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The fifth installment in this series includes cover versions of hit songs that today's fans grew up with, such as Soundgarden's "Blackhole Sun", Oasis's "Wonderwall", Red Hot Chili Peppers' "Under The Bridge", REM's "Losing My Religion", and much more. Contributing artists include Plain White Ts, Gym Class Heroes, The Killing Moon, Hit The Lights, Eighteen Visions, and Emery, to name a few. This series is one of the most highly anticipated in the market and prior volumes have scanned 250,000 units and featured bands like Yellowcard, The Ataris, Thrice, Thursday, A New Found Glory, and Taking Back Sunday.
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Swing revivalists only occasionally play music that pays more than passing tribute to Ellington or Goodman. Instead their sounds range from big-band territory to jump blues and rockabilly. Swing This, Baby! surveys 15 of these groups, from platinum and gold sellers (the Brian Setzer Orchestra, the Cherry Poppin' Daddies, Big Bad Voodoo Daddy) to more obscure outfits such as the New Morty Show. Quality varies wildly, particularly in the area of vocals, but fans of the new stylists will dig this set. --Rickey Wright
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This is not your father's Christmas music. Or even your little sister's Backstreet Boys sugarplum-fairy dream dancing in her head. But it is a galvanizing collection of 18 cuts deep in the heart of the season, by some of the finest punk bands from rock's '70s and '80s days of rage. As much a profile of the legendary bands that made the music world safe for alternative rock a decade later, Punk Rock Xmas withstands the decibels of time with a number of outstanding performances. The Dickies rant and rave on "Silent Night" and Stiff Little Fingers reprise "White Christmas" with a vengeance, while blokes from the Sex Pistols and Thin Lizzy called the Greedies turn out a blistering "Merry Jingle." Fear spit out a nasty four-letter sentiment that's 45 seconds short, the Ramones weigh in with "Merry Christmas (I Don't Want to Fight Tonight)," and Mojo Nixon, El Vez, and sundry others gleefully reinvent and deconstruct the sound and wounds of the season. A real stocking ripper. --Martin Keller
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Based on the hit comic book about a man who returns from the dead to avenge his killers, the film adaptation of The Crow suffered a cruel irony when star Brandon Lee (son of martial arts superstar Bruce Lee) died during production after a bizarre onset accident. That event only deepened the film's aura of death and gothic unease, moods that are brilliantly underscored by this well-chosen collection of stark alt rock, dark metal, and industrial dirges. The opener, the Cure's typically angst-ridden "Burn," is about as sentimental as this album gets, bookended by Jane Siberry's wistful "It Can't Rain All the Time." Sandwiched in between is a virtual primer on powerful mid-1990s alt and industrial rock, from Nine Inch Nails hammering Joy Division's "Dead Souls" into its own image to the blistering snarl of Helmet, Pantera, and the Rollins Band. So-called pop-song scores often have a cheap afterthought feel to them; this one, a refreshingly integral part of the film itself, stands as a great album in its own right. --Jerry McCulley
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The seventh release in the "Punk Goes" themed series has alternative/punk/emo bands covering rap and hip-hop songs from Ol' Dirty Bastard, Lil' John, 2Pac, Snoop Dogg, OutKast, Dr. Dre, and more. Features tracks from Say Anything, New Found Glory, All Time Low, The Devil Wears Prada, The Maine, Scary Kids, and more. Previous "Punk Goes" titles include "Punk Goes Acoustic", "Punk Goes Acoustic 2", "Punk Goes 90s", "Punk Goes 80s", "Punk Goes Pop", and "Punk Goes Metal".
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Depeche Mode Tribute Album.
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