The Gonzo memoir from one of the most influential voices in American literature, Kingdom of Fear traces the course of Hunter S. Thompson’s life as a rebel—from a smart-mouthed Kentucky kid flaunting all authority to a convention-defying journalist who came to personify a wild fusion of fact, fiction, and mind-altering substances.
The team behind last year's excellent The Glory Days Of Aussie Pub Rock compilation return with another four-CD instalment paying testament to the halcyon days of our nation's live music scene, and fortunately they have a deep well from which to draw tunes and inspiration.
When Detroiter David Usher and Dizzy Gillespie founded the Dee Gee record label, they might have had an inkling that their project could, and would, fail financially due to poor distribution, the conversion from 78s to LPs, and the heavy hammer of the taxman. They might have felt, but could not have imagined, that they would create some of the most essential and pivotal jazz recordings for all time, not to mention some of the last great sides of the pioneering bebop era. Gillespie's large ensembles brought to public attention the fledgling young alto and tenor saxophonist John Coltrane, such Detroiters as guitarist Kenny Burrell or pianist/vibraphonist Milt Jackson, and vocalists Joe Carroll, Freddy Strong and Melvin Moore. Considering the years – 1951 and 1952 – this was revolutionary breakthrough music from a technical and entertainment aspect, delightful music that has stood the test of time and displays the trumpeter in his prime as a bandleader.
The progressive rockers who emerged in the '90s and 2000s ranged from time-warped artists who faithfully emulated the prog explorers of the '60s and '70s to artists who combined prog rock with '90s/2000s alternative rock and were not oblivious to life in a post-Nevermind world. This best-of collection, which spans 1999-2008, makes it clear that the Pineapple Thief falls into the latter category; founder/leader Bruce Soord appreciates Pink Floyd's classic '70s albums, but the fact that he enjoys Wish You Were Here and Dark Side of the Moon doesn't make him any less appreciative of Nirvana, Radiohead, or melodic industrial rockers Nine Inch Nails…
Sam Graham once referred to Fahey as the "curmudgeon of the acoustic guitar," while producer Samuel Charters noted that Fahey "was the only artist I ever worked with whose sales went down after he made public appearances." This tumultuous spirit, in turn, made tumultuous music on albums like Days Have Gone By, filled with odd harmonics, discord, and rare beauty. The esoteric titles like "Night Train of Valhalla" stand beside more abrasive ones like "The Revolt of the Dyke Brigade."