Legacy Recordings has reissued one of the most successful live albums of all time — Cheap Trick's 1979 At Budokan. There are no bonus tracks on this reissue, but if you're a Trick fan and don't have it on CD... now's the time. The album includes "Ain't That A Shame," "I Want You To Want Me," "Surrender" and seven other tracks. Legacy also has released hits voumes from The Isley Brothers, The Hollies and Ted Nugent.
The Isley's Greatest Hits Volume 1 set, originally released in 1969, includes "That Lady," "Groove With You" and Caravan of Love."
The Hollies' Greatest Hits disc, originally released in 1973, offers "Bus Stop," "Carrie-Anne," "Long Cool Woman in a Black Dress," "He Ain't Heavy...He's My Brother" and "King Midas in Reverse."
The Ultimate Ted Nugent collection is a previously unreleased, two-disc set and includes his classic metal anthems "Free-For-All," "Cat Scratch Fever," "Wango Tango," "Motor City Madhouse" and "Scream Dream," along with 27 other tracks.
Under Rug Swept
It's a brash crash guitar riff that opens Alanis Morissette's long-awaited third album, and that serves as the declaration of intent for the rest of the disc. Morisette is back and she's mad.
While Supposed Former Infatuation Junkie, her 1998 sophomore disc, eschewed some of the scary spurned-woman edge that turned her debut Jagged Little Pill and its centerpiece single "You Oughta Know" into workld-wide smashes, Under Rug Swept is filled with the pain and power of broken relationship treatises. That subject seems to bring out the best in Morissette. In the opener, "21 Things I Want in a Lover," she delivers what the song title promises — a laundry list of demands from a future mate...and the assertion she's willing to wait alone until she finds someone like this. In "Narcissus," over the top of a reverberating techno loop, she admits to a crush on a guy who she has pleny of complatints about — she calls him a "momma's boy, egotist, self-centered, narcissus," among other things.
The disc's single, "Hands Clean," is a beautifully bittersweet tale of a secret relationship which the singer can't quit, but also knows that eventually, her younger partner will have "washed your hands clean of this." It's a torturous story of a situation that the singer is loathe to leave, but knows will someday end. Things slow down a little on "Flinch," which features ome of her most affecting lost relationship poetry:
"How long can a girl be torutred by you
how long before my dignity is reclaimed
how long can a girl be haunted by you
soon I'll grow up and I won't even flinch at your name."
She delivers more melancholy beauty in one of the album's standout tracks, the slow piano-chorded "That Particular Time," where she sings of how she stayed in a realationship through a number of trials and a separation, only to get to the point where she hd to be the one to leave:
"You knew you needed more time
time spent alone with no distraction
you felt you needed to fly
solo and high to define what you wanted
at that particular time love encouraged me to leave
at that particular moment I knew
staying with you meant deserting me."
Under Rug Swept is a rollercoster of emotions — it opens with the strutting declaration of independence of "21 Things I Want in a Lover," but then drops to the knowing vicitiimisation of "Hands Clean," the eternally wounded heartsickness of "Flinch" and the "I love you regardless of what you do to me" sentiments of "You Owe Me Nothing In Return." She sings of how easy rejection can bring her down in "So Unsexy," and of the strength it takes to be the one to leave in "That Particular Time." This album runs the spectrum of love and loss.
Under Rug Swept is a strong return to vital form for Morissette. Filled with difficult themes, but propelled by crunchy guitar riffs and undeniable vocal hooks, this one listens better each time it spins.
White Lilies Island
Maybe it was because her mega-hit "Torn" was written by her producer, Phil Thornalley. Or maybe it was a case of "too much, too soon." Whatever the reason, when Natalie Imbruglia returned home after promoting her breakthrough debut album, she found she had a bad case of writers' block. Four years have passed since her debut Left of the Middle, but at last, Imbruglia has returned — and this time, the album is entirely written (or co-written) by her. White Lilies Island is a winsome, sweet disc of mild pop songs and dreamy ballads that proves the former Australian soap star can write a good hook.
If there's a criticism of White Lilies Island, it's that it stays just a little too quiet too often, and seems to place Imbruglia in the role of a vocal chameleon, sometimes sounding like Madonna, sometimes Frente, Nina Gordon and other wispy voiced hitmakers. There are no singles on White Lilies Island with quite the infectious, chart-topping staying power of "Torn," but there are no real dogs, either.
Not too sappy, not too sharp, White Lilies Island is a perfect album for an easy relaxed listen.