The Rolling Stones - Blue & Lonesome (2016)

by albums-update

Blue & Lonesome is a covers album by the Rolling Stones—their 23rd British and 25th American studio album—released on 2 December 2016.

 Despite the short time length of just around 43 minutes, the album was released as a double LP. "Just Your Fool", a Buddy Johnson cover (though the Rolling Stones version is based on Little Walter's arrangement) was released as the first single from the album. Eric Clapton contributed guitar on two tracks.

This is the first album since Dirty Work (1986) to not feature any guitar playing from Jagger (who instead concentrates completely on vocals and harmonica), although he is pictured in the album's booklet playing guitar during the album's sessions. It is also the first album since It's Only Rock 'n Roll (1974) to not feature a lead vocal from Richards. Likewise, it is also the first album since Dirty Work to release a lead single that was not a Jagger/Richards composition with "Just Your Fool".

As Keith Richards tells it, the Rolling Stones' first-ever all-blues album is the result of the band learning how to play in the unfamiliar surroundings of Mark Knopfler's British Grove Studios.
To ease into the new place, the Stones decided to knock out a version of Little Walter's "Blue and Lonesome" and it sounded good enough that the band decided to cut a few more covers, winding up with a full album of Chicago blues in a few days. The Stones haven't worked at such swift speed in decades -- not since the early '60s, when they were churning out two albums a year -- and much of the appeal of Blue & Lonesome lies in its casualness: by being tossed off, the album highlights how the Stones play together as a band, blending instinct and skill.

Blue & Lonesome isn't a showcase for virtuoso playing -- even Eric Clapton's two smoldering solos are part of the tapestry -- but rather a groove record, emphasizing feel and interplay while never losing sight of the song. Such commitment to song is one of the reasons Blue & Lonesome winds up as an unexpected triumph from Mick Jagger.
A blues album from the Stones always seemed like a dream project for Keith Richards, who always championed the band's blues roots, but it's Jagger who dominates the album, playing searing harp and singing with nuance and power. Always a guarded performer -- back in 1974, he scoffed at the notion of letting his feelings flood on the page -- Jagger seems freed, pouring heart into the slow burners and uptempo shuffles alike. The rest of the Stones match his commitment and that's what makes Blue & Lonesome something remarkable.

Conceptually, it's clever -- if this winds up being the last Rolling Stones album, it provides a nice bookend to their 1964 debut -- but it's artistically satisfying because it's the Rolling Stones allowing themselves to simply lay back and play for sheer enjoyment. It's a rare thing that will likely seem all the more valuable over the years.


Tracklist

1.  Just Your Fool  (Little Walter) - 2:16
2.  Commit a Crime  (Howlin' Wolf) - 3:38
3.  Blue and Lonesome  (Little Walter) - 3:07
4.  All of Your Love  (Magic Sam) - 4:46
5.  I Gotta Go  (Little Walter) - 3:26
6.  Everybody Knows About My Good Thing  (Miles Grayson, Lermon Horton) - 4:30
7.  Ride 'Em on Down  (Eddie Taylor) - 2:48
8.  Hate to See You Go  (Little Walter) - 3:20
9.  Hoo Doo Blues  (Otis Hicks, Jerry West) - 2:36
10.  Little Rain  (Ewart G.Abner Jr., Jimmy Reed) - 3:32
11.  Just Like I Treat You  (Willie Dixon) - 3:24
12.  I Can't Quit You Baby  (Willie Dixon) - 5:13

The Rolling Stones

• Mick Jagger – vocals, harmonica
• Keith Richards – electric guitar
• Ronnie Wood – electric guitar
• Charlie Watts – drums

Additional musicians

• Eric Clapton – slide guitar (on "Everybody Knows About My Good Thing"); lead electric guitar (on "I Can't Quit You Baby")
• Darryl Jones – bass
• Matt Clifford – keyboards
• Chuck Leavell – keyboards
• Jim Keltner – percussion (on "Hoo Doo Blues")

Production and design

• Andy Cook – assistant engineer
• Jason Elliott – assistant engineer
• The Glimmer Twins – producer
• Richard Havers – liner notes
• Stephen Marcussen – mastering
• Ron McMaster – mastering
• Krish Sharma – engineer, mixer
• Pierre de Beauport – crew chief
• Don McAulay – drum technician
• Derrick Stockwell – assistant engineer
• Don Was – producer

Notes

Released: 2 December 2016 

Recorded: 11, 14–15 December 2015 Studio British Grove Studios, London

Genre: Electric blues, Chicago blues, blues rock

Length: 42:36 

Label - Polydor Records

Soundtrack - Beavis And Butt-Head Do America (1996)

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The Beavis and Butt-head Experience, the soundtrack to the animated television series, was an excellent collection of unreleased and rare tracks from the likes of Nirvana, Megadeth, and White Zombie.
The soundtrack to the duo's big-screen debut, Beavis and Butt-head Do America doesn't live up to its predecessor.

Feeling more like a marketing exercise than a soundtrack (instead of grunge and metal this year, it's ska and punk), the album nevertheless has a couple of excellent moments that fit the anarchic spirit of the movie, particularly White Zombie's rampaging "Ratfinks, Suicide Tanks and Cannibal Girls," old cuts from Ozzy Osbourne and AC/DC, a rarity from the Butthole Surfers, and a new version of the Beavis and Butt-head theme, as written by Isaac Hayes. The rest of the album ranges from things like LL Cool J's "Ain't Nobody," which is very good but doesn't fit the record's mood, to acceptable filler from No Doubt and mediocre cuts from Southern Culture on the Skids.
There's enough good moments on the record to make Beavis and Butt-head Do America worth purchasing for fans of the film, but there's not quite enough to make it a record that holds up under repeat plays.

Tracklist

1.  Isaac Hayes - Two Cool Guys (Theme From Beavis And Butt-Head Do America) - 3:06
2.  Red Hot Chili Peppers - Love Rollercoaster - 4:37
3.  LL Cool J - Ain't Nobody - 4:37
4.  White Zombie - Ratfinks, Suicide Tanks And Cannibal Girls - 3:52
5.  Rancid & Stubborn Allstars - I Wanna Riot - 3:59
6.  Ozzy Osbourne - Walk On Water - 4:18
7.  No Doubt - Snakes - 4:34
8.  Madd Head - Pimp'n Ain't EZ - 4:21
9.  Butthole Surfers - The Lord Is A Monkey (Rock Version) - 4:46
10.  Southern Culture On The Skids - White Trash - 2:02
11.  AC/DC - Gone Shootin' - 5:04
12.  Engelbert Humperdinck - Lesbian Seagull - 3:39


Companies, etc.

• Manufactured By – Uni Distribution Corp.
• Distributed By – Uni Distribution Corp.
• Copyright (c) – Paramount Pictures
• Copyright (c) – MTV Networks
• Phonographic Copyright (p) – Geffen Records, Inc.
• Phonographic Copyright (p) – MTV Networks
• Mastered At – Precision Mastering

Credits

• Executive-Producer [Executive Album Producer] – Mike Judge
• Mastered By – Stephen Marcussen
• Supervised By [Music Supervisor] – Lewis Largent, Mark Kates, Mike Judge
• Producer - Various Artists 

Notes

Released: November 5, 1996 

Recorded: 1995–96 

Genre: Heavy metal, alternative rock, punk rock, hip hop 

Length: 49:00 

Label - Geffen Records 

Kate Bush - The Sensual World (1989)

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The Sensual World is the sixth studio album by the English singer Kate Bush. It was released in October 1989.

An enchanting songstress, Kate Bush reflects the most heavenly views of love on the aptly titled The Sensual World. The follow-up to Hounds of Love features Bush unafraid to be a temptress, vocally and lyrically. She's a romantic, frolicking over lust and love, but also a lover of life and its spirituality.

The album's title track exudes the most sensually abrasive side of Bush, but she is also one to remain emotionally intact with her heart and head. The majority of The Sensual World beams with a carefree spirit of strength and independence. "Love and Anger," which features blistering riffs by Bush's mentor and cohort David Gilmour, thrives on self-analysis -- typically cathartic of Bush. Michael Nyman's delicate string arrangements allow the melodic "Reaching Out" to simply arrive, freely floating with Bush's lush declaration ("reaching out for the star/reaching out for the star that explodes") for she's always searching for a common peace, a commonality to make comfort.

What makes this artist so intriguing is her look toward the future -- she appears to look beyond what's present and find a peculiar celestial atmosphere in which human beings do exist. She's conscious of technology on "Deeper Understanding" and of a greater life on the glam rock experimental "Rocket's Tail (For Rocket)," yet she's still intrinsic to the reality of an individual's heart. "Between a Man and a Woman" depicts pressure and heartbreak, but it's the beauty of "This Woman's Work" that makes The Sensual World the outstanding piece of work that it is.

She possesses maternal warmth that's surely inviting, and it's something that's made her one of the most prolific female singer/songwriters to emerge during the 1980s. She's never belonged to a core scene. Bush's intelligence, both as an artist and as a woman, undoubtedly casts her in a league of her own.


Tracklist

1. "The Sensual World" - 3:57
2. "Love and Anger" - 4:42
3. "The Fog" - 5:04
4. "Reaching Out" - 3:11
5. "Heads We're Dancing" - 5:17
6. "Deeper Understanding" - 4:46
7. "Between a Man and a Woman" - 3:29
8. "Never Be Mine" - 3:43
9. "Rocket's Tail" - 4:06
10. "This Woman's Work" - 3:32

All tracks written by Kate Bush.


Personnel

• Kate Bush - piano, keyboards, vocals, producer
• Paddy Bush - mandolin, valiha, tupan, whip (swished fishing rod), backing vocals
• Dr. Bush (Robert Bush, Kate's father) - dialogue 
• Clare Connors - violin 
• Stuart Elliott - drums 
• John Giblin - bass guitar 
• David Gilmour - guitar 
• Michael Kamen - orchestra arrangement 
• Mick Karn - bass guitar 
• Nigel Kennedy - violin, viola 
• Dónal Lunny - bouzouki 
• Charlie Morgan - drums 
• Alan Murphy - guitar 
• Michael Nyman - string arrangements 
• Del Palmer - bass guitar, percussion, rhythm guitar, engineer, Fairlight CMI percussion, mixing
• Justin Pearson - cello 
• Dimitar Penev - arranger
• Yanka Rupkina - solo vocalist 
• John Sheahan - fiddle 
• Davy Spillane - whistle, uilleann pipes 
• Alan Stivell - Celtic harp, backing vocals 
• Trio Bulgarka - vocals
• Eberhard Weber - double bass 
• Bill Whelan - arranger
• Jonathan Williams - cello
• Balanescu Quartet - strings

Technical

• Haydn Bendall - engineer
• Andrew Boland - engineer
• Paul Gomazel - engineer
• Kevin Killen - engineer, mixing
• Tom Leader - assistant engineer
• John Grimes - assistant engineer
• Ian Cooper - cutting engineer

Notes
Released: 16 October 1989
Recorded: 1987–1989 Studio Wickham Farm Home Studio (Welling, England) and Windmill Lane Studios
Genre: Art rock, baroque pop, progressive pop
Length: 45:48

Label - EMI Records

John Mellencamp - No Better Than This (2010)

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No Better Than This is the 21st album by American singer-songwriter and musician John Mellencamp, produced by T Bone Burnett, that was released on August 17, 2010. 

The album was recorded at several historic locations throughout the United States. The title track was the album's first single and was sent to multiple radio formats on June 28, 2010.

Mellencamp said that the album is "as American folk as I've ever been". He also told Rolling Stone in July 2009 that he's not concerned whether or not there's a large audience for such a raw, simple record. 

"I am done being a rock star", Mellencamp said. "I have no interest in that, in having the biggest concerts. I have only one interest: to have fun while we're doing this and maybe have something that somebody might discover".

The first thing that grabs the listener about John Mellencamp's No Better Than This is its sound: mono -- recorded live to an Ampex 601 tape recorder circa 1955, with a single microphone without mixing or overdubs. It's warmth and presence are immediate and engulfing. Mellencamp and T-Bone Burnett cut the album while on tour supporting, Life Death Love and Freedom, Mellencamp's celebrated precursor. 
This album was cut in some very famous locales: First African Baptist Church in Savannah, GA (the first African American Christian church in North America), Sun Studios in Memphis, and in Room 414 of the Gunter Hotel in San Antonio, TX, where Robert Johnson recorded "Stones in My Passway" in 1936. 
While Mellencamp's last album was celebrated for its wonderfully crafted songs, it nonetheless reflected Burnett's dictatorially heavy-handed production style. This set feels far more like the artist. The songs are rooted in country, rockabilly, folk, country-gospel, and an even rawer Midwestern rock--Mellencamp's brand. The band is equal parts his standard road group and Burnett's studio crew, but the latter plays more of a supporting role than a guiding one; this set, with its brilliantly pruned songwriting, is Mellencamp at his focused best.

The album's opener, "Save Some Time to Dream," is from the older, wiser songwriter who gave us "We Are the People," "Jackie Brown," "Human Wheels," and is a skeletal part two of "Your Life Is Now." These historic locales reflect the tunes somewhat -- especially the driving title track, "Coming Down the Road," and "Each Day of Sorrow" that come from, respectively, the rockabilly of Carl Perkins, early Elvis, and Johnny Burnette. 
"No One Cares About Me" is a pure Mellencamp lyric, but its sound is reminiscent of the Sun-era Johnny Cash. The spooky banjo of the minor-key blues that makes up "The West End" touches on the folk-blues Bob Dylan utilized on "The Ballad of Hollis Brown." "A Graceful Fall" is electric hillbilly blues. "Love at First Sight," with Mellencamp accompanied only by an acoustic guitar, is among the finest love songs he's ever written. "Don't Forget About Me" is a country ballad that acts as its mirror image and resonates deeply. 

He may be looking back at some earlier styles of music that influenced him, but these songs feel invigorated, unfettered; melodically and lyrically astute. He possesses an independent streak in abundance; he is making music only for himself now; as a result, he's in a league of his own. No Better Than This proves that good songs need very little to communicate instructive narratives and complex emotions, and that primitive recording methods are still sometimes the best ones. 

Rolling Stone placed No Better Than This No. 12 on its list of the best albums of 2010. 

Tracklist

1. "Save Some Time to Dream" – 4:30
2. "The West End" – 3:58
3. "Right Behind Me" – 4:00
4. "A Graceful Fall" – 3:20
5. "No Better Than This" – 3:12
6. "Thinking About You" – 3:28
7. "Coming Down the Road" – 4:45
8. "No One Cares About Me" – 6:11
9. "Love at First Sight" – 4:37
10. "Don't Forget About Me" – 3:14
11. "Each Day of Sorrow" – 2:36
12. "Easter Eve" – 6:30
13. "Clumsy Ol' World" – 3:29

All songs written by John Mellencamp.

Personnel

• John Mellencamp – vocals and acoustic guitar
• Andy York – acoustic and electric guitars
• Marc Ribot – electric guitar and banjo
• T Bone Burnett – acoustic and electric guitars
• David Roe – bass
• Jay Bellerose – drums and percussion
• Mastered By – Gavin Lurssen
• Producer, Guitar – T Bone Burnett
• Violin – Miriam Strurm

Notes
Released: August 17, 2010 
Recorded: July and August 2009 Studio
First African Baptist Church, Savannah, GA
Sun Studio, Memphis, TN
Gunter Hote, San Antonio, TX 
Genre: Americana, Country blues, Heartland rock
Length: 53:50 

Label - Rounder Records

Crosby, Stills, Nash & Young - Déjà Vu Live (2008)

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Déjà Vu Live is the sixteenth album by the rock band Crosby, Stills, Nash & Young, their sixth in the quartet configuration, and their third live album overall, released by Reprise Records in 2008. 
It peaked at #153 on the Billboard 200, recorded on their 2006 Freedom of Speech tour.

Based on the title, it's hard not to think that Déjà Vu Live finds Crosby, Stills, Nash & Young reaching back into their past, perhaps even performing their classic 1970 album in its entirety. 

That's not true, although there is an album that comes close to being performed in its entirety here, and that's Neil Young's 2006 political manifesto Living with War, a controversial record that Young supported by re-teaming with CSN for a tour -- a tour that was documented in the Young-directed feature documentary Déjà Vu Live. Got that? It's a series of circumstances a bit too confusing for music that's so straightforward, as the Living with War tour was as direct as the album itself.
Direct, yes, but it also was a bit softer than the record, as it was bathed in the warm glow of the reunion of Young with CSN, whose presence helps Young's songs seem elegiac instead of bitter. There's no disguising what this is: this is a set of aging hippies lamenting the way things are now by connecting to who they were back then, reuniting for the new songs and mixing up relevant older ones -- including, yes, the warhorses "For What It's Worth" and "Teach Your Children" -- to provide a bridge to the past. CSNY don't run from their age, as they can't escape it: some voices have grown gravelly, the harmonies are shakier, there isn't quite as much muscle to the guitar. 
But by not running from these signs of age, CSNY wind up with a live album that has a bit of resonance, as when it's contrasted with the rangy, restless 4 Way Street, it's hard not to be a little moved and marvel that the bandmembers feel so comfortable here, especially considering their tortured history. 
This winds up being the overarching impression left by Déjà Vu Live, as despite the topicality of the set list, Déjà Vu Live feels curiously isolated; there may have been controversy on the tour, all chronicled on Young's film, but it doesn't feel engaged with the culture at large, which could be a side effect of the digital dislocation of the 21st century, or it could be a sign that CSNY are growing older and simply don't stir things up the way they did back then. 
But for those who are listening, their message has resonance -- and so does the music, as this live record winds up being a nice understated grace note to their tumultuous career. 

Tracklist

1.  "What Are Their Names?"  (David Crosby) - 2:28 
2.  "Living with War"  (Neil Young) - 3:25 
3.  "After the Garden"  (Neil Young) - 3:41 
4.  "Military Madness"  (Graham Nash) - 4:02 
5.  "Let's Impeach the President"  (Neil Young) - 5:43 
6.  "Déjà Vu"  (David Crosby) - 7:15 
7.  "Shock and Awe"  (Neil Young) - 5:08 
8.  "Families"  (Neil Young) - 2:58 
9.  "Wooden Ships"  (David Crosby, Paul Kantner, Stephen Stills) - 8:18 
10.  "Looking for a Leader"  (Neil Young) - 3:55 
11.  "For What It's Worth"  (Stephen Stills) - 4:50 
12 . "Living with War"  (Neil Young) - 5:24 
13.  "Roger and Out"  (Neil Young) - 3:55 
14.  "Find the Cost of Freedom"  (Stephen Stills) - 3:55 
15.  "Teach Your Children"  (Graham Nash) - 3:20 
16.  "Living with War"  (Neil Young) - 3:01 
17.  "The Restless Consumer  (iTunes Store bonus track)"  (Neil Young) - 6:23 

Companies, etc.

• Copyright (c) – Ohana 2006, Inc.
• Phonographic Copyright (p) – Ohana 2006, Inc.
• Manufactured By – Warner Music Canada Co.
• Distributed By – Warner Music Canada Co.

Credits

• Arranged By – Darrell Brown (tracks: 2 & 16), Neil Young (tracks: 2 & 16)
• Art Direction, Design – Gary Burden, Jenice Heo
• Bass – Rick Rosas
• Drums – Chad Cromwell
• Engineer – Tony Hugar (tracks: 2 & 16)
• Guitar, Keyboards, Vocals – Stephen Stills
• Guitar, Piano, Vocals – Graham Nash, Neil Young
• Guitar, Vocals – David Crosby
• Keyboards – Spooner Oldham
• Mastered By – Chris Bellman
• Mixed By – David Lohr, Tim Mulligan
• Pedal Steel Guitar – Ben Keith
• Producer – L.A. Johnson, Neil Young
• Recorded By – Rob Clark
• Trumpet – Tommy Bray

Notes
Released: July 22, 2008 
Recorded On The 2006 Freedom Of Speech Tour 
Genre: Soft Rock, Folk Rock 
Length: 73:00 

Label - Reprise Records

Pat Mears - There Goes The Rainbow (1991)

Pat Smear (geboren als Georg Ruthenberg, Los Angeles, 5 augustus 1959) is een Amerikaans rockgitarist.

Smear groeide op in Californië, en hij richtte in 1976 samen met Darby Crash de band The Germs op met bassist Lorna Doom en drummer Dottie Danger, een pseudoniem van Belinda Carlisle. Haar plaats werd later ingenomen door Don Bolles, en The Germs brachten in deze opstelling een album uit in 1979 met de naam GI. Het album wordt wel als een mijlpaal in de geschiedenis van de punkrock gezien. Later speelde hij met Nina Hagen en maakte twee soloalbums: So you fell in love with a musician en Ruthensmear.

Hij verscheen ook in televisieseries en films, waaronder Blade Runner. Toen hij aan de film Breakin' werkte ontmoette hij Courtney Love, en in 1993 werd hij door Kurt Cobain gevraagd om in Nirvana te spelen, en hij accepteerde het aanbod onmiddellijk. Hij verscheen voor het eerst in de band tijdens de televisieshow Saturday Night Live op de Amerikaanse televisie, en toerde ongeveer 6 maanden met Nirvana voordat Cobain zelfmoord pleegde.

Na het einde van Nirvana richtte drummer Dave Grohl de Foo Fighters op, en vroeg Smear in de band. Hij speelde met hen tot september 1997. Daarna werkte hij aan een aantal TV reclamespots, en produceerde hij het debuutalbum van Harlow.

Sinds 2007 speelt Pat weer mee met de Foo Fighters, op hun promotietour van het album Echoes, Silence, Patience and Grace. Hij speelde ook al mee op het album Skin and Bones. Nu op het nieuwste album Wasting Light heeft Pat een vaste plaats in de band.

De naam Pat Smear ontstond naar aanleiding van de term pap smear (in het Nederlands: uitstrijkje) die hij op de middelbare school leerde, en waarvan hij zegt dat dat het meest smerige is waar hij ooit van gehoord had.

Pop als zelfstandig genre binnen de popmuziek is eigenlijk een kunstmatige categorie. Het omvat alles wat buiten de andere popsoorten valt, maar bezit daarmee toch min of meer eigen kenmerken. In pop ligt de nadruk op het liedje.

Compositie, melodie en productie zijn belangrijker dan stijl en inhoud. Pop ligt goed in het gehoor en spreekt idealiter een massapubliek aan. Onder haar beoefenaars treffen we dan ook veel hitmakers aan, uiteenlopend van The Beatles tot Michael Jackson, en van Simon & Garfunkel tot de Spice Girls.

Her first album, There Goes the Rainbow was a tour de force -- it is one of those rare musical statements that is perfect and timeless. Each song follows the other naturally and with a tension in build-up that pulls the listener in, as the stories are told, as written and sung by Pat Mears, of human sorrow, and desire, and experience. "If I die tomorrow," Pat says, "at least
I will know that I made this album."

Tracklist

1.  There Goes the Rainbow  (5:27)
2.  Just Experience  (5:54)
3.  I Try and Try  (4:06)
4.  Look for You  (4:52)
5.  Can You Spare It, Baby  (4:30)
6.  A Bird in Hand  (4:31)
7.  Someone Is Cryin' for You  (4:46)
8.  Making Up for Lost Time  (4:03)
9.  When the Time Is Right  (3:31)
10.  Baby's Blues  (4:56)
11.  The River Road  (4:17)


The musicians 
Leland Waddell: drummer
David Waddell: bass player
Randy Glines: harmonica
the three guitar greats: Gary Craft, Eric Blakely, Billy Mack.

Notes
Release: 1991
Genre: Blues
totale tijdsduur: 50:53


Label - silenZ Records

The Juliana Hatfield Three - Become What You Are (1993)

by Record Facts

Juliana Hatfield (born July 27, 1967) is an American musician and singer-songwriter from the Boston area, formerly of the indie rock bands Blake Babies, The Juliana Hatfield Three, Some Girls, and The Lemonheads.

Hatfield acquired a love of rock music during the 1970s, having been introduced by a babysitter to the music of the Los Angeles punk rock band X, which proved a life-changing experience. She was also attracted to the music of more mainstream artists like Olivia Newton-John and The Police.

Hatfield began her solo career following the Blake Babies‘ breakup in 1991, releasing her first solo album (Hey Babe) in 1992. The album was one of the highest selling independent albums of 1992. Hatfield recruited a rhythm section consisting of former Moving Targets and Bullet LaVolta drummer Todd Phillips, and Thudpucker bassist Dean Fisher, and thus becoming The Juliana Hatfield Three.

Hatfield achieved alterna-rock stardom with the release of 1993’s Become What You Are (recorded under the group name The Juliana Hatfield Three). Several songs from the album received regular airplay on major North American rock stations, with Hatfield’s song “My Sister” becoming the biggest hit of her career, with a #1 placing on the Modern Rock Tracks chart, and the video becoming an MTV staple..

“My Sister” was based on a real person: Hatfield’s older brother’s girlfriend, Meg Rafferty, who lived with the family while Hatfield was in high school. She enjoyed Rafferty’s eclectic record collection. Rafferty also took Hatfield to see the Del Fuegos and the Violent Femmes, which inspired her to form a band.

“Spin the Bottle” was used in the soundtrack of the Hollywood film Reality Bites (1994). Hatfield also made the cover of Spin magazine..
Hatfield was profiled in a number of girls’ magazines at this time and addressed serious issues faced by young women in her songs and interviews. About this period she says: “I was never comfortable with the attention. 
I thought it had come too soon. I hadn’t earned it yet.” She gained notoriety in 1992 for saying that she was still a virgin in her mid-twenties in Interview magazine. In a 1994 interview for the magazine Vox, she said she was surprised by the effect ‘outing’ herself had: “I think there are a lot of people out there who don’t care about sex, but who you never hear from, so I thought I should say it. The magazine I did the interview for is full of beef-cake hunky guys and scantily-clad models, so I thought it would be really funny to say that I didn’t care about sex in a magazine that’s full of sex and beauty – but no one really got the joke.”


Tracklist
1.  “Supermodel” – 2:52
2.  “My Sister” – 3:22
3.  “This Is the Sound” – 3:01
4.  “For the Birds” – 4:14
5.  “Mabel” – 4:09
6.  “A Dame with a Rod” – 2:55
7.  “Addicted” – 3:16
8.  “Feelin’ Massachusetts” – 4:11
9.  “Spin the Bottle” – 2:23
10.  “President Garfield” – 4:38
11.  “Little Pieces” – 3:05
12.  “I Got No Idols” (Hatfield, Dean Fisher, Todd Philips) – 2:16

The Juliana Hatfield Three

• Juliana Hatfield – guitar, vocals
• Dean Fisher – bass
• Todd Philips – drums

 Additional musicians

• Denny Fongheiser – percussion
• Peter Holsapple – keyboards

 Technical personnel

• Scott Litt – producer, engineer
• Ed Brooks – engineer, assistant engineer
• Martin Schmelzle – assistant engineer
• Steve Holroyd – mixed assistant
• Stephen Marcussen – mastering
• Jean Cronin – design
• Melanie Nissen – photography

Notes
Released: August 3, 1993
Recorded at: Studio Hollywood Sound in Los Angeles
Genre: Alternative rock
Length: 40:22

Label – Mammoth Records