music, since it lacks guts, no matter how smugly secure it is in its tempered "experimentation."

PARAGON was formed in 1990 by guitarist Martin Christian in Hamburg, Germany. After 3 years of being on smaller labels with moderate success, PARAGON signed a deal in 2000 with the Hamburg based label Remedy Records. This pairing resulted in the release of 3 highly successful albums, STEELBOUND, LAW OF THE BLADE and THE DARK LEGACY. Paragon fans are going to love this album. And those who aren’t fans yet… well, if you love your metal loud, proud, powerful and old-school, this album is going to be a must-add to your collection. Play this at maximum volume. Paragon is about to take you to Hell- and you’re going to find yourself enjoying the ride and wanting to take it again and again and again…

Willie Nelson - One Hell Of A Ride (2008) [4CD BoxSet] {Columbia}
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© 2008 Columbia / Legacy | 88697 13915 2
Country / Country Pop / Progressive Country / Traditional Country

There have been other Willie Nelson box sets in the past, but the four-disc ONE HELL OF A RIDE, released just before the country icon's 75th birthday, leaves every other collection in the dust. A truly career-encompassing anthology, it covers more than 50 years of music, from Willie's 1950s indie singles all the way up to the 21st century. While the blockbusters are here ("Always on My Mind," "On the Road Again," etc.), the real public service performed by this box is reaching back to great Nelson albums from the '60s that have long been out of print, and scooping up some of their dusty gems. For instance, "One in a Row" shows that Willie could croon a countrypolitan-style tune with the best of them, while "Texas in My Soul" is an early example of the jazzy Western swing influence that has always been an undercurrent of Nelson's music. ONE HELL OF A RIDE follows the Red Headed Stranger's growth from well-groomed Nashville cat to hirsute country outlaw to grey-bearded elder statesman, cherry-picking the best of every phase along the way.

Perhaps realizing that The Juliet Letters was one step too far, especially after the willfully eclectic pair of Spike and Mighty Like a Rose, Elvis Costello set out to make a straight-ahead rock & roll record with Brutal Youth, reuniting with the Attractions (though Bruce Thomas appears on only five tracks) and Nick Lowe (who plays bass on most of the rest). Unfortunately, all this nostalgia and good intentions are cancelled by the retention of producer Mitchell Froom, whose junkyard, hazily cerebral productions stand in direct contrast to the Attractions' best work. Likely, Froom's self-conscious production appealed to Costello, since it makes Brutal Youth look less like a retreat, but it severely undercuts the effectiveness of the music, since it lacks guts, no matter how smugly secure it is in its tempered "experimentation."