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Courtesy of Kung Tunes

Pantera - Cowboys From Hell - 57:43 - 1990
I used to think that Pantera was this queer hair metal band that were possibly Christian. Well I was right on one point, with album names like Metal Magic and making a statement in blouses and bandannas, Pantera weren't exactly kicking ass. Enter Phil. With a new figure-head behind the mic, our boys set about laying the foundation of what would soon become one of the best hardcore metal bands of the 90's. When I first heard "Heresy", I knew I had better check these guys out, and I'm glad I did, although it didn't take too long for these guys to surface from the "underground." Some of the guitar gets a little cheesey, and Phil gets way too high pitched at times, but generally speaking, not bad.

Pantera - Vulgar Display of Power - 52:50 - 1992
This is quite possibly one of the best/hardest CD's of all time. The intensity is frantic, the pace is often manic, and the power is unbelievable. With out a doubt this aptly titled CD set precedence and raised the standard for brutal music to an almost unattainable level. Even one of the power ballads "This Love", unleashes with adrenailized fury. The sound is absolutely perfect, there's not one single note I would change. The skill of the band, and the craftsmanship of the songs is marched equally with the anger and rage in Phil's voice. If you don't have this CD, get it. NOW! My only crack would be the line "I'm close with his mother."

Pantera - Far Beyond Driven - 56:29 - 1994
For a bunch of damn drunkard pot heads, Pantera was without a doubt THE best hard band of the 90's, hands down. They deliver so much raw power and anger with such pure quality sound it surges the blood through me whenever I hear just a few notes. This is the kind of CD that no matter how high you crank it up, it just doesn't seem to be enough. And fortunately the production quality is so good that they sound great at every level. Also like I've mentioned a thousand times before, pacing is everything, and Pantera's is impeckable. Bands that just go full steam all the time wear you out prematurely, and don't give you enough variety to keep you interested. Not our boys, when they wind down, it only adds more weight.

Pantera - The Great Southern Trendkill - 53:11 - 1996
When Pantera fires up, you just can't help but go "fuck yeah, this is it!" This CD does take on a slight shift, taking on a slightly heavier sound, and this new (or at least more noticeable) Jack Daniel's, southern fried metal twang. These guys have got attitude and ego by the butt load, and although I can't blame them, I wish they would come back to earth just a touch. They also get in some serious grooves on this one, which is also just a touch different. Both Dimebag and Phil reach abnormally high pitched tones. There are some really stupid lyrics, like my favorite hardcore nod to Cher's "gypsies, tramps and thieves." Normally with Pantera, you get one or two power ballads per disc, this time you get about 3.

Pantera - Official Live:101 Proof - 76:42 - 1997
I don't usually go for live albums, and I wouldn't have gotten this one except it was at the flea market. I don't know, I just really don't see much of a reason to buy most live albums, unless there is something distinctly different or unusual, like Ministry's live CD. This CD proves to be no exception. Sure it's great, sure Pantera is amazing, but it really doesn't serve much purpose other than nostalgia for me. After having heard them in the flesh, there is just no comparison. My concert experience was almost religious. About a billion watts of charged adrenalin surged through my core, it was a nirvana that was only interrupted by Phil's constant praise for the pleasures of the herb.

Funkadelic - One Nation Under A Groove - 58:43 - 1993 (78)
Parliament Funkadellic (and it' s many incarnations) were so funky, they were a caricature of themselves. Based around the foundation of the talented, visionary, and totally whacked out George Clinton, P-Funk were more or less the black answer to Kiss, with a certain amount of Frank Zappa to boot. Really, this is not one of their better disc. One fecal filled song really annoys the shit out of me in it's unreluctant refusal to die, there's only so many times I want to hear "fried ice cream is a reality" in a row. But, the few gems that are on this disc, make it all worthwhile.

Parliament - Tear the Roof Off 74-80 - 151:13 - 1993 (74-80)
I don't think there ever has been, or ever will be, another band quite like P-Funk. Unfortunately I missed out on the experience end of their persona, which was half the fun, but what's left behind for me is a delectable stockpile of over the top funk and party jams. Although some of the tunes on This two CD retrospective tend to linger on, and aren't all that inspiring, when you do hit grooves like "Flashlight", and "Aqua Boogie" to name a few, you know you have arrived at a different place. One thing P-Funk knows how to do is drop serious bass, the kind of bass that reaches into your soul like a hand to a puppet.

Pigface - GUB - 66:44 - 1991
The first release from this mostly New Orlean super group (I mean, there is some major talent present) shows just how unimaginable a large group of well renowned people can be. Too many chefs in the kitchen I guess. Most of the songs just tend to drag on and not do anything. There are about one or two that are half way decent. I guess no one wanted to do anything too good that wasn't on their own respective releases.

Pink Floyd - The Wall - 66:44+ - 1979
This is one of the darkest pieces of (concept album, rock opera, movie=art?) I have ever come across. If you need to be depressed, this is the one. This is truly a masterpiece, and has impacted my life (though in what way, I'm not sure.) This is the definitive rock opera, pointing a finger inward and depicting the life and rise to power of "Pink", a generic politician/rock star. All this and Toni Tenniel too. (no Captain though)

Pitch Shifter - Submit - 57:03-37=20 - 1992
Pitch Shifter, as near as I can tell from this CD, is England's answer to Godflesh. The music is almost identical, except it's a little faster, and there are four guys instead of two, other than that, pretty much the same deal. If you like Godflesh, you will like this, but unless you can get it cheap, I don't recommend it because it has about 37 minutes of dead air on the CD, and that's just outright bullshit. I would give this CD a better ratting if they didn't pad their time also, Godflesh is better anyway.

Pitch Shifter - Pitch Shifter vs... (The Remix War) - 31:09 - 1994
This is a kind of confusing CD that is broken down rather simply when you listen to it. Basically what you have here are a few old PS songs remixed by themselves, then some guest (Biohazard was the one that caught my eye). If you ask me, nobody one this war, because all the versions are similar, and don't even stray from the original songs that much. "Triad", particularly in one version sounds like Helmet's/House of Pain's song on the Judgement Night sound track. All and all this is a pretty dull CD, and I'm glad I only paid $4 for it. (mine even came with a razor blade and rolling papers - ah the joys of pawn shoppin)

Pitch Shifter - www.pitchshifter.com - 50:00 - 1998
I haven't been keeping up with Pitch Shifter, as I was not real impressed by my previous purchase, however at the same time, I never wrote them off. On a tip from a friend, I thought it was time to give them another chance. This CD is a far cry from the Pitch Shifter that brought us "Submit". www.pitchshifter.com is an interesting offering that merges fast paced angst ridden techno (similar to Prodigy - but with a clean crisp sound) with recurring hyper jungle bits and beats. Altogether the music is extremely catchy, (but not poppy) and my only qualms would be with the vocals, and perhaps the longevity. My favorite track is a wicked instrumental called ZX81. (go here to see one)

Pixies - Monkey Gone to Heaven - 10:00 - 1989
This 4 song "Maxi Single", contains the "hit" off of Doolittle, (the Pixies best CD) as well as 3 other B-sides, two of which are about manta ray's. Black Francis subcribed to the same theory that I have, and that is that the voice is more of an instrument, which means it's not so much what you sing, as how it's sung. So he would often use words that sounded good together, wether they ment anything or not. The extra tracks are good, but there's no reason to go out of you way to get this.

Pixies - Bossanova - 39:45 - 1990
Yet another compelling CD from a wonderful bye gone band, this CD gets off to a good start with an instrumental song that sounds like the theme music for James Bond - if he were a cowboy. One thing the Pixies could do that was most refreshing, was their ability to play hard or soft, both with equal grace. In many ways Smashing Pumpkins would pick up the torch where the Pixies left off. Like most songs before the 70's, these tracks weigh in at 3 minutes or less, making them quite easy to like. It's interesting to listen to Frank Black and the Breeders, because you hear each one's elements so strongly, you would think you had the Pixies master tapes and were dubbing out the other's part.

Pixies - Velouria - 10:30 - 1990
"Velouria" is a companion EP to "Bossanova" which features the title track as well as three other songs that were probably cut from the album for the sake of commercial viability. The most wonderful part of the song "Velouria" is the mysterious and melodic UFO sound that floats in and out of the song. That unique device is the Theremin, which is now being sold in kit form by one of the pioneering forefathers of synthesizers, Bob Moog. The Theremin can also be heard on one other song on this EP, as well as another on "Bossanova."

Pixies - Trompe Le Monde - 39:04 - 1991
I've decided that in 8 out of 10 cases, the scientifically perfect CD length is 45 minutes. (just thought you should know) For some reason I can't figure out, I always come up blank when trying to review the Pixies. But anyway, let me try... I think the Pixies were one of the best "alternative" bands ever. One of the reasons I like them so much is that they are very aggressive, yet at the same time not. (makes sense huh) I don't know how to put it, it's not angry like Pantera, but it's not whinny and passive like the majority of "art-fag/goth" music. (well, I've explained little and wasted enough, so I guess I'll just cut my losses on this one)

Pizzicato 5 - Sound of Music - 00:00 - 1995
The packaging is great! You even get a P5 credit card. But, as for the content, snore. The appeal on this one runs aground pretty quick. Save yourself some time and go straight to the source; get the bachelor series from Rhino. As is often the case, music that is derived primarily from influences, almost inevitably sounds infinitely better from the undiluted source. Take 80% of 80's rap and James Brown for example. P5 is fun, but for me, it doesn't last long enough.

Poison Idea - Feel The Darkness - 39:36 - 1990
Poison Idea is probably the ugliest, heaviest bands this side of The Fat Boys, but what they lack in glamour, they more than make up when it comes to ripping out music. PI were, in their day, one of the hardest rocking of the hardcore bands period. They play fast, hard and really, really loud. The most exemplary song on the CD is "The Badge", it contains a sample from the movie Taxi Driver and was covered by Pantera on The Crow soundtrack. Along with the relentless shredding guitar, the driving drums fuel their hardcore sound. I don't think they should be so hard on Tiny Tim though.

The Police - Box Set - 73:05+ - 1993 (77-86)
Similar to Steely Dan's box set, inclusivity is key. Everything but everything is on these four disc. You follow the Police through their many progressions, from punky, new wave rockers (I can't believe I just wrote that), to rasta driven alternative, to broody sub pop rock, to mega rock band. I feel like the Police were a band not afraid to try anything, and always stayed true to themselves all the way up until Sting had his little dream and beat it. Stewart Copland is, in my opinion, one of the most amazing drummers out there, he takes rhythm to another level with his intricate and often tribal arrangements.

Primus - Pork Soda - 57:40 - 1993
Pork Soda is one of those disc that I know within 3 seconds that it's a keeper. Les Claypool (who once autitioned to be in Metallica) and his merry band of men are just amazing. I think if he loosened his strings any more, they would'nt stay attached - now that's fat bass with flesh rolls. But, if that weren't low enough, he breaks out the upright (or cello) - now how much would you pay? Pork Soda is more slow and darker than a lot of the more rockin' stuff they've done in the past, but that suits me just fine. From witty/wry commentary, to bizare songs about fishing and meat, Primus is sure to please.

Primus - Tales From The Punchbowl - 54:08 - 1995
I think Les Claypool has sort of come to a point where whatever he does is good, yet often boring. He lays down great bass lines, but they just keep repeating over and over for a long period of time, and there's not enough other stuff going on to keep it interesting, and break up the monotony. Many of the songs on this CD sound more like extended jam sessions, that I am just not all that interested in hearing. "Wynona's Big Brown Beaver" is an outstanding track that showcases Claypool's remarkable ability to rapid fire his bass. Much of the drumming is in the style of a marching band: which I'm rather partial to.

Prince - 1999 - 62:19 - 1982
Prince is quite a remarkable, if not goofy, guy. He has more ideas bouncing around in his head at any given minute than you or I are likely to have in a month or two. So much so, that he has more unreleased material already on tape than most artist compile in a lifetime. Everybody knows the hand full of hits off of this double album (one track cut to make a single CD), but what is more interesting are the other songs. Sex has always been the major component of Prince's music, the only difference from one period to another, is usually just how blatantly it is depicted. In it's day, I would have given this a top ranking, but in time it has faded for me.

Prince - Purple Rain - 43:53 - 1984
For some reason this review has given me a really hard time, and I'm not sure why. I think it's because at the time, this CD seemed very relevant for me, but now it's not. But it is a very good CD. Hell, half the world bought this one, not to mention legions of people emulating his bad fashion sense. With the exception of one song, (the name sake) this is one sing-a-longable CD. Very up tempo and driving music. Another funny thing about Prince is the way he uses keyboards and drum machines in his music so much. When you think of Prince, that doesn't really come to mind, but it is very prevalent in his music.

Prince - Sign of the Times - 80:00 - 1987
This is where my dissension of Prince started to set in. Although now in retrospect, this CD is not all that bad. However, songs like "If I Was Your Girlfriend", where Prince plays the role of the sly seducer, just really put me off. It kind of makes me nauseous to think about that short little greasy man with fucked up facial hair sticking his tong out and trying to get in your pants. And, while I'm bellyaching... 80 minutes, come on, shave off 6 and sell us a single CD please, talk about price gouging! There are some good tracks on here though, I'm through venting for the moment.

Prince - The Black Album - 45:16 - 1989
I don't know what all the hype and hoopla was over this album. About as nasty as it gets is him alluding to having Cindy Crawford as his prostitute, and having a boner. So what? Apparently, no one was listening 10 prior when he was singing about getting cum on some girls wedding gown and screwing his older sister. The other songs contain cuts that were on the next album and a few oddities. The stand out track is a funky, instrumental, jam session type deal, that really gets your blood pumping. I would like to hear something like that live and not a Purple Rain medley.

Prince - Prince and the New Power Generation - 74:16 - 1992
The artist formally recognized as a human proclaims "My name is Prince, and I am funky" on the first and one of the better cuts off this CD. I guess he doesn't do that one anymore. Pity. You know, Prince's zany antics with his name, slave on his face, that stupid gold pistol mic, the fruity clothes he makes his band wear, and his bitching about Sony etc., has really jaded me against him. I know it must be hard to have any since of normality with so much money, but Will Smith was a millionaire by like 16 and he's not whacked out. Ultimately Prince is a talented, prolific (understatement of the year) artist, but this CD is marginal at best. Not to mention, even the case is too egotistical to fit in any normal CD rack.

Prodigy - The Fat of The Land - 56:25 - 1997
Shortly after it's release, this CD was number one on the charts in more countries than I knew existed, despite minimal air play. Listening to Prodigy is somewhat akin to taking a power line in your hands and clamping down with your teeth: very frantic, lots of grinding metal & sparks, and if you've ever seen a movie that deals with an alternative digital reality, it also resembles the ubiquitous SGI shot of the "transformation tunnel". The strength of Prodigy is their technological ability to build these amazingly powerful & evocative beats, but their biggest weakness is that once they've crafted it, they just send it on it's way without nurturing it & letting it grow, so the same loop that first enchanted you, eventually becomes overwhelming and tiresome. (much like a lot of relationships, or is it just me)

Prodigy - The Fat of The Land - 56:25 - 1997 (re-review)
Every now and again, your trusted advisor takes a step back and recants or retools his opinion to match the times, or my current state of mind. Take for instance my that bit about "overwhelming and tiresome," - what was that all about? I could listen to "Smack My Bitch Up" loop for hours. I think it might have been based on "Diesel Power." (vocals by Kool Keith) Then, I'm always busting on Techno bands for dragging ass and doing so many slow songs, while Prodigy doesn't mess around. So anyway, I've got to add another rating point, if for no other reason than "Funky Shit." (played during the credits to Event Horizon)

Prodigy - The Dirtchamber Sessions Volume One - 51:28 - 1999
What you have here is not really a Prodigy CD per say, but rather a DJ mix tape by the brains behind Prodigy, Liam Howlet. This CD more or less addresses two issues: one being Liam's answer to overrated DJ's that do little more than string together a minimal beat with a sample or two, and the other being the problem of the 3 year gap between Prodigy releases. This is kind of a strange CD that will engage you, and almost as fast, loose your attention, then back again. This is probably the most sample heavy CD of all time; (most of them died off after the law suits started rolling in) ranging from seconds to upwards of 5 minutes. All respects are paid in this samplers clearing house, as well as a little jab at the more mature Beastie Boys.

Prong - Cleansing - 57:57 - 1993
This CD is fantastic! I think some of what has to do with it is the fact that the guys are somewhat elderly, and thusly brings a certain intangible sense of sophistication, kind of like PIL. Although, just because these guys are a little older than most in this genre, by no means are they soft. Prong has a great sound that uses a somewhat generic "metal" guitar sound, but the music is more complicated, funky, crisp and has very addictive hooks and melodies. I'm not sure how I make this connection, but Prong makes me think of Depeche Mode if they had balls. Prong rocks!

Pro-Pain - The Foul Taste of Freedom - 41:03 - 1992
The former lead singer from one of my favorite bands (the Crumbsuckers) plus a few x-MOD, make up this powered hardcore outfit. The production is very slick and the sound quality is great which really helps the bass drum kick. If I had a bone to pick with this CD it would be that the songs all sound too similar, due to the fact that all the instruments are tuned and effected identically throughout. Similarly, Gary's voice tends to tire you after a while. As far as I'm concerned, this is the best Pro-Pain I've heard.

Pro-Pain - The Truth Hurts - 37:50 - 1994
The Truth Hurts is big, bad and has packaging that's banned. Even if you don't get the banned cover, they will cheerfully send it to you. This one has a little more Crumbsuckers sound to it, as well as a touch of DRI. Gary's voice is totally thrashed, and makes you wonder if he shouldn't be looking into a different line of work, or at least throw some effects over it. Ice-T shows up for the worst track. I think their aspiring to be Biohazard. Although I generally like Pro-Pain, there's just something missing that I can't quite put my finger on. It may be that it just sounds so scripted: insert solo A into riff B, then scream, repeat. Also, apparently it's asking too much for these guys to change their sound at least slightly from song to song.

Pro-Pain - Contents Under Pressure - 37:53 - 1996
I guess now I've given up on Pro-Pain. I keep thinking they're so close to being something I really like, that surely it's bound to be just around the corner in their evolution. But, alas, it doesn't look like it's going to happen. This CD has all the same problems the others do, everything sounds the same, and Gary's voice is annoying. And look at the times, these guys are working a formula. Most of the arrangements are dull and simple. Maybe they will shape up later, but I'm tired of investing in them. To miss-quote "Odd Man Out", "it's just the same old song, with the same old dance." (although I'm told the latest one is quite good)

The Psychedelic Furs - Forever Now - 41:19 - 1982
A lot of times it's hard for me to review certain types of CD's, as well as CD's that I have listened to so many times their part of my subconscious. This CD falls into each of those categories, but I'll try. First, let me say that "Love My Way" is in the top 100 coolest songs. Even though these guys were sort of a big part of the John Hughes 80's stereotype, and they do share that same kind of dark, synthesizer style like the Fixx, I don't really see them that way. I like a lot of the sounds they use, horns, xylophone, cello, bells and other assorted. Also adding to the charm is the made for rock stardom persona of vocalist and chain smoker Richard Butler. Produced by Todd Rungren.

Public Enemy - Yo! Bum Rush The Show - 46:44 - 1987
Public Enemy's debut was an entirely different animal from what most rap up to that period had been. In a time when the genre seemed to be almost terminally locked into traditional (and highly annoying) boast raps, along came Chuck D and the Bomb Squad - and drop bombs they did. With the help of Terminator X, PE's sound had a much harder edge than most, though they hadn't really started getting political yet. Chuck D's unique style and their heavy beats got my attention, but as soon as I heard them scratch Suicidal Tendencies, I knew I was hooked.

Public Enemy - Fear of a Black Planet - 63:19 - 1990
The ever controversial and outspoken Public Enemy takes social empowerment to a new level on this CD. Just about everyone knows the song "911 Is A Joke" which, as well as being kind of funny with Flavor Flav's antics, also brings up a very serious issue that most people take for granted. And in many ways that's what PE is about, putting items on the table that are both painfully obvious to some and blissfully unknown to others, but none the less issues that need to be recognized and dealt with. Politics aside, this is one butt kicking CD, and is chocked full of great material. Always defining the cutting edge, Terminator X and the Bomb Squad transcend traditional "rap" definitions. "and you thought the beat slowed down"

Public Enemy - Muse Sick-N-Hour Mess Age - 72:03 - 1994
Despite having a really stupid cover and title, and considering they haven't really changed their general style, Public Enemy never disappoints. Like Run DMC's "Down With The King", Muse... is slightly introspective or should I say retrospective of the years of chaos that saw the meteoric rise and gradual cooling off of PE's career. Even if their head of steam had cooled somewhat by this time, the boys themselves did not. This CD does take a slight shift in musical style, as it incorporates more "traditional" instrumentation, as well as more actual singing than usual. (Definitely rocks!) For my money, everything PE did was gold!

Public Enemy - Greatest Misses - 55:45 - 1992
Contrary to what you might think, this is a collection of oddities, b sides, and remixes from one of raps finest. There's a pretty nice remix of "Louder Than A Bomb", a really well written story about an athlete who relies on his talents to ride him through life, but when they fall through and theirs nothing to fall back on, he succumbs to the dark side. Mix master supreme Chuck Chill-out, shows up for a cameo, but unfortunately doesn't show off his venerable skills. There's a pretty rippin version of "Who Stole the Soul?" that has a sample of Eddie Murphey's 5th Beatle skit.

Public Image - First Issue - 40:11 - 1986 (78)
Hot off the heels of the flaming ruin that was the Sex Pistols, our anti-hero, Johnny Rotten, redefines himself as John Lydon, and proceeds to assemble one of the most underrated albums of the time. First Issue is a masterpiece of gloom and anger that is a full180 degree turn from the high energy, guitar driven attitude that defined his previous co-conspirator's methodology. With his new association, Lydon steps into a darker place, that pulls heavy on the soul, predominately as a result of Jah Wobble's thick bass work. There's also some pretty solid punches thrown in the intensity of the music, as well as the message. Even when they are just fucking around in the studio, trying to fill up the album, you feel the chemestry.

Public Image - Compact Disc - 40:40 - 1985
By the time it takes you to release your finger from the play button, this CD is already kicking full force. They went through a lot of extra effort to record the drum tracks on this, and it shows. This is definitely the tightest and hardest rocking disc they have done since the "First Issue" days. This is one of the better Bill Lasswell collaborations out there. The sound is full, bright, punchy and laden with shredding guitar. I'm also rather fond of the generic layouts.

Public Image - Happy? - 35:15 - 1987
When I first heard this 10 years ago, I was extremely disappointed. PiL usually does one of two things, rock, or make the most depressing music you've ever heard (I often prefer the later) but, this was neither. What's worse, this reeked of an attempt to reach the masses. Which to a certain extent, did just that. I have however, come to appreciate this disc on it's own level. It has a sophisticated sound, and is sort of what pop music should be, interesting, easy, engaging, non-confrontational yet not pandering to the lowest common denominator.

Puncture - Immune - 52:57 - 1996
Geographicly I would swear these post-post industrialsist were from New Orleans, because they give off a slight Ministry/NIN/TKK vibe. In actuality they are a Texas based band who's music most resembles that of their neighbors, Skrew. The cool thing about these guys is that they are basically an electronics based band (keyboards, sequencers and such) but at the same time, about 60% of the sound is loud crunchy proactive gitaurs. Aggression and keyboards is not the eaisiest sound to pull off, but these guys do and also mannage to make it kind of funky at the same time. The more I listen, the more I like it.

Puya - fundamental - 46:54 - 1999
I must say, this is one of the most unexpected CD's I've heard in a while. Puya is more or less a bilingual hard core band - well, sort of. You see, Puya's range is so wide, it's hard to pigeon-hole them to one thing. Generally this is a good thing, but in Puya's case, it's kind of weird. You sort of have to struggle wondering what their about when they go from full blast guitars and screaming, to the type of laid back latin music you would hear in a restaurant, to almost sickening poppy songs that you can't get out of your head. What ever they are, they are different, and that's good. If you want brutal Spanish hardcore listen to Brujeria, if you like your aggression spiced with a latin/jazz groove, check out Puya.
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