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MASTERPLAN - Mk. II (AFM) 2007
Like Van Halen's 3 album, Masterplan uses the number in the title to mark a lineup change,
not the album order. Former Riot vocalist Mike DiMeo has moved into the project to replace Jorn Lande. The effect
is similar to DiMeo's entry to Riot. He moved Riot from a heavier sound into a comfortable melodic hard rock sound favored
by bands like Rainbow, Loudness, and TNT.
Like his records with Riot, Mk II presents a comfortable familiar sound that doesn't present
anything new to the mix. There is a great deal of talent and execution, and I can't deny the quality of the guitarwork;
but it is closer in spirit to Variations on Straight Between the Eyes, or a Difficult to Cure for the new millenium.
MOB RULES - Ethnolution A.D. (SPV) 2006
GRAVE DIGGER - Liberty or Death (Locomotive) 2006
JORN - Unlocking the Past (Frontiers) 2007
ERIC MATTHEWS - Six Kinds of Passion Looking for an Exit (Empyrean) 2005
CIRCLE II CIRCLE - Burden of Truth (Locomotive) 2006
LEVERAGE - Tides (Playground/ Elements) 2006
BROTHER FIRE TRIBE - False Metal (Spinefarm) 2006
BEN FOLDS - Supersunnyspeedgraphic The LP (Epic) 2006
BUTCH WALKER - The Rise & Fall of Butch Walker and the Let's Go Out Tonites (Epic) 2006
Marvelous 3 was one of my favorite bands, as they had plenty of attitude and energy, and
spent it on memorable, well-crafted powerpop songs. There was a clear audacity to the vocals and guitars on those records,
but it was impossible to challenge it. Like the old adage, "it ain't braggin' if you can back it up". I can picture
hipster bands that shared a bill with M3 getting put in place and outshown.
After trying to continue the act on his own, he put out the thoughtful Letters album, mixing
the brash with a lot of the pop songwriters of his youth. It didn't make sense at first, until I realized that he is
as much a fan of music as he is a pro musician.
That is the reason why The Rise and Fall of...works. There is a sensitivity to the
details that many of today's artists just don't get. The "glam" side of T.Rex and David Bowie wasn't just a look, but
also a sound. Whether it was the insistence of the guitar during the verse of "Bang a Gong (Get It On)" or the
imprecision of the instruments on "Changes", there was a lot more going on that credit was given for. The "technical"
end of playing either of these songs isn't too demanding for most average musicians. But very few can capture the
spirit, attitude, and recklessness apparent in the grooves of these classics.
If Letters is Walker's attempt to channel Todd Rundgren, then The Rise and Fall...
is clearly his T.Rex cycle. Though the sound reflects the influences, it is original enough to stand on its own.
Songs like "Paid to Get Excited" or "Bethamphetamines" have qualities that go beyond the influence, and to suggest
Walker is only doing an impression is to oversimplify just how deep his talents are.
TREY ANASTASIO - Bar 17 (Rubber Jungle) 2006
I was counting on having a little bit of a letdown after the highly dynamic and straightforward
SHINE album. While BAR 17 is a return to the prog-ier areas of Trey's writing and performing, the album itself is fairly
strong.
One of the fun things about this cd is that it really gives a huge hint about the influence.
It isn't exactly "spot the riff", but it doesn't take long to realize that "Dragonfly" suggests a latter-period Jimi Hendrix
with its funkier rock and "Crosstown Traffic" call-and-response background vocals. Not all of the tracks can be neatly
sorted, but it makes for a fairly comfortable listen.
TY TABOR - Rock Garden (Inside Out/SPV) 2006
This third outing for King's X guitarist Ty Tabor, finds him in full-on rock mode.
Unlike the smaller, more personal albums (Safety and Moonflower Lane) in his canon, electic guitars and more
general lyrical concepts come to the front.
Personally, there is a general sameness to most of the material here, and it is apparent
that Tabor has spent an inordinate amount of time with the "studio" Beatle albums. Though it's hard to find the
aggressive twists of a tune like "Stalker" in their catalog. While Tabor is a talented guitarist,
singer, songwriter, and producer, this record just doesn't seem like much more than a "tideover" between albums from
his main band.
Hardcore fans will find this a return to form, as it features all of the melodic aspects
and hallmarks of King's X. Without the rhythmic and emotional qualities though, it is going to be
hard for him to grow a fanbase beyond the cult of the band.
DEF LEPPARD - Hysteria [Deluxe Edition] (Mercury)
2006/1987
The way this album built was one of the strangest musical success stories, pre-internet.
The band releases a major album, PYROMANIA, and has an odd series of events prevent the band from getting an immediate
follow-up out.
Three years and millions of dollars later, the band drops HYSTERIA. The first public instincts were that the
band had taken too long between albums, and that despite the quality, it'd be ignored. In fact, the pickup didn't happen
until nearly a year after release and the album ultimately went on to sell nearly 16 million copies in its original form.
To be truthful I was one of many who didn't pick up on it at first. I bought it on cassette with Rush's HOLD
YOUR FIRE, and lived with it in the car for a long time. I eventually found it on cd for $10.99 at the long-gone Oranges'
record store.
Over time, I found myself really liking this album with the exception of "Love Bites". The album opened strong,
but in time I found myself locking in to tracks like "Love and Affection", "Run Riot", and "Hysteria" just loving the mix
of guitars and the way the rhythms worked on those songs.
This deluxe edition adds both the outtakes that became the source of a few of the finished tracks. The second
cd includes all of the b-sides, including live versions of tracks that appear here, as well as a cover of Alice Cooper's "Elected",
as well as a version of Englebert Humperdink's "Release Me". This version also includes an extended booklet including
a new essay, and additional photos including the original singles.
Despite the inclusion of the second disc, it is a shame that there wasn't a lot of rare studio stuff to include.
Though this is a minor quibble for a cd that averages around $24. Overall, it is a relatively nice package despite
being a little slight on rarities.
MIDNIGHT OIL - The Real Thing [Special Edition] (Columbia Australia) 2000
Essentially, this is a compilation of two acoustic performances, with 4 then-new studio
tracks. The first source is an April 1993 taping of Mtv's Unplugged show, featuring versions of "Truganini", "In the
Valley", and "Warakurna". The second source is a mobile recording of an October 1994 acoustic concert in Sydney,
Australia.
While the starkness of the performances make for challenging listening. It proves
the band's reputation as a live act is well-deserved. Regarding the 4 studio tracks, only "Say Your Prayers" made it
to the band's next and final release CAPRICORNIA, before parting amicably in 2004.
This edition adds a second cd of interviews, song commentary from the band
members and a multimedia section featuring videos for "Redneck Wonderland" and "Cemetary in my Mind". Unfortunately,
the disc was not compatible with my computer, so it is hard to tell how good/cool the bonus content was.
To be honest, I'm normally not that big a fan of these types of goodies (bring on bonus songs, I've already got a screen saver...)
there was no price difference for a version without the bonus disc.
The recommendation would be to hardcore Oils' fans only, though I think rock music
as a genre is far more bland since the demise of this band. I recommend BLUE SKY MINING (1990) or DIESEL &
DUST (1988) as better starting points into this great band.
SKID ROW - Revolutions Per Minute (SPV/Steamhammer) 2006
Despite a very successful debut, and reaching the #1 spot on Billboard's album charts with
the follow-up, Skid Row were one of many hard rock bands kicked to the curb moments after the grunge movement took hold.
They fought bravely, issuing the B-SIDE OURSELVES ep, and the vastly underrated SUBHUMAN RACE album before ultimately vanishing.
A new lineup with vocalist/guitarist Johnny Sollinger and ex-Saigon Kick drummer Phil
Varone were part of a new recording called THICKSKIN that was independently issued a few years back. While the
Sollinger-led group appeared more stable, the band was missing out on the aggression, and appeared a little more than confused
as to whether they should hold fast or attempt to be more contemporary. Fortunately, REVOLUTIONS PER MINUTE shows
the band gaining traction with a modern hard rock style that remains consistent to their past work.
Songs like "When God Can't Wait" and "Another Dick in the System" show a confident group
that can use both classic and punk influence to make an exciting new hard rock sound. "ADItS" isn't
far removed from stuff like "Piece of Me" from the debut, though there are differences in terms of production and arrangement.
I also have to admit that the band's move towards more of a "white trash" kind of image gives the band a little more
freedom lyrically and musically. The band has an edge we haven't seen since hearing some of the more aggressive tracks
from SLAVE TO THE GRIND. Though it is hard to say if songs like "Shut Up Baby I Love You" would work without
this image-shift.
I have to admit that I enjoy the heck out of "When God Can't Wait", and feel that its Dropkick Murphys-meet-Slade's
"Run Run Away" approach is stupidly addicting. I can't shut it off, and could easily imagine a bunch of military
people knee-deep in the conflict adapting this song as a bit of a theme. . . though the only lines I can honestly remember
is "...we'll lead 'em - to freedom . . when God can't wait!" so I could be a little off.
Elitists can go ahead and smirk. But there is always room in my cd changer and my collection for good
rock'n'roll like this. Turn off your preconceptions, turn up your stereo, and enjoy!
TALISMAN - 7 (Frontiers) 2006
One of the rare cases in which a band is completely poached as substitutes in other
bands, Talisman may be one of the best bands you've never heard.
Vocalist Jeff Scott Soto moved into the vocal position of Journey after health concerns caused Steve Augeri
to step aside. Guitarist Fredrik Akkesson has since moved into second guitar duties for growing metal institution Arch
Enemy. Bassist Marcel Jacob was one of the key supporting players (alongside Soto) in Yngwie's solo bands during the
mid and late '80's.
Unfortunately, the time away has taken a small toll on 7. This collection is stuck in the mid-tempo to
slow section of their catalog, and every now and again you wish the band could blast through something (like "Out of My Way"
from CATS & DOGS) to clear the sonic palate.
There are still charms, like "Nowhere Fast" and "Succumb 2 My Desire" (what's with these number titles?) which
shows the band in strong melodic form.
Hopefully, the increased activity of certain band members won't spell the end of Talisman. Though
I'm not sure that this is the starting point for new fans.
WINGER - IV (Frontiers) 2006
If there was a defamation suit that could've come out of the hair metal mowdown, it might
have been Winger going after Beavis & Butthead, for drawing the "dorky" character, Stuart, in a Winger t-shirt. Unfortunately,
the band had done a swell enough job of shooting itself in the foot with its public comments at the time. Unfortunately,
the band was trying to downplay its lightweight image from the "Seventeen" and "Can't Get Enuff" videos. Unfortunately,
they were locked into this image falling just short of the Warrants, Jackyls, and Poisons of the scene; and were never
given an opportunity to show something more substantial with their talents.
PULL was released after the grunge upheaval, and fell on deaf ears. "Down Incognito"
had a decent hook, and a nice production, but the lyrics weren't quite up to snuff. Though it was an "artistic
statement" by the band, bassist/vocalist Kip Winger began talking about wanting to write symphonies, and utilize
his other talents. The average fan couldn't relate.
The thread for a Winger reunion was given with the release of a Rhino retrospective
featuring new tracks. During the time off, Reb Beach played with Dokken and Whitesnake, and even issued a solo
record called MASQUERADE (which was quite decent). Kip Winger released a few solo records, and turned some
energies to producing and writing for others. After the retrospective was issued, the band did a little live playing
and went on to other things.
One of these things was a supergroup called THE MOB, featuring Reb Beach on guitars, Winger
on bass (and producing/songwriting), Doug Pinnick on vocals, and Kelly Keaggy on drums. Having two of the
principals of Winger in charge of most of the songwriting and production probably led to the band having such a
close tie to the Winger sound.
IV restores the Winger/Beach/Morgenstern partnership, and shows the band in fairly
strong and prolific form. Much of the record appears to be devoted to the men and women of the military.
The opening songs really discussing the threat and distance between loved ones.
TO BE CONTINUED...
TROUBLE - Psalm 9 (Escapi) 2006/1984
TROUBLE - The Skull (Escapi) 2006/1985
After seeing these single disc Metal Blade issues going for more than $50 a piece online,
I didn't think twice about grabbing these shiny expanded remasters.
Both albums include the original songs, a separate performance dvd, a slimline
case, and are housed in a full art slipcase. Each also features a new essay and additional photos. As I had
literally stumbled into a copy of PSALM 9 a day before seeing these remasters; I was able to make a sonic comparison.
PSALM 9 was originally released without a title. The Metal Blade edition
sounded pretty good, though the level was a bit quieter than this Escapi edition. The run order was identical,
and whether it was the cover of Cream's "Tales of Brave Ullyses" or the controversial "Bastards Will Pay". The band
owes a great debt to Black Sabbath, but also compares favorably to bands like Savatage and Metallica.
THE SKULL was a little more familiar to me as a youngster, as "Fear No Evil" was part of several heavy metal
mix tapes. It is finally good 20 years later to finally be legal. Though, this isn't an easy listen. It
is also comparable to Sabbath, but also hints at the grunge/doom sounds to come.
Overall, the albums were due for a decent upgrading, and the inclusion of the dvd's complete the package.
Unfortunately, as mentioned in an earlier review, my dvd player bit the dust recently; so it will be a while longer before
I can comment on them.
ANGRA - Aurora Consurgens (SPV/Steamhammer) 2006
2004's TEMPLE OF SHADOWS was one of my favorite albums of that particular year (ultimately
finishing alongside Dreamscape's THE END OF SILENCE as the 1-2 punch for my favorite metal recordings). So as you can
imagine, I could barely wait to dig into this latest cd from Angra to see what they did next.
Well, this follow-up cements my feelings that Angra is a top-level band in the genre.
There are plenty of great riffs, majestic melodies, and sonic hallmarks from their previous work, but the band is still working
to expand its sound from their modernized take on more traditional Queensryche/Judas Priest/Iron Maiden styles.
From the breakneck opening to "Salvation:Suicide" which kicks from the first note and offers each member the chance to
show their strengths. Vocalist Edu Falaschi showing that you can fit a memorable vocal melody into speedy
bursts. The guitars, keyboards, and drums are going off, and it feels like the audio equivalent of travelling
at high speed on an empty expressway on a clear sunny day.
Though the true highlight for me was the ballad "Passing By" which features some gorgeous
vocal harmonies and a variety of sonics both traditional and modern. Though it defies normal ballad description
with its crunchier sections. Still, it is better than anything I've heard from active legends like Dio, Iron
Maiden, or Queensryche in terms of performing at mid-tempo while still keeping the interest and energy together.
Though this album isn't quite as strong as TEMPLE OF SHADOWS, it is a fine addition
to the band's catalog, and I wouldn't hesitate to recommend this to fans of melodic hard rock and heavy metal...particular
those with proggy leanings.
LOVECHILD - Soul Collector (Escape) 2006
SHOGUN - 31 Days (Rock-It) 2005/1987
If Tokyo Blade (where the majority of Shogun derives from) were the midpoint between Def
Leppard and Iron Maiden, then Shogun points towards the more accessible Def Leppard on this scale. "Cloak & Dagger",
"You Are What You Are", and "Love Is a Game" are musical highlights, but also spell out some of the weaknesses in this
release.
Alan Marsh's voice was a little thin, but very charming when it was leading Tokyo
Blade. Unfortunately, the weaknesses are more apparent in this ambitious "step up". Though
there are rumors of Bob Ezrin being a producer for the group, this particular edition was produced by Steve Tatler.
Some of the lyrics also fall to the "dumb" side of things. The titles themselves hint that maybe this was turned
around a little too quickly to have any great meaning.
I found this sealed cd-r on eBay (there should be laws on this), and have yet to see
a legitimate silver disc edition. Though the cover art is well replicated, the lack of a replicated disc is frustrating.
AL DI MEOLA - Consequence of Chaos (Telarc) 2006
I can only accept that I may not have the musical capacity to give this a fair ranking.
DiMeola has been regarded frequently as a very intelligent, very talented, and an incredibly outspoken musician.
I can say that I really enjoy a majority of DiMeola's playing, and regard both SPLENDIDO
HOTEL and THE GRANDE PASSIONS as personal favorites among guitar jazz albums. I even liked his cheesy collaborations
with Jan Hammer in the mid-'80's. Though I can't help but feel that DiMeola has some sour grapes or an intense competitive
streak. He has bagged on cool jazz labels like GRP, he has bagged on pop music (who hasn't?), and on the current state
of music over the last 15 years.
Criticisms aside, the album features one heck of a lineup, including guests like Chick
Corea, Steve Gadd, and John Patittuci, and the tunes cover a wide variety from fiery Santana-esque executions to an intimate
guitar/piano duet.
FOXX - Foxx (Retrospect) 2006/1990
FOXX - Stick It Out (Retrospect) 2006/1991
Based in Ohio, the band Foxx is a solid if somewhat unremarkable hard rock act. The
cliched lyrics are a prime reminder of how bad the scene had gotten as songs like "Party Naked" and "Wine Me, Dine Me" (guess
the next rhyme... c'mon it's pretty obvious) are more awkward than Waldo from Van Halen's "Hot For Teacher" video trying
to pick up one of the stripper-teachers on the set. Even Kip Winger (circa 1990) would have failed to romance women
with some of these lyrics.
The core problem is that this music wasn't meant to last. There is a reason why you don't see records from
Dirty Looks or Sleeze Beez anywhere but eBay, anymore. The "cool" factor has moved on far and fast in 15 years, and
the remnants here are good old fashioned crunchy guitars, singalong choruses, and these Spinal Tap lyrics.
That said, there are a ton of records made from this time that have aged more awkwardly. This one will
make a perfect replacement for those "Cherry Pie" musical moments.
KROKUS - Hellraiser (AFM) 2006
COMMENTARY PENDING
HAMMERFALL - Threshold (Nuclear Blast) 2006
I'm not quite sure what I was expecting here. I've liked what I've heard previously
from Hammerfall, and they have a deep and earnest respect for the early bands of the metal genre.
For some odd reason, this particular recording has yet to catch. Part of it
is that the material is locked into the mid-tempo range, and some quicker or more energetic execution could blast this
into more interesting territory. The rest of it is that the songwriting seems somewhat underdeveloped here. "The
Fire Burns Forever" and "Howlin' with the 'Pac" have built-in metal themes that recall Manowar, but rather than add to these
great starts, the songs just sort of ride through knowing that the only people who are likely to buy the cd are the people
who need the quick fix of metal even if its a weaker dose.
Though my initial instincts may seem contrary, I can only hope this one is a grower.
SEAL - Live in Paris [CD/DVD] (Warner Bros.) 2005
I'm a little fearful of Seal's current creativity, as he has issued two "placeholders"
since his last studio set -- that is the BEST OF SEAL collection and now this live album. Usually bands who
are in need of more time put these releases out (or their record labels issue them) in place of new studio product.
This is a rather nice recording featuring all of the big hits, and the execution is fairly
spotless. Unfortunately, the biggest problem of Seal the artist is also the difficulty of this album. Is he a
"dance/funk" artist or an acoustic artist? There isn't a lot of change from the recorded versions (which is good
given the depth of the original productions) but doesn't allow for much in the way of improvisaton. There is also a
lack of rarity. Everything on the set has appeared in studio form. This might have been a good time to dust
off another Hendrix cover, or pad with a couple of new studio tracks. For many, this is a near-perfect survey of
both sides of Seal's artistry.
While also issued as a standalone cd of the performance, I have the deluxe edition
with the concert dvd included. Surprisingly, the standalone disc was $11.99 while this edition was on sale for $9.99
(way to go errant price stickering...) Unfortunately, I have yet to check out the dvd since my player bit the dust earlier
this month. Hopefully, I'll get around to replacing it sooner or later.
SUNSTORM (featuring Joe Lynn Turner) - Sunstorm (Frontiers) 2006
This cd is like a time machine dropping you squarely into a state-of-the-art replication
of rock music in 1983. The songs, the performances, the guitar solos, the snare drum, the production matches the
bombast and drama of bands like Asia, Survivor, and to a lesser extent, JLT's time in Rainbow when all three had
reached their commercial peak (a la "Heat of the Moment", "Eye of the Tiger", and "Street of Dreams" respectively).
For better or worse, this tells older fans all they need to know about how they will like this album.
As a result of Dennis Ward's involvement, a lot of comparisons are being made between
SUNSTORM and the PLACE VENDOME cd. To be fair, both albums really showcase the abilities of the featured singer, and
both Kiske and Turner really shine on their respective albums. However, this is where the comparisons should end.
The material is radically different, as is the approach.
Most of these songs were composed by outside writers (like Jim Peterik of Pride of Lions/Survivor/Ides
of March/World Stage fame, and Van Stephenson who had previously recorded two other compositions featured here) and were selected
and arranged with Turner's voice in mind. Most are a really good fit, as I found myself really enjoying "Keep Tonight"
and "Making Up for Lost Time".
The one problem I had with this album was the fact that it had so many ballads. JLT's
soulful voice is well-suited for ballads, but he is best known for the mid-tempo numbers. Even his best-known material
from Rainbow had a little kick under the surface, like the crash going into the main chorus of "Stone Cold", or the undulating
guitars and "Final Countdown" styled keyboards on "Street of Dreams".
That said, SUNSTORM has to rank among the top third of his solo material. (I personally
prefer HTP & Rainbow, as is my opinion.) It is a classy, slickly-produced album showing that Turner isn't getting
older, but getting better with time.
BLIND GUARDIAN - A Twist in the Myth (Nuclear Blast) 2006
COMMENTARY PENDING
PETER WHITE - Playing Favorites (Columbia) 2006
This is a retrospective of smooth jazz guitarist Peter White. Though the title is
called PLAYING FAVORITES, I have to admit that the absence of instrumentals is somewhat frustrating.
I like pop instrumentals, and can marvel at a strong arrangement (consider Victor Wooten's
take on "Overjoyed" from an early solo record), but I can have most of these in much better form by going to the original
versions.
Of course, I listen to music like this more out of relaxation then out of any real enjoyment,
meaning that perhaps I can't fairly review this.
TOMMY BOLIN - Whips & Roses II (SPV) 2006
This second volume of reconfigured songs and jams
is like most sequels. First it relies on its association with an earlier item in order to give the context in shorthand
(translation: this item wouldn't be able to stand on its own merits). Second, lesser materials and surprises remain
as earlier items established the rules. Lastly, the feeling that this has been done and executed better, remains.
The first edition took the existing tapes and using modern technology, reconstructed
the tunes for a more 'modern' sound. (Not unlike Quiet Riot's THE RANDY RHOADS YEARS cd which the masters
were retweaked via modern tools and reissued.) The song choices were plenty cool, as most came from the surprisingly
under-available TEASER cd. The additional tracks were undocumented jams of solid and interesting fusion, not unlike
his stint with Alphonse Mouzon. Overall the first was a welcome rediscovery of Bolin's artistry as it may have
helped answered questions of what it might have sounded like if these were modern songs.
The main problem with II is that the song choices are less. Despite having "The Grind",
"Lotus", and "People People" remaining from TEASER, this particular release is lacking. For starters, the
engineering process completely destroyed the vocal of Lotus, replacing a mellow Bolin vocal with a harsh voice-box style effect.
The take on "The Grind" is okay except for a really awkward "Ooga Booga"-type sample. It attracts attention, but
the underlying question of "What was the engineer thinking here?" was well ahead of any potential enjoyment of this newly
constructed version. Call me ignorant, but most of the "jams" here are variants of the "Marching Powder" instrumental
from the TEASER cd. "Tommy's Got the Blues" recasts Bolin in a more traditional setting, and shows his abilities
on the relative playing field of many rock guitar "greats".
As I close, I would really like the curators to re-examine the direction in which
they're taking Tommy Bolin's legacy. A WHIPS & ROSES III is possible given the existence of
the ARCHIVE materials (originally released on the Zebra label), and may not be out of the question. However, for future
releases I suggest 3 things. First, please look at the variety Tommy embraced in his music. Second, and in all
caps for emphasis, DO NOT MESS WITH THE VOCAL PARTS! (whoever did this to "Lotus" is the same kind
of person who would allow their child to use fingerpaints to add color to Picasso's Blue Period works...) Lastly, use
technology to enhance fidelity more than to change reality. Remember how well the posthumous Hendrix releases have fared
critically until the right of the masters was restored to the family. Despite the large amount of un-vaulted,
posthumous material, a truly great artistic portrait of Tommy Bolin has yet to be established. The box was too
varied, the Archives were too rawly obscure, and these collections are too affected. Perhaps that is the next step in
establishing Tommy's legacy to an audience larger than a few hundred thousand Deep Purple fans...
TSUNAMI - Tsunami (Mosh-It-Up) (cd-r) 2006/1983
For most people, Tsunami were a relatively forgettable Southern Californian hard rock band
of the early 1980's. Though the name has been coopted by several other projects since (including the alt-rock band of
the early '90's, MySpace reveals a total of 13 U.S. bands/artists total including 4 hip-hop/rap groups), this was my
first exposure to the band and its name. One of my friends had bought this via mail order, and I remembered seeing
the definition of the band name on the upper left of the jacket rear. Since those innocent days, I have been
fooled time and again as I've bought a bad techno mix album, and a remarkably average prog-rock album from a Dutch band
thinking there might be connection. (I've since required some sort of picture of the cover art before buying online.)
In fact this edition of Tsunami released this album on Enigma records in 1983, and another called TOUGH UNDER FIRE
in 1990 for Intercord records featuring a radically different lineup. The only reason I bought it was because the logo
was similar to the one that appeared here. It proved to be a good move, as this cd sells between $50-$125 these days.
Though I buy cds due to my enjoyment of the bands and music, not as an investment tool.
I've bought this twice on vinyl to make a personal transfer, and encountered
problems with both virgin copies. (They both had "warped" somewhat after spending 20+ years in shrinkwrap, and
had the same points of skipping on 5 different turntables.) Even an attempt by a studio-owning friend with
"audiophile" repro skills proved futile, so I had to wait for a proper copy to be issued.
This cd version, which is either the cheapest replication on the planet or (as
I'm betting) is a basic duplication, appears to be sanctioned by the band. The label features a legitimate P.O. Box
address, and updated credits for the transfer. The cover art is well-reproduced, and it features both the original
front and back panels of the LP jacket on the outer panels of the booklet. Even the sound is about as good
as a vinyl transfer. The only official amateur mark here is in the tray card, which has that "fresh from
the inkjet" quality.
Okay, it's taken 4 paragraphs before describing a note, but this is a very typical
hard rock album of the day. The musical end of the band reminds me of a mixture between early Riot, Uli-led
Scorpions, and Black'n'Blue. Vocalist Doug Denton has a unique voice that is a little deeper than the typical hard
rock vocalist, but he can get up for screams and hisses. My favorites include "Fire Water", "Master of the Night", and
"Face of Death". "Fire Water" opens the cd with a decent riff and a killer scream. (There was no better way to
do so in those days.) "Master of the Night" has a really strong Ulrich Roth (Scorpions) feel, and musically might have
been a strong fit for the TAKEN BY FORCE cd. "Face of Death" had pretty decent interplay between the vocals and the
guitars, and a strong chorus. It was cool to get back into the mindset of my inner 13 year old after spinning this disc.
The album sounds so live, I could picture the band playing a series of crowded nightclubs in small cities throughout
the West coast, especially after seeing the stage shots of the band with a logoed white banner/backdrop appearing
in a few of the shots. Now that I've grown up (a little), I can tell that the live shots were likely used because
they were cheaper and easier than scheduling and taking a sitting for a group photo. That said, it was
an effective enough perception to help that 13 year in formulating what became my own desire to make music.
Despite it being a duplication, I've seen this edition go for $40-60 online. I'm
going to provide the info from the inserts in the event that you want to snag your own copy.
Contact:
MOSH-IT-UP RECORDS
PO BOX 16375
SARASOTA, FL 34320
BATTLEAXE - Power from the Universe (Sound King Entertains) 2005/1984
BATTLEAXE - Nightmare
Zone (Sound King Entertains) EP 2005/1987
COMMENTARY PENDING
R.E.M. - And I Feel Fine: The Best of the I.R.S. Years 1982-1987 [Deluxe
Edition] (Capitol) 2006
I always get a little nervous when a band does a "Best of" in any form. Past
experiences suggest that live albums are used to stoke sales of popular albums (or to recoup for albums that don't meet their
commercial expectations) while "best of" collections indicate that the band is either running out of creative steam, or audience
interest.
This marks the fourth widely available "best of" collection for the band, and a third attempt of
covering the band's rise from the clubs of Athens, GA to the ultimate conclusion that I.R.S. didn't have the
money or resources to meet the band's growing artistic and commercial interests. EPONYMOUS, the first compilation available
here is necessary for the inclusion of "Romance" which is only available domestically on the soundtrack for MADE IN HEAVEN
(in other words... good luck searching this one out...) The second compilation IN THE ATTIC was part of the ESSENTIALS
collection, and included live and alternate versions of their best known I.R.S. material. A couple of years
back, they did a compilation for Warner Bros. called IN TIME, which came in 3 editions. Though the one they got
right was the one featuring a "rarities" cd. It is this model they use for this most recent I.R.S. collection.
The hits disc is thorough and a great value to the casual fan. At
21 songs, it covers a lot but falls short of painting a complete portrait of the band's earliest days. Since I already
own (and intend to keep) the albums, arguing over omissions and inclusions is fairly pointless. Most average fans
would only complain if "The One I Love", "It's the End of the Way as We Know It", and "So. Central Rain" were omitted
from this collection.
The selling point is the inclusion of a rarities cd. While not as odd as the DEAD
LETTER OFFICE release, or as inconsistent as the IN THE ATTIC collection, the second disc opens and closes with each member's
personal choice, and is filled with alternate takes and a great "mini-concert" midway through the album including 3 tracks
from the early '80's and one from 1987, including a rather thorough explanation from Michael Stipe about the lyrical basis
for "Life and How to Live It". Also of note are the "original" versions of songs "All the Right Friends" (which
would be resurrected, rearranged, and re-recorded for the VANILLA SKY soundtrack) and "Bad Day" which borrows
heavily from "It's the End of the World As We Know It (And I Feel Fine)" and was reworked and appeared as a
key single for the Warner Bros. compilation a couple of years back. Also included are two previously unreleased
songs "The Theme from Two Steps Onward", and "Mystery to Me".
While this is a nice find, it is somewhat bittersweet as we are now
20 years away from this energetic, enigmatic, and compelling sound, and it is unlikely that new material will capture it any
better than the leftovers and outtakes that have been oxidizing in the vaults since the band switched labels.
The band has yet to find its footing as a trio, and one can't help but wonder if the band aren't facing a Metallica-like situation...
particularly that they've gone so far creatively and commercially that they are no longer the underdogs needing
to be championed and protected by legions of fans who once identified with them. Hopefully, this collection bolsters
both the fan base, and reminds R.E.M. of their roots as they try to stabilize after so long away from them.
AUDIOSLAVE - Revelations [Deluxe Edition] (Verve/ Universal) 2006
COMMENTARY PENDING
STEVIE WONDER - A Time to Love (Motown/Universal) 2005
I have considered placing an essay I wrote on the current problems of the record business
into more than just e-mail discussions and MySpace pages. One of the biggest problems is that the biggest stars of all
time have fallen both artistically and commercially without having new players to pick up the pieces.
Stevie Wonder is one of these superstars. I did not like him as a 13 year old metal
head, but I respected the fact that he played all of the instruments on a few of his records. These days, I dare anyone
to look at his top-flight 70's output without acknowledging its complete brilliance. By 1983 he was doing cheesy duets
with people like Paul McCartney, Dionne Warwick, Elton John, and creating sincere but mindless pap like "I Just Called
to Say I Love You". As a matter of fact, aside from "Overjoyed", Wonder could've taken a vacation during the '80's and
done more for his legacy.
The problem is that since then, he has. Prior to A TIME TO LOVE, he hasn't offered
new studio music since the version of "Redemption Song" from the SONG REVIEW collection. The press reports say its been
5 years since his last studio effort, but even longer since he has been considered a modern player in the world of contemporary
pop music. And perhaps that's the problem here.
There is a lot of brilliance along with a lot of filler. If this record
were literally cut in half (in terms of time, and to a lesser extent number of songs), this would be a most certain welcome
back.
The first two tracks really provide good drama and different aspects of the love
and positivity that Wonder trades on. "If Your Love Cannot Be Moved" gives a strong start to the album, functioning
a lot like the song "As" from SONGS IN THE KEY OF LIFE. Conversely, "The Sweetest Somebody I Know" is a little corny
due to its incredibly innocent lyrics; but it has a nice lush chorus and a strong execution, making this track one
of my early favorites.
My favorite track here though is "Passionate Raindrops", which has a thoroughly modern
sound but ties nicely into past Stevie Wonder fare like "Golden Lady", "Overjoyed", and "You Got It Bad Girl" with both a
dramatic and flowing melody. The vocal shows that Stevie's lost nothing on his fastball despite the passage of time.
There are "hits" in songs like "Shelter from the Storm" and "From the Bottom of My Heart"
that will likely rock dentist offices and holding music playlists for years on end; but at his best, Wonder's album
tracks held up in quality. Here it is fairly even in the ones that matter and the ones that fill. "Please
Don't Hurt My Baby" and "So What the Fuss" recall Stevie at his '80's nadir; while "How Will I Know" is a very nice duet
that finds Stevie doing a more soulful take on the Burt Bacharach-styled piano ballad.
Overall, it is a shame that we have to wait 5 years between Stevie Wonder albums.
The labels indicate that Stevie's sales have fallen for many years and that there isn't enough market to sustain
more frequent releases. But instead of issuing a killer 10 song album or an effective 12 song disc, this one
goes 15 cuts and suffers from overgrowth. The album has 5 excellent songs that would have made the cut on just
about any of his albums, 5 strong cuts that could have made weaker albums a bit better, and 5 songs that really don't
add anything to the proceedings.
Stevie Wonder is still a saleable artist making accessible music. It is a shame that
more wasn't done to show Stevie in a stronger position. The right album at the right time could give him the
commercial lift that helped re-establish top-flight acts like U2 and Aerosmith, keeping them firmly in the limelight. Wonder
clearly has the talent, ability, and creativity to fly in that rare space; hopefully he won't be grounded too long
between flights.
BRIDE - The Jesus Experience (Organic) 1997
COMMENTARY PENDING
IRON MAIDEN - A Matter of Life and Death (Sanctuary) 2006
Old machines take a little warming up before you get the best performance from them.
This is certainly the case with the strangely titled A MATTER OF LIFE AND DEATH. The material doesn't mirror the message,
and the band limps into the proceedings until they find their footing on "The Pilgrim".
Part of the problem is that the opening tracks lack energy. Many of the Maiden hallmarks
are present (prominent bass, harmonized guitar lines, full vocals) but noticeably absent is the galloping sounds heard on
records like POWERSLAVE or SOMEWHERE IN TIME.
Fortunately, the record does recover from the opening missteps, and "The Reincarnation
of Benjamin Breeg" contains an interesting mix between the classic progressive tendencies of earlier Maiden crossed with
a more direct harder rock sound favored on Bruce Dickinson solo albums. It is a brave new sound for Iron Maiden, and
this may be a great live track for tours to come.
Part of the problem for me was that Iron Maiden had set an impossibly high bar to maintain
with earlier records like NUMBER OF THE BEAST and POWERSLAVE. Later releases like FEAR OF THE DARK and NO PRAYER FOR
THE DYING (not to mention the Blaze Bayley-era) didn't hold up to the previous standards. Even today, the
band is stuck in this awkward space. Iron Maiden possesses such a strong musical identity that to mess with it
at all would border on blasphemy. However, since the band chooses not to mess with their sonic identity; there's
been little, if any, growth by the band. It's hard not to get the feeling that these songs are in-bred distillations
of their classic material. With few exceptions, you've heard this done better on earlier records.
MOTORHEAD - Kiss of Death (Sanctuary) 2006
In terms of consistency, only AC/DC may have done more with less. 30 years into
the Motorhead story, the formula has varied little... aggressive bass playing, gruff growling vocals, accessible
songs, and great energy. That doesn't stop them from putting out another decent album.
Motorhead's advantage over most other bands has always been that they are well aware of
what they are and what they aren't. They didn't need to be identified or labeled by a music critic, and then ponder
the description until they lost what made them special.
For this band it is about the present moment. Whether in concert or on record, they
don't seem to care about things like historical significance or artistic ambitions. And to be fair it works very well
for the band and its fan base. (At least from my observation.) The records rock, leave a decent impression, and
gradually fade from memory. By the time the next Motorhead album is released, it is all exciting, fresh, and new again
despite similarities in terms of the sonics and the subject matter of the lyrics. These records are more like issues
of a magazine, continually presenting the same themes while staying in the moment. As a result, Motorhead is rarely
treated like the "geezer" acts who feature band members similar in age to Lemmy in terms of press and performance.
Please don't misunderstand me... it is ultimately the best compliment I can give the band
or its fans. KISS OF DEATH is great! That is mostly because this issue is every bit as entertaining and enjoyable
as INFERNO, SNAKE BITE LOVE, or OVERNIGHT SENSATION. I didn't even mind the "R.A.M.O.N.E.S." retread offered as a bonus
track (which was part of the 1916 album nearly 15 years ago). Songs like "Sucker", "Trigger", and "Going Down" can brighten
any mundane existence with their ferocity and outlaw quality. The rest of the record will sate fans of all stripes until
the show comes or until the next record drops.
Thankfully, we still have a vital long-term band like Motorhead delivering the goods.
Consistency for most other bands leads to a death of creativity and interest; in the case of Motorhead, consistency has been
a key reason for the long-life of the band's career.
JAMIE CULLOM - Catching Tales [Deluxe Edition] (Verve/ Universal) 2005
It is a weird time of categorization as this record by Jamie Cullom is found most frequently
in the jazz sections of the music store. It really is more of a pop record comparable to Boz Scaggs, late '80's Joe
Jackson, or Sting. Not unlike some of the country artists of the last 10 years who sound closer to southern rock
or the Eagles than any of the original country artists from its inception through the mid-80's; Cullom seems to have more
in common with Stevie Wonder than Johnny Hartman. Nonetheless, this is a decent pop album with jazz accents.
The record starts strong as "Get Your Way" has a sassy lyric that plays off the accompanying
groove very well, like a more sophisticated G. Love. The next two songs, "London Skies" and "Photography"
mix wistful lyrics with lilting melodies that wouldn't sound out of place if Sting or Bono were leading the
music.
The record features a few older pop standards (like "Our Day Will Come" and "I Only Have
Eyes for You") which get an update here. The atmospherics are neat, but I'm not a huge fan of the electronic percussion
sounds. Still, Cullom has enough confidence to carry off everything from the sly observer to the naive romantic,
and his original songs are quite good. Categorization aside, this one's worth checking into.
WEEK OF AUGUST 13 - AUGUST 18
YES - Greatest Hits Live (Laser Light) 2006
It is hardly a secret that Yes is one of my favorite bands, and that I've collected all
sorts of albums, bootlegs, and band-related merchandise over the years. Critics have long knocked the band for appearing
pretentious, indirect, naive, and outdated, and all seem eager to line up to take swings every time a new album or project
by the band or one of its members is released. (Strangely enough, most of the criticism leveled at Yes matches my feelings
and opinions about Pink Floyd who're lumped in the progressive rock category without acquiring the same critical adjectives.)
Sadly, the band was on a bit of a roll with its last two studio records released in 1999
and 2001. THE LADDER (1999) was a great fusion of the sound of the Howe/Rabin eras while keeping in mind the modern
taste. (This record was to Yes what the movie PULP FICTION was to John Travolta... a chance to show that there will
always be room for true talent to shine.) Its followup, MAGNIFICATION might have been the most adventurous album since
TALES OF TOPOGRAPHIC OCEANS, though it was far more tuneful and easier to get a grip on. Unfortunately, the record's
commercial aspects did not match the artistic ones. Part of this could be blamed on the fact that the record didn't
really have a single or any song that really would have fit conventional radio formats. Reasons as varied as the events
of 9/11 (what was to be the album's original release date) to the multiple versions featuring bonus live recordings (one for
FYE, Best Buy, and Borders), to the fact that it didn't feature Roger Dean artwork have been discussed throughout fan sites
and in band histories.
In the 5 years since their last official studio release, Yes has only extended its
"cottage industry" through a variety of repackagings. Two box sets (IN A WORD & THE WORD IS LIVE) as well as an
extensive 3 disc retrospective led the charge before the transfer of ownership on their previous records from RCA/Beyond to
Eagle Rock that led to new editions of the previous albums as well as an extensive remastering/repackaging of their Atlantic/Atco
output from 1969-1983.
Without a new studio album, the band still adds to its product line with yet another "live"
package. Like the EXTENDED VERSIONS package, GREATEST HITS LIVE is an audio recycling project. Whereas EXTENDED
VERSIONS was based on the two KEYS TO ASCENSION releases, GREATEST HITS LIVE pulls it contents almost directly from
the audio of the live dvd releases over the last 7 years.
Providing 8 songs at 74 minutes, it is a rather unusual collection of "hits". A
few of the old warhorses appear ("Roundabout", "Owner of a Lonely Heart", "Yours Is No Disgrace", and "Awaken") but omit
other long-time favorites like "Long Distance Runaround", "And You & I", or "I've Seen All Good People". Representing
the most recent chapter of Yes are songs from their last 3 studio efforts ("Open Your Eyes", "Homeworld", and an unfortunate
choice in "Spirit of Survival"). Because there is an equal split between pre-1984 and post-1995, the overall
feeling is somewhat random, making this somewhat novel.
Unfortunately, despite the duplication of existing material (if you have the HOUSE
OF YES collection or the YES SYMPHONIC LIVE dvd/cd combo), this is in the unsteady hands of LaserLight, makers of the
cheapest, most worthless compilations on the planet. Their products go for $3-$5 new in department stores and at
places like HALF PRICE BOOKS. The cover art is a fairly basic picture of a tree in twilight, with a rather
generic Yes-block logo in blue centered near the top of the cover. (No royalty for Roger Dean this time).
Inside is a booklet with a rather worthless history of the band with several inaccuracies. One example is in its contradicting
its claim of Jon Anderson being the only vocalist in the band later in the essay when discussing the DRAMA album
(Trevor Horn sang on this one) and of the intent to have Trevor Rabin sing the material for 90125 (which would eventually
be sung by Anderson). A minor point, though the timeline of members joining/leaving didn't seem or feel accurate, and
the credibility is undermined further by the use of a band photograph from the time frame of THE YES ALBUM 30-something
years ago. (Tony Kaye and Bill Bruford from this picture don't appear on any of these live versions.)
Despite my enjoyment of this package, I really can only recommend this to die-hard
completists of the band (which, clearly I am one). With the band officially on-hiatus since the completion
of the 35th Anniversary Tour, it is likely that the only new releases we'll see from the band in the near future will
be these types of shoddy compilations. As more time passes, it seems less likely that the band will attempt a
follow-up to MAGNIFICATION. Despite this, a new Yes studio album will remain on my wish list for next year.
GNARLS BARKLEY - St. Elsewhere (Atlantic) 2006
Sometimes you just find a song that you like and it makes you explore something that you
wouldn't normally mess with. In most cases, it leads to disappointment (Reef, Spacehog, US3 are prime examples).
The jury is still out on this one. "Crazy" has some really neat sonics going on beneath
a catchy '70's-esque soul melody. Despite the hype of the "Jam of Summer 2006", it is somewhat understated.
Not surprisingly given the backgrounds of both Cee-Lo and Danger Mouse, this goes in a million different directions.
I have to respect the cover of "Gone Daddy Gone" which was recorded by the Violent
Femmes, despite rendering a faithful version, Cee-Lo gives it a neat vocal treatment.
Two other songs also really caught my attention in "Boogie Monster" and "Feng
Shui". The first one recalls the great horror '50's tracks like Screaming Jay Hawkins' "I Put a Spell on You" or
even campier fare. (Though personally it sounded a little like David Coverdale groaning through Sun Ra's "China
Gates"...) "Feng Shui" is a quick little sparkler featuring an older rap feel. What I really liked were the backgrounds
used, and I tuned out the words entirely. Despite the rap/hip hop nature of the album, there are more than a few songs
that contain real live singing, and there are enough melodies to keep non-rap fans attentive.
Overall, this album suffers from a similar fate to the recent PEEPING TOM album, in
that so many musical "blends" are on tap that it can be a somewhat exhausting listening experience. Truth
be told, this album will likely litter used bins in 3-4 years as the novelty wears off. Still, there are worse
ways to blow $10, I guess.
WEEK OF AUGUST 6 - AUGUST 12
BATTLEAXE - Burn This Town (Sound King Entertains) 2005/1983
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