Where All Lights Tend

Pretty boy actor C. Thomas Howell stars in this dark, violent suspense film about the strange psychological bond between a traveling serial killer and one of his intended victims. Driving cross-country from Chicago to San Diego, Jim (Howell) narrowly avoids an accident when he falls asleep at the wheel. He picks up a hitchhiker to help stay awake, but within five minutes, the erratic John Ryder (Rutger Hauer) has threatened not only Jim's life, but also his manhood, brandishing a switchblade to the boy's crotch and ordering him to keep driving. Jim manages to escape, but soon Ryder begins a game of cat-and-mouse across the Texas highways, taunting the lad from the windows of passing cars, then leaving the corpses of his victims in their vehicles by the side of the road for Jim to discover. A sympathetic face arrives in the form of Nash (Jennifer Jason Leigh), the waitress at an otherwise deserted truck stop in this bleak, abandoned landscape, but the local police soon arrive, intent on hanging Jim out to dry for the string of grisly murders.

Various Artists - The Rubble Collection, Volumes 11-20 (2007) {10 CD Box Set - Fallout FALLBOX002 rec 1960s-1970s}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 3.09 Gb | MP3 @320 -> 1.24 Gb
Full Artwork @ 300 dpi (png) -> 436 Mb | 5% repair rar
© 1960s-70s, 2007 Fallout | FALLBOX002
Rock / Psychedelic Rock / Acid Rock / Freakbeat / Garage Rock / Mod

The second box in as many years of a truckload of obscure British psychedelia. Here are ten more CDs' worth of serious rarities by some bands that barely scratched the surface of the British freakbeat scene during rock's golden era, and a few who went on to other things. In all, there are 128 cuts here, all compiled and annotated by Phil Smee – of Perfumed Garden fame (also issued by Past And Present). While some of these acts, such as the Poets, the Human Instinct, Outer Limits, and Denny Laine left marks on the scene, as did mod bands such as les Fleur De Lys and the Buzz; many others came from the swamp and returned with only these few minutes of glory for all of their efforts.

After Neil Young left the California folk-rock band Buffalo Springfield in 1968, he slowly established himself as one of the most influential and idiosyncratic singer/songwriters of his generation. Young's body of work ranks second only to Bob Dylan in terms of depth, and he was able to sustain his critical reputation, as well as record sales, for a longer period of time than Dylan, partially because of his willfully perverse work ethic…

CRESSIDA were an excellent band of early British symphonic progressive scene. Their sound is mostly dominated by the most beautiful and symphonic Hammond organ (dirty, and mellow), piano, bass, guitar, and drums. The instrumental sections are equally good, and tend to be typical of early 70s English prog rock. Thanks to the captivating atmospheres and the technical ability of the musicians. Similar bands include FANTASY, BEGGARS' OPERA, CIRKUS, GRACIOUS, and SPRING. Both CRESSIDA albums are excellent and very rare now (both were original Vertigo "Swirls"). Their self-titled debut is an early seventies forgotton classic with delicate vocals, gobs of organ and acoustic guitar. CRESSIDA's second "Asylum" is the best of the genre represented by BEGGARS' OPERA, SPRING, FANTASY, FRUUPP, and many more.

It is rare to find a disc as creatively programmed as this BIS release. Enhanced by lovely performances, played with great devotion to the memory of the recently-deceased Japanese master, the repertoire was chosen by conductor Tadaaki Otaka and producer Robert Suff, who organized it not only in the most effective succesion, but in a manner that illustrates the works’ individual meaning and illuminates Takemitsu’s career. All but one of the compositions are from Takemitsu’s late period. The other, the Requiem for Strings, is one of the earliest works to win him fame. Fantasma/Cantos II, for trombone and orchestra, is among the last Takemitsu compositions. Both it and the Requiem provide considerably more forward harmonic motion than the other four works, which are in Takemitsu’s typical “Japanese garden” meditative style, a kind of revival of French impressionism using harmonies that are more like Messiaen’s than Debussy’s.

There is no point in getting snooty about Adriana Lecouvreur, it may be implausible melodrama, but has held the stage for just over one hundred years providing meaty fodder for monstres sacrés of all voice types. Classed as a verismo (realist) opera, which is a dubious appellation for an experience that includes dodgy rococo wigs and death by violets; it is an operatic equivalent of the sort of well made play that migrated from the boards, via opera to celluloid in Hollywood’s golden age. Histrionics aside, it is a fluent, lyrical score that contains numerous plums. It is above all, a diva vehicle… JULIAN GRANT

Allmusic: "Somehow, the Blasters could never make up their minds whether they were neo or retro, whether they wanted to expand beyond their influences or just copy them. By the end of this confused, if earnest collection, they've covered John Mellencamp and declared "Rock and Roll Will Stand." It did, but the Blasters did not." I've also added a couple of remixes/bonus tracks.