Michael Knott LSU - Definitive Collection (CD)

$8.99

 

  • New Factory Sealed
  • 1999 Alarma
  • ALAD8695

Michael Knott has certainly put out enough material to warrant a collection. Whether plying his trade in his best known band the Lifesavers Underground or joining in with a rogue’s gallery of alternative Christian music veterans as he did when he played in Cush or in his sometimes brilliant solo outings Knott has consistently dabbled, dippered, squabbled, and toiled to work out his torn soul and soiled faith within the musical art form. He could tackle serious topics with humility (as often shown on “This Is the Healing”), bare his soul without requiring pity (as he did on “Strip Cycle”), or knock around and have fun (as he did on “16 Flowers”) and his creative output would never seem to let up. This album was put out in 1999 in the middle of a time that a lot of his work was being put out, or redressed, or even re-issued. It was an amazing time for Knott fans though many could argue this wasn’t a necessary release. But as with any compilation that seems to be worth its salt to the fan that already has everything Knott added three tracks that most fans didn’t have. Two of these tracks (the drawn out too long “Miss Understanding” which opens the album and “Goodbyes” which appropriately closes the album came off of the “Industry Demo”, a demo he shopped around shortly after The Aunt Bettys were dropped) are worth the price of admission for completists and the song “Deaf and Dumb” was a little known solo acoustic number from “Brow Beat” he did as part of an acoustic project put out by his contemporaries within the alternative Christian music scene. The rest of the songs are wrung out of just a few of his many releases up to that time (“Shaded Pain”, “Wakin’ Up the Dead”, “Fluid”, “Kiss of Life”, “This Is the Healing”, “Grace Shaker”, and “Rocket and A Bomb”) and there was more than enough from these releases to create a great comp but definitive this most certainly is not. Chalk that up to the fact that all of the releases were from albums that record label KMG had released and it begins to make sense.

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