
Buried Alive (1990)

Buried Alive (1990)

Originally issued as an internet-only release, the nine tracks of this album (each of their names beginning with an X) find Prince focusing on instrumental compositions, with his distinctive voice entirely absent. The songs play with fusion jazz from a variety of angles, and though funk is a common inclusion, the emulation of older jazz styles (e.g., bop and cool jazz) comes across on point while blending with the more modern twists. Things are less frenzied than in Prince’s instrumental jazz side-project of Madhouse, leaning more into mellow moods, though some energetic flourishes do crop up semi-regularly, and the inclusion of violin makes for some striking moments. Something more for Prince completionists than casual fans, but only because of its divergence from his usual form, not due to any fault in the material itself.
Friday the 13th Part VII: The New Blood, a.k.a.,
Friday the 13th: The New Blood – Part 7
(1988)

Friday the 13th Part VIII: Jason Takes Manhattan (1989)

C.H.U.D. II: Bud the Chud, a.k.a., C.H.U.D. 2, a.k.a., C.H.U.D. II (1989)
Jason X, a.k.a., Jason X: Friday the 13th, a.k.a., Jason 10 (2001)
Death Bed: The Bed That Eats (1977)
Buried Alive (1990)

Five tracks of heavy desert rock from Australia, with the Drifter trio providing a rowdy blend of punkish guitar, thumping drums, and bumping bass-lines. Things move fast, with just one of the songs breaking three minutes, and the rough-edged energy suits the style well. As the band’s first release, it comes off nicely, excusing some of the faults and making the successful parts that much more impressive. Unfortunately, it seems the band only released one album after this (so far, at least), but it’s still a treat for fans of obscure and well-played rock.

Friday the 13th Part VII: The New Blood, a.k.a.,
Friday the 13th: The New Blood – Part 7
(1988)