Vigilantes Of Love - Video Playlist

VIDEO: Vigilantes Of Love - Parting Shot from the album “Blister Soul” (1995)
http://www.youtube.com/watch?v=ZQkFb5SM1bI

Brainstorm Profile: Starflyer 59

Starflyer 59 is an alternative rock band from Riverside, California that was founded in 1993 by Jason Martin, brother of Ronnie Martin of Joy Electric. While Jason Martin has written nearly all of Starflyer 59's songs, the band has included a number of different musicians over the years, including Jeff Cloud, Frank Lenz, and Richard Swift. The band's sound was initially identified as an outgrowth of the shoegazing movement of the early 1990s, but the band's music in the late 2000's bears almost no resemblance to that of its early days.

Starflyer 59 was signed to Tooth & Nail Records, their original and current label, after Jason Martin gave a demo to Brandon Ebel when the two met at a music festival in 1993. Shortly afterwards, Ebel contacted Martin and offered him a record contract. By the end of the year, Starflyer 59's debut album, Silver, was recorded and released.

In mid-1994, Starflyer 59 released a follow-up EP to Silver entitled She's The Queen. Fans who had purchased Silver and new listeners who were beginning to hear more about the band had begun to say that they "liked the second album more than the first." Interestingly, this somewhat angered Jason Martin, as he did not intend for the EP to be considered any sort of album whatsoever. He felt there was no reason to compare the two pieces of work to each other. Either way, the fanbase for Starflyer 59 was beginning to grow.

In 1995, Starflyer 59 released their second album, Gold. The sound was similar to their first release, while Jason Martin continued to add layers of guitar riffs to each song. Original response to the album was generally negative.[1] Many who had enjoyed the band's debut were disappointed with the release, partly because the songs had a somewhat depressive tone and continued on for minutes and minutes on end. Eventually, people began viewing Gold positively. Sales of the album suddenly jumped and it nearly tripled the sales of Silver.

For Starflyer 59's next album which was released in 1997, Americana, several changes to the band were made. Bass player Andrew Larson departed, being replaced by Eric Campuzano (The Prayer Chain). In addition, Wayne Everett, also of The Prayer Chain became the band's studio drummer, a role that had previously been held by Jason Martin himself (although Everett had been the drummer on several tracks on Gold). High tensions in the studio during the recording of the album led Campuzano to leave the band before it began touring to support the new album. Replacing him was Jeff Cloud, who had been Starflyer's touring manager.

The release of The Fashion Focus in 1998 signaled a significant change in the direction of the band's sound, largely due to the influence of producer Gene Eugene. Where previous albums had emphasized guitars and loud rock and roll, The Fashion Focus was a significantly softer album. This album featured the introduction of keyboards in the music, which replaced layered guitars. The new sound was more pop-friendly than earlier albums, while not abandoning the signature Starflyer sound. The song "Too Much Fun" would be the band's last song in the early shoegazing style. Everybody Makes Mistakes, released the next year, continued in the same direction as The Fashion Focus.

READ MORE: http://en.wikipedia.org/wiki/Starflyer_59

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Starflyer 59 - I Drive A Lot
http://www.youtube.com/watch?v=csPEitRRfuM




Starflyer 59 - No New Kinda Story
http://www.youtube.com/watch?v=3qO9F8mtL5o




Starflyer 59 - The Hearttaker
http://www.youtube.com/watch?v=CPzhleUuKRE

Starflyer 59 La Vainqueur CD Single

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Track Listing

1. Vainqueur [Radio Edit]
2. When No One Calls (It Will Be All Right)
3. Starflyer 2000 (Reprise)
4. Le Vainqueur

LSU Cash in Chaos World Tour CD

AVAILABLE NOW: LSU Cash in Chaos/World Tour CD - ONLY $9.99

SOLD OUT!!

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With World Tour, LSU front man Michael Knott announced that he was changing the name of L.S.U. to 'Cash in Chaos' (henced the mixed band name for this release). That name change didn't stick. World Tour is another classic L.S.U. disc, heavily influenced by Echo & The Bunnymen. Dark, swirling, heavy, and moody sounds abound on every song.

Track Listing

01 The Shell
02 Benny
03 Pound of Flesh
04 Confusion
05 Red Swine
06 Radio Satan
07 Yellow Sun
08 There's a Time
09 Spice of Life
10 Everything

VIDEO: L.S. Underground - There's A Time - Cash In Chaos (World Tour) (1993)
http://www.youtube.com/watch?v=Zyy69F_7-RI

Julie Miller - Blue Pony CD

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Track Listing:

1. A Kiss on the Lips 5:13 - Julie Miller
2. Take Me Back 3:53 - Julie Miller
3. By Way of Sorrow 2:52 - Julie Miller
4. Dancing Girl 4:05 - Julie Miller
5. Give Me an Ocean 3:16 - Julie Miller
6. All the Pieces of Mary 3:43 - Julie Miller
7. The Devil Is an Angel 3:05 - Julie Miller
8. Letters to Emily 4:28 - Julie Miller
9. I Call on You 4:28 - Julie Miller
10. Face of Appalachia 4:17 - John Sebastian [Lovin' Spoonful], Lowell George
11. Forever My Beloved 2:25 - Julie Miller
12. Blue Pony 3:27 - Julie Miller
13. Last Song :58 - Bill Mallonee, Julie Miller

Julie Miller's first secular album, Blue Pony, combines the exquisite Appalachiana of
Gillian Welch with the whispery confessionalism of Lisa Loeb. Julie and her husband
Buddy sing on each other's albums and work with the same pool of musicians. Together
they have released two of the best country discs of the decade. As good as Buddy's album
was, Julie's is even better. She has a high, small soprano that evokes the emotional
transparency of a teenage girl, but she's been through the love wars enough times to
recognize the moment "when the lie comes down like a kiss on the lips." A strain of
spirituality runs through the album that hints at her background in Christian music, and
like Sam Phillips, Julie makes her religious concerns so down-to-earth that it's
empathetic, not preachy. --Geoffrey Himes

BLUE PONY, Miller's debut record on Hightone (her previous effort was on a small,
Christian-oriented label) places her as a kind of quirky alternative-Americana artist.
Think of a rootsy Victoria Williams, whose voice Miller often brings to mind. As if to
purposely move past the "country" label, BLUE PONY starts off strong with a rocker, "A
Kiss On the Lips," with its understated energy and Hammond B-3 backing. The next song
"Take Me Back," is a high lonesome duet with Julie's husband and co-producer, Hightone
recording artist Buddy Miller. It recalls the kind of Appalachian folk songs that lie at
the roots of commercial country music.

While BLUE PONY does feature guest appearances by some big names (both Emmylou Harris
and Steve Earle contribute their talents), the real star here is Miller's voice, a slightly helium-laced affair that you'll either find completely irresistible or somewhat annoying. What makes her singing remarkable, though, is her ability to suggest girlish innocence while singing about a deep kind of evil.

Personnel: Julie Miller (guitar); Buddy Miller (vocals, guitar, melodica); Emmylou
Harris, Karen Peris, Steve Earle (vocals); Larry Campbell (banjo, bouzouki, fiddle);
Tammy Rogers (mandolin, fiddle); Matt Slocum (cello); Bill Mallonee (harmonica); John
Schreiner (piano); Phil Madeira (organ); Paul Griffith (drums, percussion); Donald
Lindley, Alison Prestwood (drums); Steve Hindalong (percussion).

Audio Mixer: Buddy Miller.
Liner Note Author: Julie Miller.
Recording information: Dogtown Studios.
Photographer: Bob Miller .
Unknown Contributor Role: Buddy Miller.
Personnel: Julie Miller (vocals, guitar); Emmylou Harris, Steve Earle, Karen Peris
(vocals); Buddy Miller (vocals, guitar, mandoguitar, melodica, bass); Tammy Rogers
(fiddle, mandolin); Larry Campbell (fiddle, banjo, bouzouki); Matt Slocum (cello); Bill
Mallonee (harmonica); John Andrew Schreiner (piano); Phil Madiera (Hammond B-3 organ,
pump organ); Allison Prestwood, Byron House (bass); Donald Lindley (drums); Paul
Griffith (drums, percussion); Steve Hindalong (percussion).
Engineers: Buddy Miller, Duane Jarvis, Don Peris

The Call - To Heaven And Back CD

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Track Listings

1. Soaring Bird
2. Criminal
3. Love Is Everywhere
4. World On Fire
5. Think It Over
6. Musta Been Outta My Mind
7. All You Hold On To
8. Compromise
9. Become America
10. What Are You Made Of
11. Confession

Peter Gabriel once referred to The Call as the "the future of American music." An empty
prophecy because of the bands imminent break-up, but at the very least, a claim that
advocated the high artistic quality, skillful musical strength and genuine uniqueness of
this beloved band. By those that knew and appreciated them, they have been greatly
missed.

_To Heaven and Back_ finds them doing again what they've always done best: creating
their own special brand of thought-provoking, faith inspiring, and especially
emotionally riveting rock and roll. This new album is a most welcome return to their
form, and conjures the feeling and energy of some of their most appreciated albums like
_Reconciled_ and _Let the Day Begin_.

Some of these new songs, like "Criminal" and "World on Fire" are as gutsy and aggressive
as anything they've done before and feel more like the brash work on Michael Been's 1994
solo album, _On the Verge of a Nervous Breakthrough_. "Musta Been Outta My Mind"
conjures the Rolling Stones with The Call's own unique twists. More subdued fare like
"Think It Over" are as poignantly powerful as any of the modern day laments Been's
penned in the past. With all these songs you'll not only hear The Call, you'll clearly
feel The Call as well. Michael Been continues to sing with a sense of passionate urgency
that, coupled with the band's unique take on rock and roll, can either compel or comfort
you.

There is much to inspire you here including this encouragement:
What do you live for What would you die for What do you stand for What are you made of.
Two songs here also appeared on last year's retrospective, _The Best of The Call_. I
prefer the more acoustic versions of both "All You Hold on to" and "Become America"
(which both featured Bruce Cockburn on guitar) than the more rocking versions on the new
album. Additionally, the album is not well paced and would benefit from a re-ordering
that groups some of the more aggressive tracks together thus helping to sustain the
album's overall energy rather than seeming so episodic. These are smalls complaint about
an otherwise consistently substantial album.

You'll find this album is as artistically appealing and lyrically rousing as any of
their previous albums. I'll leave you with an appropriate quote about the band from
Fingerprint Records that captures the spirit of The Call succinctly and accurately:
Since the release of their self-titled debut in 1982, The Call, hailing from
California's Bay area, established themselves as a breed apart. Led by Michael Been's
songwriting and voice, they burst on the scene like they knew everything was up for
grabs - because it was. This is a mainstream band made up of Christians, not a Christian
band for Christians only. They have toured with Peter Gabriel, Simple Minds, Tears for
Fears and many others. Time magazine has picked three of their releases in their "Year
End Top Ten." Rolling Stone magazine says: "Michael Been is one of the best lyricist in
rock today." In Been's clear and jarring baritone voice, you hear the emotional
landscape of the human heart as it shapeshifts its way across different territories
where love was so intense that it threatened to consume itself, to the garden of stark
confusion, to the seemingly endless desert of doubt. With a band that will swirl itself
into a fury or whisper like a southwind, Been walks the tightrope as the group's
frontman; he descends into the shadows willingly because he believes resolutely in the
hope that there is indeed light and grace at the other side."

- Steven Stuart Baldwin

BTW, The Call's last studio album was 1990's "Red Moon" but Michael Been's 1994 solo
album is definitely worthy of your attention.

Poor Old Lu - The Waiting Room CD

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====================================== Track listing

1. "Revolve"
2. "Now"
3. "Sunlight & Shadows"
4. "Crushed"
5. "Today"
6. "Interlude"
7. "A Month Of Moments"
8. "Praying For The Perfect World"
9. "Crowded"
10. "Friday To Sunday"
11. "The Waiting Room"

After a six year hiatus (during which the group had officially disbanded), Poor Old Lu
has returned with a wonderfully cohesive collection of songs that won't fail to satisfy
both the longtime fan as well as the many new listeners sure to be introduced to this
band through "The Waiting Room".

Poor Old Lu formed in 1991 in Seattle, Washington, and "Mindsize", their 1993 label
debut for Alarma Records, immediately set them apart from the rest of the emerging
Seattle scene with a wonderfully unique sound that was impossible to get out of your
head. Over the course of the next three years, Poor Old Lu continued to grew musically
and artistically and recorded two additional full length records (1994's "Sin" and
1996's "A Picture of the Eighth Wonder") and one EP (1995's "Straight Six") for Alarma
Records. Shortly after the release of "A Picture of the Eighth Wonder", the band
officially split up, even going so far as to record and release their "...Final
Performance" (1998, KMG Records).

To the delight of fans, the members of Poor Old Lu have done anything but stagnate over
the past several years. Guitarist Aaron Sprinkle has been actively producing and
engineering many records, not the least of which are the five recordings he's made solo
or with Bassist Nick Barber as Rose Blossom Punch. Drummer Jesse Sprinkle has also been
actively recording, and, in addition to playing drums for Morella's Forest, he has
produced two records and an EP with his own New York-based band, The World Inside. Lead
Singer Scott Hunter hasn't been recording, but his lyrical and vocal contributions
evidence the same maturation as the rest of the band. Musically, this band continues to
shine. Bravely experimenting with new sounds and techniques, Poor Old Lu challenges
listeners to join the band where they're at today, never content to simply pick up where
they left off in 1996.

Thematically, Poor Old Lu seems to have brightened up a bit since their last outing. The
title is a metaphor for Earth as we wait to meet our Saviour in Heaven. "The Waiting
Room" serves alternately as an exploration of broken man and his earnest plea for grace
and a closer relationship with Jesus Christ. This theme is plainly defined at the onset
through Hunter's ever-introspective lyrics in lead track Revolve: "Have the lights gone
dim/in the light of this sin? ... I'm pushing this out and pulling You in/I've been
living in doubt and walking on pins/I'm throwing this out and hoping in (where joy and
peace begin)/I'm sick of the drought and walking on."

Ultimately, this record is not only a welcome return of a wonderfully talented band, but
it is also an exciting preview of things to come. This is a great place to start if
you're not familiar with Poor Old Lu; and, if you are already a fan, you know that "The
Waiting Room" will join the rest of Poor Old Lu's records as an absolutely indispensable
musical component of your life.