Dust

Hard Attack by Dust is an improvement over the acceptable performance of the self-titled debut from the year before. The team of producer Kenny Kerner and vocalist/guitarist/producer Richie Wise do just what the title suggests, bringing a harder attack to songs like "Pull Away/So Many Times" and "Ivory," the latter an instrumental with emphasis on guitar riffs and cymbal work. It's an all-out assault from the trio and pretty interesting, though the album as a whole works better when Thog's Fred Singer adds piano and organ. "How Many Horses" benefits from keyboard presence, and brings the group back to the Leslie West/Mountain flavors so obvious on the group's 1971 debut. That song definitely sounds like Dust was intent on remaking the Jack Bruce/Mountain classic "Theme From an Imaginary Western," one of that group's highlights…

The first album from Dust is interesting on many levels. The rhythm section featured drummer Marc Bell, who would later join New York punk rockers Richard Hell & the Voidoids, while bassist Kenny Aaronson would sign on with labelmate Stories on the group's third album, as Ian Lloyd moved from bass/vocals to complete frontman. The songwriting team of producer Kenny Kerner and singer/guitarist Richie Wise would go on to produce the third Stories album, making this Dust debut and its follow-up an important piece of the Stories puzzle. Wise's lead vocals on Dust were decent enough to complement his very competent guitar playing; Wise would eventually get hired as A&R man at Scotti Brothers Records…

Among the wave of brass rock groups that embraced the rock world from 68 until 71 or 72, Warm Dust was a late-comer, but quickly became one of the most interesting and progressive group of the genre. The sextet developed a solid psych-laced progressive brass rock, lead by the twin sax players of Alan Solomon (also KB) and John Surguy (also guitar) and featuring future Mike Rutherford and Steve Hackett acolyte Paul Carrack. They released their debut album And It Came To Pass on the small Trend label and the double vinyl was a small tour-de-force (all things considered for a debut effort) with long compositions, thought-provoking lyrics and plenty of instrumental interplay, including sax, flute, organ, guitars etc…

Among the wave of brass rock groups that embraced the rock world from 68 until 71 or 72, Warm Dust was a late-comer, but quickly became one of the most interesting and progressive group of the genre. The sextet developed a solid psych-laced progressive brass rock, lead by the twin sax players of Alan Solomon (also KB) and John Surguy (also guitar) and featuring future Mike Rutherford and Steve Hackett acolyte Paul Carrack…

Woody Guthrie - Dust Bowl Ballads (1940) {Buddha Records 74465 99724 2 rel 2000}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 119 Mb | MP3 @320 -> 93 Mb
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© 1940, 2000 A Victor Records / Buddha Records / BMG | 74465 99724 2
Folk / Political Folk / Traditional Folk / Folksongs / Spoken Word / Field Recordings

Sixty years after the recordings were first released, Woody Guthrie's odes to the Dust Bowl are presented in their third different configuration. RCA Victor Records, the only major label for which Guthrie ever recorded, issued two three-disc 78 rpm albums, Dust Bowl Ballads, Vol. 1 and Dust Bowl Ballads, Vol. 2, in July 1940, containing a total of 11 songs. ("Tom Joad" was spread across two sides of a 78 due to its length.) Twenty-four years later, with the folk revival at its height, RCA reissued the material on a single 12" LP in a new sequence and with two previously unreleased tracks, "Pretty Boy Floyd" and "Dust Bowl Blues," added. Thirty-six years on, the Buddha reissue division of BMG, which owns RCA, shuffles the running order again and adds another track, this one an alternate take of "Talking Dust Bowl Blues."

The score to David Fincher's controversial, subversive film Fight Club was composed and performed by the Dust Brothers, whose production and remixing work with artists like the Beastie Boys, Beck, and the Chemical Brothers helped shape the sound of the '90s. Their music for Fight Club reflects their own hip-hop and dance roots, as well as the film's edgy, underground tone in its blend of trip-hop, drum'n'bass, and electro elements.