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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
With each passing week, I'm beginning to wonder if
I'm looking too far into the past to soothe my present. By absolute surprise, I found this long-lost classic online,
and couldn't wait to get my mitts on it.
As a kid, I had access to a lot of albums/music,
but often times there'd only be a single copy of an album and five of us in competition to acquire it. I had
some great stuff on vinyl (Tokyo Blade, Grave Digger, Cerebus) but lost out on things like Witch Cross, Battleaxe, and Jag
Panzer. Still, since I knew who had the album, I was able to record a track or two at the time onto cassette
waiting and hoping that another copy would make its way to our area shops. The homemade cassettes have seared
holes in my memory and only over the last few years have many of these albums made the jump to compact disc.
Battleaxe is a nostalgic favorite, as the best way
to describe it might be to imagine Running Wild's Rock-n-Rolf fronting Saxon during their STRONG ARM OF THE LAW period.
The band had appeared on two compilations (one featuring the debut of Mercyful Fate and Ratt called HELL ON EARTH... the other
called METAL BATTLE had Lips from Anvil digging in on a white Gibson Flying V) before this full length came
out. The band recorded two albums before guitarist Steve Hardy left on the eve of an Atlantic records showcase.
[In hindsight, this may have been a fortunate move as we saw how they mangled fellow Brits, Raven...]
New lineups were constructed and demos for a third album were recorded before the band sank into oblivion at the end
of the 1980's.
This album was a frequent player for me and my friends.
Alongside Motorhead's ACE OF SPADES (which we found a few years late), Saxon's STRONG ARM OF THE LAW, Raven's ALL FOR ONE,
and the original indie version of Savatage's SIRENS (Black border on the cover with the art in a blue circle), this
one compared favorably. Opening track "Ready to Deliver" remains my favorite track on the album. This
song anchored at least two of my mix tapes as a young teenager. It was frightening that I remembered
the lyrics before Dave King (not to be confused with the former Fastway and current Flogging Molly vocalist) got
underway. "Running out of Time", "Battleaxe", and the title track also brought back memories that made my inner
13 year old happy. It isn't difficult to hear the influence of AC/DC, Judas Priest, and Di'anno led Iron Maiden
throughout the record; but it has its own naive spirit and identity that has since faded from new music of the time ever
since grunge, hip-hop, and what currently passes as heavy metal has taken form.
Despite the fact that the original UK sleeve art is
missing (maybe they took that "WORST ALBUM COVERS" website a little too personally) the info from the album is fully restored
and the 8-page booklet includes song lyrics. The sonics are pretty clear, though the mastered volume is quieter
than one might expect, some of the source becomes evident at higher volumes. Living up to its "Ready to Deliver"
promise, both Battleaxe albums and an EP taken from the tracks of an unreleased 3rd album, are now available from the
band's website without additional shipping/handling/postage charges at a cost of about $15 each. If you
are in search of either of these albums, log onto the band's official website at www.battleaxeheavymetalband.com to order.
WOLFMOTHER - Wolfmother (Interscope) 2005
The hype given this band made me a little wary about checking them out. But after
spinning their debut almost exclusively for a week, I feel a little better about buying into their trip.
WOLFMOTHER is stylized as a classic hard rock/acid rock album (think Deep Purple,
Black Sabbath, Nazareth, Mountain, and Blue Cheer) with a modern production. Easy comparisons can be made to more
modern acts like Priestess, Jet, The Brought Low, or even Reef. What I really like is the higher-pitched
voice of Andrew Stockdale who compares favorably to Lizzy Borden... (I can just sense someone who wasn't around in the
'80's saying, huh?! but if you like this, you'd probably like his work in the 80's and his current band Starwood).
Songs like "Colossial" and "Dimension" are likely to catch the attention of older rock
fans, as their portrayal of the Sabbath sludge is a little more authentic than Soundgarden or Queens of the Stone Age.
This isn't anything new, but that doesn't make it any less enjoyable...
COUNTING CROWS - New Amsterdam - Live at Heineken Music Hall (Geffen) 2006
Live albums are a mixed blessing. The best show a band at the top of its form, while
most are "placeholders" for bands in some form of transition. So in the absence of new a studio release, Geffen hits
the vaults with this concert from 2 years earlier.
The disc features 15 tracks from a typical HARD CANDY show (a special edition for BEST
BUY includes a 16th track, the cover of Joni Mitchell's "Big Yellow Taxi".)
In true frustrating form, the concert features a lot of middling material that will put
off a lot of casual fans. (No "Mr. Jones", "Angels of the Silences", "American Girls", "A Long December", or "A Murder
of One"... to be found here, this one is targeting dedicated fans.) In fact,
aside from "Rain King", "Hanginaround", and "Good night Elizabeth" most of these tracks never made it to radio.
Overall, this is quite a show. I can't honestly say I enjoyed it because it is apparent
that vocalist/lyricist Adam Duritz is suffering. I can't quite figure out why, but his world is far more desolate, bleak,
and uninspiring than most can picture. It is an audio version of the "tortured artist" and while people love vulnerability
in music here it is presented on a larger scale than on all of the studio albums combined. The portrait is far too candid
to be flattering.
Despite this, the band is a great foil for Duritz, as they see-saw through the various
emotions on display. TO BE CONTINUED...
WEEK OF JULY 30 - AUGUST 5
HEXX - No Escape/Under the Spell ([Unknown]) 1986
AT LAST!! I finally found UNDER THE SPELL on
cd, after picking up the Shrapnel vinyl version as a teenager nearly 20 years ago. This particular version
combines the first 2 records by the band.
One of my friends had NO ESCAPE on vinyl, and I was familiar with it, but not all that
impressed at the time. Now going on 20 years later, I have to acknowledge that the band had a sound comparable to AMPLE
DESTRUCTION-era Jag Panzer. The weakness wasn't in the vocals, so much as it was in the songwriting. Vocalist
Manzo was often times left vulnerable by the mix and by some clunky melodies. Overall, it was cool to hear this again
with my current taste, rather than my adolescent one.
UNDER THE SPELL is one of my favorite heavy metal records of all time. It is likely
tied with Wild Dogs' REIGN OF TERROR, as I felt both were interesting progressions in the bands' careers. UNDER THE
SPELL brought on new vocalist Dan Bryant, who these days reminds me a little of a cross between David Wayne of Metal Church
and Grave Digger's Chris Bottendahl. My favorite tracks were "Hell Riders" and the title track.
I would argue that Hexx had a lot going for it, but the move towards the Big 4 of thrash
(Slayer, Metallica, Anthrax, and Megadeth) may have been the band's undoing. They were too extreme for the more commercially-based
hard rock of the time. Conversely, they were a little too melodic, and Bryant's voice wasn't like those of the elders
or of the then-new breed of thrash (Exodus, Testament, Kreator) for them to find a larger audience. Ultimately,
the band would continue with guitarist Clint Bower taking on lead vocal duties releasing two EP's and the MORBID REALITY
disc.
For long-time fans of heavy metal, this may be one of the best albums you've never
heard. This is definitely worth checking out, though the payoff may be greater for fans who were around and
into this music as it was being released (mid-80's). I don't have source info about this cd, as I found this proper
coded and coated version via an eBay auction, and would guess its source to be a cassette or immaculate vinyl transfer
overseas.
ULTIMATUM - Til the End! (Roxx) EP 2005
Finally ending nearly six years of recording silence,
Ultimatum and Roxx Productions have teamed up to issue this limited edition 6 song EP of demos as the band makes progress
on its INTO THE PIT cd. I have copy #67 of a run of 300 cds.
There have been lineup changes and other things that have affected the progress of the
band, but these demo versions show the band becoming a little more efficient in their songwriting and execution, as well
as an increased confidence overall. Ultimatum may not have been able to do a song like "Heart of Metal" in the PUPPET
OF DESTRUCTION days because it wasn't serious enough lyrically or fit the message of faith that is a large part of what
the band does.
That being said, I must say that even in this rough form, that "Heart of Metal" has
the potential to be an identity song for the band. Saxon had it with "Denim and Leather", Raven had it with "Crash, Bang,
Wallop", Exciter had it with "Pounding Metal", Exodus with "Toxic Waltz", and Metallica with "No Remorse". The lyrics
aren't intended to be serious, but there is a physicality in the music and an anthem that fits the band and its image,
and provides a call of arms to its fans. For a sonic comparison, the track features a touch of Zetro-led
Exodus here, though the overall feel is closer to Kreator. A steadier rhythm figure at the opening of the track when
doing the album version, might help them succeed at having this match the success of the earlier examples.
"Deathwish" is remniscient of PLEASURES OF THE FLESH-era Exodus, while "One For
All" reminds me of a long lost Metal Massacre classic with an interesting double bass drum pattern during the solo section
and some nice tradeoff axework. "Blind Faith" features a Testament-styled open riff before a climbing chorus.
This is punishing in more of a classic mid-80's thrash style.
Also included are the "Sins of Omission" from the a Testament tribute a few years back,
as well as a solidly executed live version of "Blink" that mixes a mid-period Megadeth-styled crunch with a Testament-thrash
tempo.
There is a lot of derivative sound here and may not be entirely original. In its
defense, this is a still vibrant sound that has been abandoned by its creators long before the genre had been exhausted.
There is a little bit of "dress up" going on here, but no less than what was going on with the Black Crowes basically taking
Rod Stewart's Faces' sound and repackaging it for a new generation, or of the countless Queensryche, Helloween, or Dream Theatre
clones that are making careers in Italy, Finland, and Germany because the originators have moved on. Recommended
highly to people desiring good thrash metal in the style of San Francisco bands like Testament, Exodus, and Metallica.
KISS - Rock and Roll Over (Mercury) 1997/1976
This is a necessary Kiss album for albums collectors
including imperative numbers like "Calling Dr. Love" and "Hard Luck Woman" as well as lesser known gems like "Ladies Room"
and "See You in Your Dreams". While I'm not the biggest Kiss fan, I enjoy a large portion of what they do, and it has
only been simple economics (or personal "cheapness" if you're feeling critical) that has kept this album from my
collection. Thanks to a generous friend who found and forwarded this immaculate used copy, this is no
longer the case.
GRAND FUNK RAILROAD - Greatest Hits (EMI/Capitol) 2006
There has been an interesting pattern developing
from the record companies. Every 5-8 years, a "new" edition of albums seem to come out. They might be remastered,
add exclusive material (songs or computer content), or even just new booklets and photos. This practice is extending
as every key anniversary (start at 10, count in 5's until 40, and hold off for the big one) now sprouts
a new collection or anthology of the best known songs. Between the ESSENTIALS (Warner Bros.), the MILLENIUM COLLECTION
(Universal/Polygram), and CENTURY MASTERS (EMI/Capitol) which are basic hits compilations and the more exhaustive
choices (usually additional "known" album cuts, new songs, more detailed liner notes) even the basic collections
for certain bands is becoming a challenge.
I was originally eyeing the CAPITOL COLLECTOR SERIES' best of from a decade ago, but I
had a problem spending more than $12 on a disc I was going to listen to rarely. (Just to learn "I'm Your Captain" for
a long ago cover band?). I didn't even turn up a used copy in that time, though I probably could have had their catalog
twice in this time in the $5 - $8 range. Lo and behold, I stumble across this compilation for $7.99. Remastered
sound, expanded liners, and all of the key tracks.
It opens (as expected) with "We're an American Band", a song that defines classic rock
radio (it has to be ranked with "All Right Now" and "Freebird" in terms of its association to the genre). It also includes
my personal favorites, "Bad Time" and "Footstompin' Music" (which I now have to admit that I heard it a million times but
I didn't know this was a Grand Funk Railroad tune...) as well as other notables like "I'm Your Captain", "The Loco-motion",
and "Some Kind of Wonderful".
Realistically, this one is not likely to be a frequent player for me. However, these
are staples for many bar bands, and there will always be a need to learn or brush up on a few of these from time to time.
Though I'm not a fan, I really have respect for what they've done during their 8 year recording tenure for Capitol.
KRYST THE CONQUEROR - Deliver Us from Evil (Mark) EP 1989
Another entry into my own collection of the Jeff
Scott Soto discography, Kryst the Conqueror features JSS and members of The Misfits. A ton of these were available long
ago, but now this EP is straddling that $40 mark on eBay.
This is very solid hard rock in the vein of early Anvil (circa METAL ON METAL). Unfortunately,
nothing remarkable appears here, and despite a few listens, the highlights are JSS over some rather non-descript songs.
Is it worth it? Only if you are a hardcore collector of Misfits or JSS, otherwise
this one is best left to the diehards.
WONDER STUFF - Suspended by Stars (Independent/Reincarnate) 2006
This was a pleasant surprise that I stumbled across
in the racks at Rolling Stones in Norridge. The first coming of the Wonder Stuff was a period of about 1989-1993
in which albums like NEVER LOVED ELVIS and CONSTRUCTION FOR THE MODERN IDIOT were hyped weekly on Mtv's 120 MINUTES
program, and prized by hip college students. Though not intentionally, they were another British band somewhat
associated with the "GREBO" movement (who makes this stuff up?!!) of bands varying from Stone Roses, Charlatans UK, Ned's
Atomic Dustbin, Inspiral Carpets, Soupdragons, and EMF. However, the albums themselves were a mixture of '60's pop and
some of the danceable elements of the Manchester sound though they did more experimenting with odd instruments (violin, mandolin,
etc.) than any of their countrymen. Sadly, the band broke up in 1993, and missed out on a new British
rock movement spearheaded by strong releases by Oasis and Blur a mere 18 months later. After 6 years on hiatus, the band reformed to play a few concerts
in 2000, and after a major lineup shakeup, the band continues under the direction of lead vocalist Miles Hunt and
guitarist Malcolm Treece.
SUSPENDED BY STARS is the second studio
release made by the new lineup. Opening track, "Tricks of the Trade" is an interesting opener that brings
to mind a combination of Cheap Trick and U2. Hunt's voice has gained depth with age, and his resemblance to Robin Zander
here makes for a comfortable listen. Though fans will likely be smitten by "The Sun Goes Down on Manor Road" and "Last
Second of the Minute" both of which bring the more traditional sounds of NEVER LOVED ELVIS to a more current place.
I have to say that I also liked the song "Blah Blah, La Di Da" as it brings back the sneering character that populates
a lot of Hunt's earlier work. (With a title this dismissive, you probably can't help but sense the insolence within.)
Overall, this is a solid and consistent effort that should
play well to their fan base. It may not produce any American radio hits or win a lot of new audience for the
group. That said, for most bands that reach the 20 year mark of their career start, this kind of an album is still
an accomplishment. I can comfortably recommend this to fans of British rock like Oasis, Supergrass, or Soupdragons.
GRANT LEE PHILLIPS - Nineteeneighties (Zoe) 2006
Phillips opts to do a record of memorable
alternative/college rock covers of the early '80's. Most of the tunes are arranged to a simple acoustic/bass/drums
lineup, though many feature exotic coloring via harmonica, mandolin, organ, etc.
Though many people think of these kind of "tribute
to influence" records as being a recent trend of the last 15 years; many forget that the pop singers of the '50's, and
even earlier would often record entire albums by outside songwriters that were hits for other artists. (Another
example is the 2 discs of the ULTRALOUNGE: ON THE ROCKS material, where lounge/easy listening musicians perform
rock hits in their own style, as "Light My Fire" is reduced to a violin melody.)
Of course the difference is that most of the original
artists here were such individuals, and these songs are so identifiable to the individual performers. The influential core
of what made up '90's and aughts' alternative rock is here. [Pixies, R.E.M., Joy Division, The Smiths, The Cure,
The Psychedelic Furs, Echo & the Bunnymen, and New Order.] The trick is to remake these songs in his musical
image, while still respecting and paying tribute to the material at hand.
He succeeds fully with Robyn Hitchcock's "I Often Dream of Trains", where he allows
the eccentricity of the original lyric to shine via a slow, natural delivery. The melody is well suited to
Phillips's voice as it walks similar ground to GLB standouts like "Mockingbirds" and "Mighty Joe Moon". It would
be difficult not to put Echo & the Bunnymen's "The Killing Moon" also in the win column here. Phillips and Ian MacCulloch
(Echo's vocalist) share a similar point of melancholy in their voices, though their personal geography is quite different.
Phillips's rural sound also accommodates R.E.M.'s "So. Central Rain". Phillips's has worked with the members of
R.E.M. on previous albums, and does a decent job as assimilating the original with a deeper and clearer vocal.
Unfortunately, not everything is a match. One of the more egregious tracks here
is his take on the Church's "In the Milky Way Tonight". A slower more melancholy song that unfortunately sputters due
to the dirge tempo and sparse instrumentation. The vocal melody is appropriate, but the absence of overall
polish and the original's chiming guitars are too much to overcome. Other choices like The Smiths' "Last Night I Dreamt
Somebody Loved Me" or The Cure's "Boys Don't Cry" are so intricately tied to the character and image of the original bands
that a lot is lost in the translation to this recording.
Diehard fans of Phillips's previous work as well as those who appreciated the alternative/college
rock of the '80's will enjoy this, but a recording like this has its limitations. It is hard to recommend this to someone
unfamiliar with Phillips's previous solo and group work because there are far brighter gems in his catalog. With expectations
set at the right level, this is an enjoyable work that will pay off on the songwriting for future records.
GOLDEN SMOG - Another Fine Day (Lost Highway) 2006
One of the best shows I've ever attended featured
Golden Smog at Chicago's METRO shortly after the release of their last album, STRANGE TALES. The band was an alt-country
supergroup, featuring the essential members (for writing and singing) of at least 3 major acts in the genre. Gary Louris
and Marc Perlman of the Jayhawks, Dan Murphy of Soul Asylum, Jeff Tweedy of Wilco, and Kraig Johnson. The album was
good though not quite as good as the previous effort DOWN BY THE OLD MAINSTREAM.
Part of what made the records and shows fun was the fact that it wasn't anyone's prime
gig. There was no "trying too hard" because everyone had a personal stake outside of the group. The performance
was loose, fun, and covered a lot of ground. Surprisingly it wasn't far removed from some of the '70's country rock
that I absolutely despise; but I still found myself enjoying it here.
ANOTHER FINE DAY caught me by surprise, but it hasn't really caught on. So much of
this has been broached and completed better by the members' original bands. The Neil Young-styled riff song, the Byrds-ian
number, the odd Hollies influence. Which makes for an album that can meet most long-term fans' expectations. However,
there is nothing here that makes me go back, like there was on MAINSTREAM's cover of the Faces' "Glad and Sorry" or of TALES
"If I Only Had a Car". I'm hoping this one is a grower, but now that I've had it a few months and have devoted a dozen
plays or so, I'm beginning to have my doubts.
PARIAH - Blaze of Obscurity (SPV/Steamhammer) 1989
I am really into the band Blitzkrieg, and as
what often happens, is that once I exhaust the big band I start exploring side projects and related artists. [For example,
Deep Purple fans will often have records by Rainbow, Ian Gillan, Trapeze, Elf, and Whitesnake in their collections.]
In my case, I really like Brian Ross's voice, and my interest in Blitzkrieg led me to get into the band Satan (he sang on
the COURT IN THE ACT album), which led me to the excellent Blind Fury cd. Along the way, I also made room in my collection
for the latter day Satan, Sabbat, and Skyclad cds while hoping to uncover cds from Pariah, Avenger, and Raskalle.
This is my first exposure to Pariah, which is basically the lineup of latter period
Satan with a different name. Overall, it is a solid metal effort, though there are plenty of hints throughout the
recording that show why only 5 other goofs and I have any interest in these types of records when they go up on eBay.
In this case, the band is good but the material is lacking. While it is meant to
keep up with the Testaments and Metal Churches of the time, Pariah falls short due to the limitations of Michael Jackson's
(not the famous exile) voice and the small range of melody he's given to work with. Jackson isn't a bad vocalist, so
much as he just doesn't sound enthusiastic about the lyrics he has to sing. Bands like Gaskin, Motorhead, and Saxon
have proven that vocal technique (or lack thereof) can be overcome by the ability to generate excitement in the
song. ["Ace of Spades" will never center an opera piece, but don't try to tell me it isn't an effective piece of
music.]
The conventions of the time held that songs should be 5 minutes or more, but in
the case of several songs here; they lose steam after 3 or 4 minutes. It is a bit of work to hang
in there when the band is laboring. They start strong, but the arrangements are fairly straightforward and linear. In
some cases, the affect would be hypnotic, but here it is somewhat tiring.
To be fair, this is an early impression of an old record. Repeated
listenings and time itself might help win me over to what this record is trying to accomplish. Hopefully it
is a grower, though I plan on holding on to this one anyway.
FASTWAY - Waiting for the Roar (BGO) 2006/1985
Fastway was one of my favorites when I was a bit
younger, their debut still spends considerable time in my car and home players, and my interest in the band led
me to Katmandu and Flogging Molly. WAITING FOR THE ROAR was the weak sister of the original three studio albums.
(We won't count the TRICK OR TREAT soundtrack, or the Lea Hart era of the band.)
Formed after guitarist "Fast" Eddie Clarke had left
Motorhead, he aimed for a more traditional rock sound than his previous band with key UFO member, Pete Way. Plucking
Irish vocalist Dave King from obscurity, and former Clash drummer Topper Headon, they quickly and fruitfully recorded
demos. While in the negotiation process, bassist Pete Way left to join the Ozzy Osbourne band (and to eventually form
Waysted).
The first album was a great '70's take on no-frills,
blues-based hard rock. [Now that I have a deeper understanding of what's going on, I'd compare Fastway to Cactus.
Kind of an "earthier" Led Zeppelin without the Aleister Crowley/JRR Tolkien mythology stuff.] ALL FIRED UP (album number
two) was more of the same, though there is a noticeable drop in energy and quality this time around.
For this, their third album, Fastway took some chances. Many of these gambles
didn't really pay off, and to be fair most of the problem here is in the songwriting/arranging areas. "The
World Waits for You" is an "Eye of the Tiger" kind of song with era-specific keyboards (which shocked a lot of longtime fans). "Kill
Me with Your Heart" was the lead single from the album and also very keyboard driven. I don't know why exactly,
but the feel to this tune reminds me a little of Styx's "Lorelei". It isn't until you get to "Little by Little",
"Girl", and the title track that this begins to resemble the Fastway of the first two albums. There is a painful
cover of Janis Joplin's "Move Over" which should have used slinkier guitars instead of crushing keyboards.
Some reports speculate that after the tour of the second album, that King left the band
and returned home in the hopes of assembling a new project. When attempting to "shop" the new project to labels, his
present record company blocked the new project, requiring him to fulfill his Fastway obligation,
hence "Fast" Eddie's involvement with this record.
The liner notes on this issue suggest that the band took an extended break and when
Clarke and King had reconvened, the existing rhythm section had already taken on new projects. They were then
replaced with King's longtime friends to join the band.
The original cd has been out of print for 15 years (at least) and has been fetching
$30 or more on eBay, until this British import became available at typical catalog price ($15-$20) with a slipcase.
The disc was "remastered", though it still sounds a little thin when compared to present recordings. The other
"selling point" of this disc is the inclusion of an outtake (demo?) of "Doin' Just Fine". It isn't groundbreaking in
any way, but is a nice addition to the package. Unfortunately, the repackaging has a couple of flaws. The first
was the decision to place the front and rear cover art crossways on the slipcase. (So to see it correctly, the disc
is resting on the spine/opening of the slipcase and jewel box.) The other mistake is that the song order is jumbled. On
this edition, the title track opens the record and it never squares up to the listed order until track nine.
Still, unless you have a great respect for the band, or are just curious about the exclusive track; you may want
to hold off on this one.
CLOUD NINE - Quick as Lightning (Tokuma Japan) 2005
As hinted in the record label above, Cloud Nine is
yet another Japanese hard rock band. While they definitely have their own thing going on, they compare favorably to
the current sounds of Loudness, yet I'm also reminded slightly of EZO as well. Despite the modern touches throughout
the album, I had a slight feeling of "been there, done that" with more talented bands. I also felt I was listening more
to the potential of the band than the realization of that potential.
Songs like "Get Naked" and "Scary Line" are aggressive
and well-constructed, but lack the fun this kind of naughtiness would normally inspire. [It should be an enticement,
not a martial command...] Overall the record is maybe a bit too serious for its own good.
The elements exist within the group to pick up where
the first waves of Japanese hard rock/heavy metal left off. This is an interesting start, but work needs to be
done on matching the message to the music, and in varying up the sound of the songs before the band is a legitimate contender.
RISKY BUSINESS (Virgin) 1985
As a big Tangerine Dream fan who has consistently
seen this one in the $40 range on eBay, I have to admit that it was cool to stumble across this new in a few area stores.
Unfortunately, the first time I did was in the import section at a Tower Records shop in Schaumburg (a NW suburb of Chicago)
for $18. Of course, I didn't have the cash to make the extra purchase. When I went back it was gone.
Less than two months later, and a couple of days prior to writing this, I made a stop at
an oldies shop in Westmont called REMEMBER WHEN. In their soundtrack section was a sealed copy for $12. (Take that,
eBay!)
I don't know why this was never given a proper U.S. release on cd, though it wouldn't
surprise me if part of the reason involved the "label conflicts" as Bob Seger, Phil Collins, Prince, Journey, and Jeff
Beck all have songs featured here and had different American record labels at the time.
Overall, a pretty good sample of '80's pop music (including "Old Time Rock 'n' Roll" from
Bob Seger and "In the Air Tonight" from Phil Collins which are just the kind of "pop" music [short of Huey Lewis and the News]
that was nearly inavoidable during the mid-'80's.) Though the personal highlight for me are the Tangerine Dream
cuts, "Love on a Real Train" and "The Dream Is Always the Same". These are two music snippets that show the state
of the synthsizer circa 1983 and might make great stage entrance music for a modern rock act or a pro wrestler. This
is the source of Blue Man Group (though the blue paint was their own idea...)
PEEPING TOM - Peeping Tom (Ipecac) 2006
A new project from Mike Patton (Faith No More, Mr.
Bungle) that melds a variety of heavy and rhythmic styles into a creepy, yet entrancing sound. As in previous projects,
Patton deftly avoids categorization leaving the listener only able to judge if the album "works" for them or
not.
For instance, "Your Neighborhood Space Man" combines a "blaxploitation" styled funk with
the ominous overtones of a horror film score, and the fact there is room for a vocal melody, only shows the depth of the arrangement.
Another song, "Caipirinha" features Brazilian vocalist Bebel Gilberto (she has a great track on Putumayo's recent Brazil
compilation) mixing a hard rock chorus with the lilt of a samba. Nine other tracks display fusions such as this,
and not all can be processed in a few listens. Overall, this is ambitious material, and nearly "reviewer proof",
as listeners ultimately will make their own relationship with the record.
Now entering 20 years in the industry, Patton has
been smart enough to withhold enough secrets and surprises to sustain most bands' careers. While not as accessible
as his Faith No More material, it stands on its own merits as an example of what is possible in music.
SAXON - The Eagle Has Landed (SPV/Steamhammer) 2006
In sheer terms of value, this 32 track live double
disc package for less than $18 has got the downloadable albums beat hands down. Fortunately, the
value is in the listening, and the band sounds really good here.
The first disc is devoted to older material and songs like "Suzie Hold On", "Frozen Rainbow",
and "To Hell and Back Again" show a long standing band unafraid of their heritage. Particularly strong here are
versions of "Never Surrender", "Play It Loud", and "Crusader" (which was a part of 1998's II).
The second disc gives a nod to the recent SPV/Steamhammer output LIONHEART, METALHEAD,
and KILLING GROUND. My favorite track is my favorite from all of this period, "Beyond the Grave" which was the highlight
of the LIONHEART album. Unfortunately, your enjoyment level of disc two is going to depend on how much you liked the
recent Saxon recordings. Still an inclusion of "Broken Heroes" from INNOCENCE IS NO EXCUSE was a pleasant surprise for
older fans. Their live cover of King Crimson's "Court of the Crimson King" adds an additional heaviness not seen on
the original recording. (Though Byford gives a great energy, I'd love to hear this done by Iron Maiden's Bruce Dickinson...)
Strictly because of its density of songs, it appears the band was trying to appeal to both
camps: long standing fans who lost the thread as well as more modern fans who hoped to hear the most recent material.
Fortunately, despite this mix, the albums are consistent (albeit exhaustive) listens. Though I think the latter camp
is more likely to appreciate the older songs than vice versa. Still, this is a great drop-in point for fans who've lost
the thread on one of the few longstanding and continuous NWOBHM bands (along with Raven and Motorhead) who've kept their
edge and refuse to mellow with age.
DIO - Holy Diver Live (Eagle) 2006
A current trend at a lot of concerts has been the
playing of an entire album during the performance. Deep Purple did it with MACHINE HEAD while touring their BANANAS
record. Cheap Trick did a run at the Metro in Chicago a few years back by focusing on a different album each night.
Of even more consequence have been recent tours by the former members of Pink Floyd who have done entire renditions of DARK
SIDE OF THE MOON. So provides the rationale for this (superfluous) live release.
The material is good, the band is good, the occasion makes sense. The only problem
is that Dio had better solo records (LAST IN LINE, for instance, though I also preferred SACRED HEART, MAGICA, and KILLING
THE DRAGON as well) than HOLY DIVER, as well as a slew of group albums that were miles better than HOLY DIVER. The only
personal mark about HOLY DIVER is the fact that it was Dio's first solo recording, and it launched another logo that would
decorate 80's high school student notebooks throughout the nation. So the focus is neat, but hardly momentous.
The first disc is devoted to the HOLY DIVER recreation. Downtuned guitars, sluggish
tempos, and a less-than-stellar mix further prevent this from reaching the heights of the source. Though credit
must be given to guitarist Doug Aldrich who brings guitar firepower that had been long lost since Vivian Campbell's departure.
The rhythm section of Rudy Sarzo (bass) and Simon Wright (drums) are fully capable, but somewhat handcuffed by the moodiness
of the material (though Wright gives the obligatory drum solo early on, he shines on the small things, like the fills
in "Straight Through the Heart".
The second disc treats us to two more solo warhorses, "We Rock" and "One Night
in the City", as well as a decent sample of his material with Rainbow ("Tarot Woman", "Long Live Rock 'n' Roll") and
Black Sabbath ("Heaven and Hell" "Sign of the Southern Cross"). Though these have mostly appeared on the previous
live releases (INFERNO and EVIL OR DIVINE).
Despite this obvious selling points (great backing band, a "look back" at a high
water mark in the artists career, and inclusion of some of his best non-solo material), this one is recommended
for diehards and completists. Casual fans will be happy to see so many "old" songs in one place, but may find the mix
and the running order a bit less than desired.
Personally, I can only hope that Dio will bring Aldrich back in and create a
new studio album that gets out of the midtempo murkiness that is present here, and in the later period (excepting MAGICA
and KILLING THE DRAGON).
WEEK OF JUNE 26 - JULY 2
KEANE - Under the Iron Sea (Interscope) 2006
It is almost too easy to dismiss Keane as being another
Coldplay/Radiohead/U2 soundalike with their big earnest choruses and heartfelt vocals. However the band mixes this with
a lot of piano bringing this dangerously close to Elton John circa MADMAN ACROSS THE WATER territory. I find myself
preferring Keane to Coldplay, particularly as the choruses are a little more direct and payoff more frequently. "Is
It Any Wonder?", "Nothing in My Way", and "Crystal Ball" show promise of a rare band that may escape the sophomore slump.
That being said, the music here may be a little mellow or melodramatic for my harder rocking friends who may want to check
out a few tunes before making a commitment.
LEATHERWOLF - World Asylum (Leatherwolf) 2006
I must have been lucky to spot this disc ahead of
its "official" release date, though it will be issued via Massacre records throughout the rest of the world on July 6.
So far on three listens, I have to say that this is so much better than I was anticipating. I have a couple of the other
Leatherwolf cds, and while I don't dislike them, I always felt that they left the 'safety' on while making their music.
This is aggressive and exciting, as new vocalist
Wade Black (former Crimson Glory/Seven Witches) expertly navigates between between a David Wayne screech, a Bruce Dickinson
wail, and even a bit of a Mark Slaughter swoop. He has solid material to work with here, and executes so very well.
Allmusic.com compares Leatherwolf to Fates Warning and Queensryche, but this record runs
a bit closer to Metal Church, Testament, and even a bit of Saigon Kick. If you are a fan of any of these, you will want
to check it out. This marks the second successful "vocalist transplant" of the year (Warrant was first).
WEEK OF JUNE 19 - JUNE 25
DEEP PURPLE - Live In Europe, 1993 (Sony/BMG) 2006/1993
This 4 disc box set chronicles two concerts from
the band's THE BATTLE RAGES ON tour. It was the last tour to feature the most popular Deep Purple lineup (a.k.a. Mk
II - Ian Gillan, Ritchie Blackmore, Jon Lord, Roger Glover, and Ian Paice). The packaging is fairly cool, as everything is
housed in a slightly deeper 'tape reel' box that is only a smidge larger than a 'quad' jewel box. Inside is
a liner booklet and two mini-gatefold lp sleeves that contain the discs. Each sleeve features a track listing for the
show, custom art, and an 'in-action' photo of the band at work.
The first concert took place in Stuttgart, Germany
on October 16, 1993. The show captures the band in fine form. There is a spirit to playing, but
newer tunes like "A Twist in the Tale" and "Anya" are the beneficiaries to the extra energy. Some of the warhorses show
their wear at this point ("Black Night" and "Child in Time") but overall the band is strong, and Blackmore sounds as
"into it" as he ever was in a live setting. The recording sounds like it came from the board, as the audience response
is a little delayed. Still aside from some "flat" (in terms of tone not pitch) vocals this is broadcast quality.
The second concert on November 9, 1993 in Birmingham,
UK is solid, but not quite as strong as the Stuttgart show. Save for individual solos and an extrapolation of "The
Mule", the set lists are identical, but the band doesn't seem as focused. Adding to the difficulty is a sudden
drop off in sound quality as the whole band takes on a mushier tone and the vocals get even muddier.
Before committing your $35 before picking up this
archival package, realize that the previous release COME HELL OR HIGH WATER (Mk II Final Shows) came from this Stuttgart show,
so redundancies are par for the course. Fortunately (or unfortunately for eBay addicts) Deep Purple collectors
are completists at large, and have no problem committing to upgrades and special items like this one. Casual fans may
do better with studio albums (or essential items like MADE IN JAPAN) as the near duplicate set lists here scream out
'for completists and diehards only'. There are worse ways to blow $35.
THE SYN - Original Syn 1965-2004 (Umbrella) 2006
COMMENTARY PENDING
WEEK OF JUNE 12 - JUNE 18
PRIESTESS - Hello Master (RCA) 2006
Every so often, and more now then recently, I bag
on the major labels and entertainment companies for offering so little diversity in modern music. It is a
great world of music if you like hip-hop, pop idols, diet granola rock, or the never-ending comebacks by people whose
best work came decades ago. But those who really crave for exciting rock music that isn't related to hype machines
like Nickelback, Fred Durst, or the Strokes can find plenty of sating here in Priestess' major label bow,
HELLO MASTER.
Everything old is new again, as the band takes
a very "glam" rock base sound and then blasts technology and modern attitude into it. The result is as catchy
as any power pop or its influence, while maintaining enough heft and intensity to keep up with touring mates like
GWAR.
It hardly seems fair that the "Soundgarden meets the Sweet" sound of "Talk to Her"
wasn't THE rock hit of Summer '06. Despite the "spot the influences" game one might play while listening to this record,
it is a new sound using the past for raw material.
I still have tons of criticism for major labels, but they atone everytime something like
this reaches the masses. I haven't given up all hope in modern music, just most of it...
MOONSTONE PROJECT - Time to Take a Stand (Majestic Rock) 2006
An alert trading friend sent an email urging me to
check out this project, suggesting that this would be (another) example of the "Santana" concept done well. [An album featuring
numerous "guest" singers backed by the same musicians... look at the Liberty N' Justice commentary for a fuller
description.] Though the selling point for me was the involvement of Glenn Hughes and Graham Bonnet.
It was smart, because I really caught on to Hughes'
track, "Where Do You Hide the Blues You've Got?" which is bluesy hard rock with a pure soul vocal. The only improvement
I could make on this would be if you could have gotten a mid-70's Stevie Wonder to participate on hi-hat, harmonica, or background
harmonies.
Listening to this recent album, I'm taken aback by how modern and how old it sounds
at the same time. Modern touches include particular distortion sounds on the guitar, as well as downtuned guitars
on a few of the tracks. However, Matt Filippini gives a great '70's hard rock vibe to much of the album.
The cover of Free's "Fire and Water" owes more to Nazareth's "Miss Misery" and its execution is fairly faithful and strong. Bonnet's
track, "Not Dead Yet" features a very Blackmore-sounding riff on the intro, though it hints at it throughout the track
rather than apes it. Also of note is "Beggar of Love" which has a modern feel but still fits the tone of the record.
Though the ultimate nod to '70's hard rock is the contribution of Blue Oyster Cult's
Eric Bloom which sounds like it 'just' missed the cut on AGENTS OF FORTUNE. I'm not that big an B.O.C. fan, but just
conjuring up their older or majestic side is nothing short of miraculous these days.
The issue of consistency appears, though there is nothing egregious here.
It is like tuning into a Classic (Hard) Rock Radio Station in a parallel universe, except these songs haven't been played
to death (yet).
BLIZARD - Show Me the Way (Columbia Japan) 1988
The existence of this album caught me by surprise,
as I was only aware of the recently re-issued Warner Bros. albums of the early '80's.
SHOW ME THE WAY finds the band on a new label with
a new look and a new intent. Blizard still looks and sounds like a hard rock band, although the sound is a more
AOR than the Journey-influenced WIZZARD OF BLIZZARD, let alone the more aggressive KAMIKAZE KILLERS disc.
Unfortunately, the album really lacks the standout
cuts or the memorable pieces of their early work. A lot of it sounds like it was built by committee including
the stiff opener "Over Heat" (which in terms of title should be closer to Judas Priest than THIRD STAGE era Boston).
Like some other works from Japanese hard rock bands, I think it will take multiple listens before coming to an ultimate
decision.
Until that time, I'd have difficulty recommending
this album to anyone unless they are a Japanese metal completist.
ANGELS AND AIRWAVES - You Don't Need to Whisper (Suretone/Geffen) 2006
Let's get something straight, I really do not like
or care for the music of Blink 182. Like Barenaked Ladies it lacks depth, the humor is base and the progressions are
relatively bland. Add to it thin and annoying vocals, and I've got a reason not to add you to my growing stack
of cds. So I have to admit that I was very surprised personally to find that Tom DeLonge from Blink 182 is at the core
of this retro-styled act. I didn't let it deter me from checking it out after seeing a chunk of one of their music videos
and thinking it might be interesting.
A few tracks in it becomes apparent that Angels and
Airwaves really want to rock it in a 1980's new wave/alternative sort of way. It isn't difficult to spot nods to
the ghosts of retro past, particularly the Psychedelic Furs and a lot of the one-hit wonders from the LIVING IN OBLIVION series.
("The Adventure" seems culled from When In Rome's tune "The Promise".)
This is a different type of project than Blink 182,
as shimmering guitars and full textures propel this song collection. As a result, DeLonge's voice works a bit better,
as these songs don't require emphasis on it to get their point across.
After three listens, I can't say as there was
a lot memorable here, though "The Adventure" is an early favorite. Time will tell as to whether Blink
182 will assemble for a new record, or if we'll be treated to an A&A sequel. I'll pray for the latter.
GLENN HUGHES - Music for the Divine (Frontiers) 2006
Unlike last year's SOUL MOVER, this time out the
songs are given space and time to develop. In some cases, this strategy pays off handsomely ("This House" and "Frail")
though some immediacy may have helped songs like "Valiant Denial" and "Black Light".
Despite Hughes being the voice of rock and having
that be the sole purpose of why you should beg, borrow, steal, and kill to own this, the real payoff are two songs for me.
The first is the funky "Steppin' On" which is a very catchy hard rock/funk number with the flow/cadence of a rap in the chorus
while never losing sight of the melody. The second is the gorgeous "This House" which as a little melancholy shows a
new dimension in Hughes writing, and depth in his voice.
Though the misstep here is the inclusion of the Moody Blues' cover "Nights in White Satin"
that was previously available on the STEALTH soundtrack with John Frusciante and Chad Smith of the Red Hot Chili Peppers.
This is a great reason for cd players to have skip buttons though Glenn does sing the heck out of the song. Some people
may be turned off by the inclusion of several mellower songs ("This House", "Frail", and "The Divine" all feature acoustic
guitars and ballad tempo prominently) but his association with RHCP is giving a deeper artistry to his music. Pound
for pound, MUSIC FOR THE DIVINE doesn't hold up to his best work, but may be the "transition record" that tests the waters
and eventually allows Hughes to record new masterworks that wouldn't have been possible earlier on. Time will
tell.
MOTORHEAD - Another Perfect Day [Expanded Edition] (Sanctuary) 2006/1983
This is the fourth edition of this cd that I bought.
This is also as close to a "perfect" Motorhead album as has been released, so when I saw this version with a bonus live disc
at a reasonable price, I didn't hesitate. Sometimes, you wish they'd get it right a lot sooner.
Purists didn't quite know how to react to this album,
as guitarist Brian "Robbo" Robertson wasn't exactly the fan's choice at the time. He was (and is) a very skilled guitarist
with a talent for melody that no other Motorhead guitarist has possessed. As a result, he was critical of much of the
band's past catalog (including several of the songs that had been on the band's setlists before and since). He also
didn't play to the band's image, as denim and leather wasn't his particular thing (though left him for much ridicule by long-standing
fans).
Still up and down the album is as classy a record as exists in the Motorhead canon.
Lemmy and Philthy "Animal" Taylor still hit hard and take no prisoners on tunes like "Back at the Funny Farm" and "Tales of
Glory" but there is a lot more atmosphere as a result of the guitar parts. Still, "I Got Mine", "Shine", "Back at the
Funny Farm", and "Rock It" are all great songs, and a good starting point for those new to the band.
The draw this time is in the release of exclusive live material from the Manchester Apollo
during the tour. The quality of the show is pretty good, and the performances are worth checking out, though I have
to admit that it is strange to hear a Motorhead show from this time frame (1985 or earlier) that passes on staples like "Ace
of Spades", "Metropolis", "We Are the Road Crew", or even their title song "Motorhead". Though unless you have the box,
you may need to hold onto the previous edition of ANOTHER PERFECT DAY for the (the Castle/Dojo version) for the complete comic
strip of the sessions (which for some reason is abbreviated here) and for the difference in the liner notes.
TIPTON, GLENN - Baptizm of Fire (Rhino) 2006/1995
TIPTON, ENTWISTLE, and POWELL - Edge of the World (Rhino) 2006
There is always a gamble to be taken when putting
forth the money for a recording. Unfortunately for the artist, the advantage always goes to the house. The label
has far many more ways to recoup than the artist, and at will can make or break anyone that happens to be under contract (or
option).
In the duration when Judas Priest frontman, Rob Halford
left the band, Tipton was approached about doing a recording. The band he assembled for this recording featured Who
bassist John Entwistle (forever known to his fans as The "Ox") and drummer extraordinaire Cozy Powell. The trio commenced
writing and recording, and the tapes that made up EDGE OF THE WORLD were submitted for the label's approval.
Because of the alternative rock and hard rock community,
the thought of 3 musicians with a combined 65 years of pro musician experience would be a hard sell to the metal heads of
the day. So Tipton wrote some more "modern" songs and used musicians like Billy Sheehan, Robert Trujillo, and Shannon
Larkin to be more "in line" with the modern sound. After all, Sheehan had recently hit with Mr. Big, and Trujillo had
serious credibility doing double time in Suicidal Tendencies and Infectious Grooves. The resulting record was
put together and released as BAPTIZM OF FIRE.
Riding the wave brought in by the reunion of the
classic Judas Priest lineup (as well as with the ANGEL OF RETRIBUTION release), and perhaps give a small tribute to two long
lost (but very influential musicians) EDGE OF THE WORLD finally has been brought to light, and to complete the vault-cleaning,
a newly remastered and repackaged BAPTIZM OF FIRE cd with bonus tracks was also released.
I was lucky enough to find used promo copies of these,
(as I never bothered to grab the original version of FIRE). I will admit that while I like Judas Priest, I
wasn't the biggest fan of the band. Picking these up was solely a mission of curiosity and "completism" (in trying
to tie up one branch of the Priest tree).
Because I was reasonably familiar with BAPTIZM OF
FIRE, it wasn't difficult to reconnect. A lot of the songs sound like PAINKILLER-era Judas Priest with a different singer.
The songs are solid and performances are good, though there is a prevailing "sameness" to the album that makes the back end
of the album a little tiresome.
EDGE OF THE WORLD is a little raw, but much
more melodic. The label was a bit correct in its assertion that this record would be "dated" if released at
the time as this has a clearly mid-80's tone to it. The vocals also aren't as strong as the musicianship should
have required. There is more value in this recording to completists as this doesn't approach the pinnacle of any
of the best work from the trio's members. (In my mind, SCREAMING FOR VENGEANCE, QUADROPHENIA, and RAINBOW
RISING). In fact, if his name weren't on the album, I'm not sure I would've recognized Entwistle on this record.
It is significant as being the some of the last known recordings by Entwistle and Powell, as in their remaining
time, both were primarily making music in live settings, touring with the Who and with Peter Green (highly esteemed
former Fleetwood Mac guitarist) respectively.
LARRY CARLTON - Fire Wire (Bluebird/RCA) 2006
Larry's recent foray into instrumental blues makes
strong use of his melodic chops, while avoiding some of the physical difficulties he's had since the studio shooting incident
he was involved in around 20 years ago.
FIRE WIRE follows its predecessor closely, though
retains enough "jazz quality" to hold the interest of longtime fans. Unlike most "blues guitar" records, Carlton's push
is still on sharp melodies and strong ensemble playing.
While it will likely be overlooked, FIRE WIRE has
its charms and should find an audience along the lines of the instrumental work of Warren Haynes, Derek Trucks, and Eric Sardinas.
MICHAEL KISKE - Instant Clarity (Frontiers/MTM) 2006/1996
Ever since I heard the PLACE VENDOME record, I've
felt a need to delve into the catalog of vocalist Kiske. I have a couple of his Helloween efforts, but had been
scared off his solo music, because of the change in direction stated in the writing of reviewers and fans.
INSTANT CLARITY as an album undermines its title. Part of this comes from the fact
that the music is a little conflicted. If it were a person, it would be like discovering it is ashamed of
its origins and is pretending to be something it isn't. The only clarity I get is that Kiske wants to move into
other genres, without risking the loss of support from a legion of Helloween fans. Especially telling in the
four bonus tracks that are led by acoustic guitar.
The highlights of this record for me are "Be True to Yourself", "Burned Out", and
"Thanx a Lot". The opener "Be True to Yourself" is similar in style and theme to Argent's "Hold Your Head Up",
though the bass tone here is a lot closer to King's X than a flatwound Precision. "Burned Out" is something
of a power ballad featuring a really pretty vocal melody that showcases the high end of Kiske's voice. Many
metal fans may use the skip button on this one, as it has something of a Seal-like sound to it. To me it sounds
like John Arch (former vocalist of Fates Warning) going more Adult Contemporary Pop. "Thanx a Lot" features
a neat turn of phrase on the Carpe Diem theme.
Overall, I'm not sure why this merited a remaster/reissue, as the album itself is a footnote
in the Helloween story. This one is an occasional player at most. . . unless you are a completist, you may want
to tread cautiously here.
WEEK OF MAY 29 - JUNE 4
JEFF SCOTT SOTO - Essential Ballads (Frontiers/MTM) 2006
I didn't quite understand this release, as Soto has
issued a number of albums and singles for the Frontiers label without a legitimate best-of package to his credit.
Soto's best work comes in groove-oriented hard rock and in ballads. But, I have my doubts that his "best-of"
should only contain ballads, as the title track from LOST IN TRANSLATION or some of his work on the Queen tribute is
clearly better than some of the songs that appear here.
Ballads can be broken down into three styles. One,
the singer is so deeply inspired by the love s/he is feeling, and would make any metaphor to attempt to explain
it. Two the singer is recognizing some barrier that is preventing the full power of love to be realized. Last,
is the one where the singer is saying goodbye to the relationship while mourning the death of said relationship or feeling
the pain of the broken heart.
The sad thing is I was barely 5 songs into this collection
when I realized this, with a good 10 or 11 songs to go. A ballad here or there is great to break up the dynamic
of a record, but it is a little problematic when it becomes the dynamic.
That said, this collects a few of the songs from
his harder to find singles and adds three previously unavailable songs. Though it requires a little 'hunt
and peck' with the skip buttons, this has value for the exclusive tracks alone.
My favorite song here is "Sacred Eyes" which
appeared at the end of the LOST IN TRANSLATION cd. It is a nice acoustic-led song in the style of Extreme's
"Hole Hearted" or Styx's "Fooling Yourself (Angry Young Man)". Full vocal harmonies and responses bring
the song to life on the choruses, and you don't even miss the lack of a distorted electric guitar or a full drum
kit.
Enter at your own risk, as this is true binary choices at work. Avoid
an album of power ballads at the risk of missing out on the talented Jeff Scott Soto?! It is a test that you have
decide for yourself.
DEF LEPPARD - Yeah! (Island) 2006
DEF LEPPARD - Yeah! Bonus CD with Backstage Interviews (Island) EP 2006
I was about to call a moratorium on buying or reviewing
any "tribute" albums or "cover" albums. Particularly by bands like Def Leppard, who hooked me early and have broken
my heart album after album since SLANG was released 10 years ago. With so few choices musically these days, I begrudgingly
trolled into Best Buy, Target, and Walmart, and for about $26 in total, I had everything available in "terrestrial" form for
this album. (It sounds like a lot of money, but since I've cut down on my drinking, it seems like there is more money
for things like this, and the Japanese version that might have one of the additional tracks found on these three discs would've
gone for $31.99 anyway.)
The album itself highlights the "glam rock" period of the early to mid '70's. Songs
from David Bowie, Ian Hunter, T. Rex, Thin Lizzy, Sweet, and Queen (appearing as a bonus on the Walmart EP) giving swift evidence
of that. My favorite tracks were the cover of Free's "A Little Bit of Love" and David Bowie's "Drive In Saturday".
though the bonus live takes of "Action" and "No Matter What" were interesting, and the cover of Tom Petty's "American Girl"
is a surprising choice (also on the Walmart EP).
The overall verdict is a general thumb's up, as the band reworks the material and the packaging
(each member is photographed as a "character" from a particular album cover of the period within the liner notes) to their
personal quality. (Which despite my dislike for the recent albums, earns enough of my respect so that I continue to
check them out upon their release.) Though the sequencing of the Walmart EP should have put the interviews at the end
of the disc rather than interspersed among the songs.
DEEP PURPLE - Live at Montreux 1996 (Montreux Sounds/Eagle) 2006/1996
This is likely the hedge bet taken by Eagle after
releasing the latest Deep Purple album, RAPTURE OF THE DEEP. Knowing that Deep Purple could release the best
music of the current times and still not get out from under the shadows of its hits from the Mk. II lineup
("Smoke on the Water", "Woman from Tokyo", "Space Truckin'", "Highway Star", et al), it might turn out to be a pretty
good gamble for Eagle. The album was very good but didn't do a lot to re-establish the name. Here we are
about 9 months later with the official release of a live performance featuring the PURPENDICULAR
lineup [Mk. II, with Steve Morse replacing Ritchie Blackmore on guitar]. Also included as a bonus are two fracks from
their 2000 performance at Montreux.
Surprisingly, this is much better than your usual "contract-fulfilling" live album.
For one, Steve Morse might be one of the best working guitarists alive at this time. The new blood clearly helps the
band find energy again. Second, the set list isn't heavy on the warhorses, you get "Black Night", "Woman from Tokyo",
"Speed King", and "Smoke on the Water", and the rest is either old/obscure or from the then-current PURPENDICULAR
album which has aged very gracefully. Lastly, this performance allows the band to find their instrumental
voices and jams out far more cohesively than in the Blackmore-led blues excursions of their middle period. Deep Purple is
known more as a "knuckle-dragging boogie" band with simplistic riffs fueling "Smoke on the Water" (which is almost every novice
guitarist's first learned riff) or "Highway Star". Jon Lord scored for orchestra. Roger Glover helped provide
a soundtrack/musical for a failed tv show. Steve Morse has written a dozen records worth of Americana, country, fusion,
bluegrass, swing, jazz rock style guitar music. To say there is some instrumental firepower here is a bit of an understatement.
Surprisingly, my favorite tracks here were 3 taken from the PURPENDICULAR album.
"Hey Cisco" has a really neat guitar figure that opens the song, and it builds even more momentum and tension in this
setting. "Sometimes I Feel Like Screaming" comes as a bonus track (though seemingly a necessary part of this disc)
and features a very strong replication of the clanky/anthemic pre-refrain. I also have to say that "Ted the Mechanic"
while seemingly a dumb title and an odd lyric, is immensely enjoyable as Gillan goes into character and Morse's guitar
soars into the breaks.
Caution usually prevails for a band as long-lived as Deep Purple, particularly as this
band rivals few in terms of extracurricular product (compilations, greatest hits, live recordings, solo collections, etc.).
While it isn't going to knock any of the "legendary" live albums off of our personal lists, LIVE IN MONTREUX 1996 has
enough of its own charms to make looking into it worthwhile.
FATAL FORCE - Fatal Force (MTM/SPV) 2006
Supergroups are a risky proposition. Release
something good and make the "host" bands look bad; release something safe and bore your audience; change direction and
alienate the fan base of its principle members.
In 3 listens, little has stood out, despite the powerful vocals of former Yngwie vocalist,
Mats Levin. I'm hoping this is a grower, but there may have been some pressure to make this record fit a little too
pre-determinedly into the sounds of the previous bands. It is a "safe" record for fans of melodic hard rock and classically
influenced heavy metal (a la Yngwie/Rainbow/Helloween)
BLACKMORE'S NIGHT - The Village Lanterne (SPV) 2006
Thank goodness for the appearance of Joe Lynn Turner
on a duet of "Street of Dreams" or else this would be absolutely unlistenable. And to think, this was a bonus track!?
I'm cool with the fact that Ritchie Blackmore and Candace Night want to make
folk music that sounds like its from the 17th Century. I'm not cool with a record that sounds like watered down and
warmed over rewrites of Fleetwood Mac's "Rhiannon".
Tread in at your own risk! You can't say you weren't warned.
WEEK OF MAY 22 - MAY 28
GARY JOHN BARDEN - The Agony and Xtasy (Escape) 2006
Most people know Barden from his tenure in the Michael
Schenker Group. Along the way, he has also recorded in both band and solo projects such as Statetrooper. Not being
much of an MSG fan (I know its blasphemy for long-time metalheads and hard rock fans), I never really bothered checking out
his work until reading a positive review of this record.
After listening to this, I wish I could say I agreed with the reviewer. As a
whole, the album has a number of promising moments, but never quite fulfills that potential. About 4 or 5 songs in,
it is apparent that an "outside" influence and perspective may have kept this record from being so insular.
Part of what holds this album back is the songwriting. Some of these constructions weren't
meant to go together, and it destroys the flow and momentum in a few areas. The real shame here is that every chorus
is memorable, but even the best choruses don't pay off when the verse isn't up to snuff.
Another letdown is the choice of certain vocal tones. From this record
it appears that Barden has a really good voice, and woud fit in range-wise between David Coverdale and Bruce Dickinson.
With this kind of ability, it is a letdown when some of the vocals aren't executed so well. (For example, the "woozy"
vocal on "Wounded".)
The easiest sonic comparison I can make for this record is to later-period Whitesnake;
though THE AGONY AND XTASY has its own identifying features. Hardcore fans of MSG or of Barden's other projects will
likely disagree with my assessment, but casual or potential fans may want to check out a few tunes from the record before
making a commitment. This is a good start for a relaunched solo career; but it will take a little more effort
in songwriting and arranging to get to the next level.
EMPIRE - The Raven Ride (Metal Heaven) 2006
If you were one of the first people to boo Ronnie
James Dio for returning to Black Sabbath for DEHUMANIZER, and think that HEADLESS CROSS was the final shine for that band,
you are really going to have reason to celebrate.
This edition of Empire features both Tony Martin (vocals) and Neil Murray (bass) who made
appearances on both HEADLESS CROSS and TYR. Martin's vocals also powered CROSS PURPOSES and THE ETERNAL IDOL.
THE RAVEN RIDE sounds a lot like their tenure in Sabbath both in terms of sonics and in the lyrical themes. Song titles
like "Satanic Curses", "Changing World", and "The Devil Speaks, The Sinner Cries" just sound like they came from a mid-90's
Sabbath album.
For me, the bright spot on the album is "Carbon Based Life Form" which is an unlikely but
somewhat catchy refrain both justifying and explaining our limitations. In honesty, it is a little dark and plodding
for me, though I'm hoping a few more listens may change that for me.
THE FIXX - The Twenty-fifth Anniversary Anthology (Rainman) 2005
If one of several other hits packages hasn't enticed
you by now, Rainman scrapes the sides of the jar for one more attempt to cash in on the same batch of songs from a long last
favorite. Beating a dead horse isn't a sufficient enough cliche, as this seems more like beating the long lost
ghost of a dead horse. Why am I being so negative about this, let's count reasons. . .
DECEPTION ONE - Giving the band credit as a 25 year institution. Realistically, this
should mean that the band is fully active and artistically relevant. To my opinion, the band was spent artistically by
1993, with their last charting album, INK. Since this time, the band has only issued 2 official studio albums. Twelve years
have gone by and only Boston works at a slower pace. It may be 25 years since the release of their first album,
but the band has really only appeared to be active for a period of about 15 years overall (generous, if you gave members credit
for assembling the 4 previous hits packages and 2 live albums).
DECEPTION TWO - All the hits are here! Just not the original versions. The
label was able to finaigle all of the "key" songs from the band, however, the biggest hits are from their period with MCA,
and aside from "Saved by Zero", live and alternate versions are used from REACH THE BEACH (including a live version of "One
Thing Leads to Another"), PHANTOMS, and WALKABOUT. Conversely the "rarities" are a song from a compilation, a soundtrack
song, and a band demo of the key track from vocalist Cy Curnin's solo album. These do not exactly qualify as exclusive
material.
This is why record labels are evil, folks. How much is enough? In the case
of repackagings of stuff you likely already have, this is one too many.
SABBRABELLS - One Night Magic (Nexus) 1987
Sabbrabells is one of several Japanese heavy metal
bands that were operating shortly after Japanese hard rock/heavy metal bands like Loudness, Vow Wow, and Earthshaker
began cultivating an international audience.
The band is very "glam" as the vocalist has lipstick
and painted nails, and casts a striking image in the cd booklet. It is unfortunate, that he'd be the weak link musically
of the band. The sound is far more aggressive than most of their peers (excepting United perhaps), as they have a little
of the Metallica/Motorhead thing happening in the guitar/drum interplay.
My particular copy is 18 years old and looks and smells every year of it. The booklet
must have been allowed to get wet or to mildew naturally, as it is hard to look through without being bothered by the odor.
Fortunately, the cd is relatively clean, and stored in a separate envelope so that I don't have to take a whiff of the age
every time I throw it in for a listen. Needless to say, if anyone has a cleaner copy of this that they are interested
in selling or trading, let me know via e-mail
ENUFF Z'NUFF - Greatest Hits (Deadline) 2006
Shame on Deadline for issuing this very shoddy compilation. Okay,
so it does include almost all of the Atlantic highlights, but did they spend so much in licensing that they couldn't
get the rest of this package together?!
First mistake, is the reprint of a 10 year old Howard Stern essay that first
appeared on the SEVEN cd. There have been 5 releases since that record was issued domestically. The essay
really belies its age because of its discussion of both Stern's best-selling book, and his movie, PRIVATE PARTS, which just
ain't so current in this time. Couldn't we get a David Wild or somebody competent to summarize the history of the band
and its relevance? Even those cheap ESSENTIALS packages have a few decent paragraphs about the artist in the liner notes,
and the "source" of each recording. Same with the old photos, as the choices don't vary from the original foursome captured
sometime between their debut and the STRENGTH recording.
Secondly, the song selection is a bit lacking. First off, there is nothing "exclusive"
on here, unless you weren't able to get your mitts on a copy of their "?" record. Secondly, the lack of material
from ANIMALS WITH HUMAN INTELLIGENCE and the omission of "Stoned" from TWEAKED is just befuddling. The listing
is poor enough to make you think the band never rose above local status.
Poorly done. Save your money. If I didn't find this for less than $5, I doubt
I would have considered it. It is inevitable that someone down the line will get it together on behalf of the band and
capture their songwriting legacy appropriately.
WEEK OF MAY 15 - MAY 21
HOOBASTANK - Every Man for Himself (Island) 2006
I know that many of you read my diss of Hoobastank
in my review/soap box script for the Tak Matsumoto Group album I picked up a few weeks ago. I was highly critical of
American major labels forcefeeding us the music of the current pop scene. Hoobastank is one of several remaining rock
bands currently recording new music for a major label that have some validity and credibility in my opinion. I really
enjoyed their debut record, and thought the second record had some decent songs though was about half as good. This
is a make-or-break album for the band, where they either make the move to the heights of Nickelback and Linkin
Park; or shrink back to earth like fellow Californians Papa Roach or Incubus. Despite having a hit with the title track
from their last album, THE REASON, and another hit from their debut ("Crawling in the Dark"), they still seem like they are
still listing the depth of their potential instead of realizing it.
Even with their weak band name, I'd vote on
this album performing strongly; primarily because I really didn't care for much of it. That said, I think
that the band's songwriting and execution are both strong suits. Estrin has enough "rawk" in his playing to keep
things familiar yet interesting, and Robb can flip phrases around and avoid the most common lyrical cliches in detailing
the situations of being the outcast, being in a relationship, or facing a challenge.
The funniest thing about the record is the "disco"
beat prevalent in the first few tracks of the record. It is a strong attempt to be danceable, while still hanging
on to a "rock" element in its sound. With bands like Franz Ferdinand, Arctic Monkeys, and even Coldplay using dance
rhythms in a rock context, I guess I shouldn't be surprised to find them here. It is better than many of their peers'
flirtation with "rap".
My favorite tune from this record is "The First
of Me". Critically, I've seen two people knock the lyrics to this song, but I have to admit that this was a fairly
original lyrical idea. As everyone tries to use something/someone before to describe something/someone new or unfamiliar.
Like in basketball, LeBron is the NEW Michael Jordan. In this song, the lyric is saying I'm not the new edition
of something that already exists, rather I'm the first of something you haven't experienced. Clever!
HOUSE OF LORDS - World Upside Down (Frontiers) 2006
One can only imagine the dilemma that vocalist James
Christian faced when deciding to make this record. Should he continue with the "original" members of the band though
they aren't really interested in (re)creating the original sound or look for new musicians who would like to rebuild the old
machine?
Wisely, Christian's new edition of the band sounds much closer to the original sound of
albums like SAHARA and DEMON'S DOWN, and will hopefully make people forget the heavily compromised THE POWER AND THE MYTH
from last year. Songs like "All the Pieces Falling" and "Your Eyes" indicate that the band has regained its step
without losing anything on its fastball.
MICHAEL SCHENKER GROUP - Tales of Rock 'n' Roll: A 25 Year Celebration (Armageddon)
2006
The concept of this album was pretty cool.
Gather up all the voices who were part of the MSG machine at one time or another, and have them participate on a new recording.
That means a new track from Graham Bonnet, Gary Barden, Chris Logan, and Robin McAuley.
Unfortunately, the novelty of the original
vocalists is primarily used to get attention to the new edition of the band, which just makes this somewhat sad. In
1981, Michael Schenker could walk on water, and call his shots (whether solo, or in assisting UFO & Scorpions out of particularly
difficult moments). These days, Schenker seems to be the embodiment of poor business decisions, and may be the least
famous person to have led the VH1 BEHIND THE MUSIC cliched life. Whether it was well-documented substance abuse issues,
the legal issues of a very public relationship dissolution, or even the hard feelings of getting punk'd by Yngwie on what
was to be a "Dual Headining" venture, it seems that all of the talent in the world can't lengthen the short straw of fate
in this universe.
STEVE HOWE - Spectrum (SPV/Inside Out) 2005
For those who have discovered the magic of early
to mid-70's Yes, Steve Howe is one of the rare rock guitarists who doesn't rely on tired blues-based cliches to prop up
his musical expressions. Hearing his textural playing (accomplished by an arsenal of instruments including a dual
pedal steel guitar, a Gibson 335, some Fender instruments, and a classic Martin acoustic guitar) within the context of the
band, was hearing a band that had no limit in terms of genre or ability. A clever fingerpicked ragtime section
opens nicely to a very Byrdsian 12 string chime, to an incredibly orchestral single note line played on an overdriven
Gibson was a ride all of its own.
The problem with most of Steve Howe's solo records is that he feels compelled to sing on
them. He is such an amazing guitar player that he could be an opera singer, Geoff Tate, or Seal, and have his vocal
upstaged by a brilliant guitar arrangement. It is a credit to Jon Anderson for being able to forge both a strong performance
and a creative identity in Yes. Still, Howe's idiosyncratic playing really doesn't fit with a conventional vocalist,
so it is with great enthusiasm that I report that SPECTRUM is an instrumental recording.
SPECTRUM returns Howe to much of his earlier experimentalism on his '70's solo albums while
maintaining a very delicate and melodic collection of instrumentals. This is far more interesting than his forays with
keyboardist Paul Sutin or celloist Billy Currie. My favorite track, "Raga of Our Times", is a great indication of the
mixture between rarely used chords, interesting arrangements, and smart orchestration. This time, the rest of the
record keeps up.
JERRY MANGONI - Jerry Mangoni (SIAE) 2001
This is a rather unusual synth-based instrumental
record. Clearly an independent release from Italy, keyboardist Jerry Mangoni creates an interesting soundscape
that combines the creepiness of Pink Floyd, the soundscaping of Tangerine Dream, with the stark production and orchestration
of Oregon to create an instrumental album with a classic progressive rock sound. Despite its 2001 timestamp,
this recording sounds closer in terms of time and production to records like Rush's A FAREWELL TO KINGS, Tangerine Dream's
HYPERBORIA, Pink Floyd's WISH YOU WERE HERE, and Scorpions IN TRANCE. Note that there isn't really a "heavy rock" moment
on the disc, but the sounds captured, the dynamic range, and the execution sound straight from the '70's.
Basic online research has yielded little information
on Jerry Margoni so far, and the very few liner notes are printed in Italian (though most are close to their English
equivalent such as prodotto for produced). Though this is a record I feel comfortable recommending to fans of Tangerine
Dream or Oregon. Fans of relatively obscure older progressive rock bands (that are keyboard led) may find
much to enjoy here as well. To the rest, I'd say to enter at your own risk.
WEEK OF MAY 8 - MAY 14
RED HOT CHILI PEPPERS - Stadium Arcadium (Warner Bros.) 2006
An early contender for my top 10 of 2006, the latest
from RHCP moves them back into the sound of CALIFORNICATION. This is a great thing, as the album features a whole lot
of everything. Want something funky? Try on "Hump de Bump" or "Storm in a Teacup". How about pop? "Dani California", "Charlie",
and "Especially in Michigan" might fit the bill. Other highlights include "Readymade" and the title track.
This is a record that will satisfy the fanbase, but
may not attract outside attention. Personally, I really think that guitarist John Frusciante is to the Chili Peppers
what Robbo was to Motorhead, someone who is expanding the boundaries and scope of what the band had been known for.
This incarnation of the band retains its funk/punk/alternative origins while showing off their diversity and ability to transcend
time and offering something for everyone without pandering to the lowest common denominator. Maybe it isn't visionary,
but it is very good, and the musicians operating in and around the Chilis' circle have found a great role model (see Glenn
Hughes or Jane's Addiction's most recent work to see why).
TOMMY BOLIN - Whips and Roses (SPV) 2006
The cd age has been both great and bad for fans.
The improved sound quality and promises of permanence brought a number of favorites back, and allowed us a better way to collect
and archive our personal favorites. Unfortunately, for a lot of artists, that meant the permanence of material that
really wasn't meant for public consumption. In the quest for immediate gratification, hardcore fans got what they wanted
but (paradoxically) also what they deserved. . . Demo versions that were recorded on 30 year old cassettes, outtakes that
lost dynamism in the "hiss removal" process, incomplete songs that left the listener wondering "what if?" or "why?".
Basically inferior stuff.
Fans of Tommy Bolin, a very talented guitarist
from the '70's who was part of two successful, but highly dramatic personnel transplants for the James Gang and
Deep Purple, really are a hearty lot. His "official" recording legacy consists of two solo albums (TEASER
& PRIVATE EYES), one studio album for Deep Purple (COME TASTE THE BAND) and two for the James Gang (MIAMI and
BANG), and appearances on fusion records from Billy Cobham (SPECTRUM) and Alphonse Mouzon (MIND TRANSPLANT). Seven records that were
relatively difficult to find on LP. Only PRIVATE EYES made the initial transfer to compact disc (a CBS Nice Price
special that can be had for as low as $6 during Sony's sales via Tower, Best Buy, or Rolling Stones) in the U.S. during the
mid '80's. All of the others have since been made available on compact disc, but there has yet to be an American
issue of either the Mouzon disc or of what many believe to be his masterwork, the solo TEASER record. (And why
this has not been released domestically is one of the greatest mysteries in all of music...)
In the mid-90's, the growing legion of Bolin fans
were given a box set called THE ULTIMATE TOMMY BOLIN that mixed tracks throughout his short but brilliant career, showcasing
not only his great rock and blues-based playing (as well as his futuristic use of the echoplex) but also of his proficiency
as a fusion player. The main problem with the box however was sequencing, as many Purple fans probably had little use
for ENERGY or ZEPHYR, his early groups that had more of a funk/jazz leaning. Conversely, fusion people are likely to
go to Deep Purple or James Gang only when they are stuck in the '70's and aren't willing to get more modern. Despite
these generalities, it was a decent portrait of the scope of his talents, and the quality of his music.
Still, the general cry was that there wasn't enough
Tommy Bolin material available, so it didn't take long for the ARCHIVES projects to become available. Hardcore fans
could've easily gone broke buying these special editions of demos, radio concerts, outtakes, alternate versions, compilations,
and tribute recordings. The problem was that until recently, these were given the basic "cleansing" process, coded/coated,
and shipped to market. The quality ranged from poor to average in terms of sonics, and despite the rarities offered
tended to show a more indulgent side rather than the "intimate portrait" or the "unseen" talents many of these types of recordings
normally exploit.
WHIPS AND ROSES is another archive-based recording, though the focus is on capturing the
specific artistry of Bolin by putting forth the best available sound. The effect isn't unlike what was done to
the Hendrix catalog. The tunes were dragged from alternate sources (none of the songs that previously appeared on album,
including 5 from TEASER are from the original master recordings) and run through computer programs to clean
out the imperfections of the recording without removing the dynamics or any of the clarity. What you get is a fairly
modern sounding remaster of mid-70's hard rock and fusion. The material chosen here is a little "jammier" than many
of the previous ARCHIVE releases, as long solos on "Wild Dogs" carry the song to a nearly 8 minute length. Instrumental
jams like the 15 minute "Blowin' Your Cookies", the TEASER standout "Marching Powder", and the Allmans-esque
"Flying Fingers" also go for lengths of time that may require listeners to be patient. Only 4 of the 10 tracks
have vocals, (and all 4 appear in their original form on TEASER) so the approach is somewhere between a full-scale
fusion record, and a hard rock version of the lengthier instrumental jams like the Allman Bros. or even the Grateful
Dead. Though make no mistake, Bolin has his own sonic identity.
The hardest part about it all is that Tommy Bolin is a very talented player, who
did everything well. Well-rounded players aren't likely to be remembered as well as the innovators. People
remember Jimmy Page for his use of Eastern musics into a more traditional hard rock music form. People remember Jimi
Hendrix for his showmanship and radical sound. People remember Duanne Allman for his stinging slidework. People
remember Ritchie Blackmore for his doublestop riffing ("Smoke on the Water", "Burn", and "Man on the Silver Mountain" are
all solid examples.) People remember Vai for his otherworldly sound effects and crazy playing. To be fair, Bolin was
able to show his abilities in most of these areas (the slide on the original "Teaser" track, the echoplex "ray gun" sound
on "Quadrant 4", the riffs for "Teaser" and "Gettin' Tighter", et al.) but because of his ability to do so much so well,
Bolin has been largely forgotten. Even realistic fans look at Bolin as being somewhere between Ronnie Montrose and Rick
Neilson of Cheap Trick on the players' scale.
WHIPS AND ROSES is unlikely to change most people's opinion on where Tommy Bolin ranks
on the talent scale. However, it serves as a nice single disc package of an often overlooked, and rather underrated
talent. Hardcore fans and purists may scoff at this package's remastering process, but you'd have to be a slim
shade of stupid not to appreciate the improved sound quality (especially over the rough tape wow and flutter of the earliest
ARCHIVE releases) and the overall consistency of this package. The box set may remain the best "introduction" to
the works of Tommy Bolin, but even casual fans, and those in love of a great guitar jam (a la Santana, Beck,
or McLaughlin) will find something to enjoy here.
TAK MATSUMOTO GROUP - TMG I (Vermillion) 2004
This is yet another example of my current belief
in that the best music on the planet is being made and marketed outside of the United States. While the US regurgitates
crappy pop idols, R&B divas with a propensity for melismatic seizuring, and rappers who are so spastic that they
can't even create a rhythmic cadence anymore (listen to Jay Z. or Eminem a little more closely before challenging me here,
I contend that while both are exhaustive lyricists, their choice to overextend lines and to "spit" seemingly improvised rhymes
over the space of a single line takes them off the 2/4 focus that once dominated the genre and provided a sensible rhythmic
base for most of its music), it's no wonder that we can't find a domestic rock band worth anything these days.
TMG is an outfit led by Japanese guitarist Tak Matsumoto with a bit of assistance
from Americans Jack Blades and Eric Martin. The music is very traditional hard rock that is a little more accessible
than the average Mr. Big tune and far more modern than Night Ranger ever could be. The result is music
that is as comfortable as Tesla or Damn Yankees while maintaining a sound production that could pass muster with the Incubus/Avril
Lavigne set. Even more of a shame is that this isn't available domestically, nor is there anything of this quality presently
or widely available as an alternative to the Fall Out Boys and Hoobastanks that most suburban rock fans have been forced to
accept in order to listen to domestic rock music. I don't think of this as a "what's wrong with the kids today?"
kind of an argument, just as another failure of the major labels to find and nurture diversity among their rosters.
Songs like "I Wish You Were Here", "Everything Passes Away", and "Oh Japan (Our Time Is
Now)" hooked me on first listen. In fact, if I hadn't had this record hyped so hard online and at the hard rock retailers
that I support (who stocked the original Japanese versions at $35 a pop) I might have actually caught on to this when it was
a reasonably new release. Still, stumbling upon a used Japanese copy (albeit with a missing OBI strip) for less
than $10 was a pleasant surprise. These days, the Italian import edition from Frontiers/MTM can be had for
regular retail prices from most retailers willing to deal with imports.
I hate to start a trail of ignorance, but the fact that there are no domestic options
for a band like TMG is disgraceful. I'm so tired of hearing labels, promoters, retail, and radio talking about
the reduced revenues in music as if they are entitled to profit from the crappy job they've done in developing talent
or in providing choices for the average consumer. No one is supposed to like everything, but it seems like the
Top 40 these days is based on the listening tastes of 4 people. It's fortunate if you like Death Cab for Cutie, Omarion,
or D4L, but leaves little for those outside of this circle. Why put up with it? My entertainment has been
mostly "off the grid" for the better part of 10 years now. It takes something unusual to get me out to
a concert anymore; I don't listen to rock or modern rock radio anymore; I buy most of my records used or imported. There
is no impetus for me to expect the labels to come back to a point where I'll enjoy their products again. Why settle
for Dave Matthews or Nickelback when I can have this?!
GRAHAM BONNET - No Bad Habits [(Unknown)] 2003/1977
The risk in being a collector and a completist is
that you stumble over material that doesn't particularly flatter artist or band. The dubious quality of the material, the
stylistic (mis)direction, or failed artistic experiments are all a part of uncovering "lost" albums, (not to mention
the dust on the masters and the curses left by its creators). NO BAD HABITS was originally released in Japan, and this
particular edition, a 2003 reissue featuring clear cover art (featuring a most excellent orange background, a powder blue
tuxedo, and yellow classic Gibson 335), full lyrics in a 4 panel booklet, and a clean (but quiet) coded and coated cd, has
no identifiable marks of a particular label.
According to Allmusic.com, this particular album
was his second solo album released just before beginning his tenure with Rainbow. At the time, Graham was
also working as an actor and had found some modest success in a couple of movie roles. I mention this because this
record is kind of constructed more as an "anything goes" kind of a record that capitalizes on Bonnet's "James Dean cool"
persona more than on his personal artistry. It seems that people who want to be singers that find success
in another medium (like as a tv or movie heartthrob actor for instance) release these fairly generic albums that
cross genres and time periods in the hope that something will catch before the album drops into oblivion.
Despite my fandom of Graham's voice, I have to acknowledge
that this is a rather generic album that is locked into mid-70's pop production. Opener "Bad Days Are Gone" and "Pyramid" are the
most consistent tracks here and wouldn't sound out of place with his work with Rainbow and Alcatrazz. But
the rest of the album tries on a lot of different styles for effect (reggae/rock/calypso - "Only You Can Lift Me"), (rockabilly -
"Stand Up Stella"), (doo wop - "High School Angel"), (pop balladry - "Is There a Way to Sing the Blues?"), (protest/folk -
"Won't You Join Me?"), and (singer/songwriter - "Can't Complain"). Despite all of this stylistic flailing, there are guilty pleasures to be found in the Bob Dylan
cover of "I'll Be Your Baby Tonight" and in "Cold Lady" which emphasize the rockier aspects of Bonnet's voice.
My personal favorite is "High School Angel", one
of Bonnet's rare original tracks that mixes a doo wop ballad with then-modern production. What is neat to me is
the guitar sound, and the chord substitution within the traditional progression.
Enter at your own risk, as this hasn't aged
particularly well and as a whole is a clear tier beneath Bonnet's other solo work, and a few steps down from his band work
in the late 70's and mid 80's with Rainbow, MSG, and Alcatrazz. Still, patient (and likely lonely) listeners will find
the shimmer of his talents just beneath the surface here and how it affected his work with those bands later on.
SKY LARK - Fairy Tales (Scarlet) 2005
Italy's Sky Lark was fairly prolific in their native
country, but began receiving international attention with their 2004 release WINGS. The record was a little disappointing
personally because the record featured multiple vocalists and varied songwriting. Some of it was fairly bland and some
of it was a little awkward. Aside from "Another Reason to Believe" which was a well executed slow song, it
felt like the band was really trying to hard to cram their influences to make a new sound, one of soft progressive metal.
. .
This time up, the vocals have all gone to frontwoman Kiara who sang a couple of leads and plenty of backup
on the WINGS record. The effect is somewhere between Stevie Nicks-led Fleetwood Mac and Blackmore's Night crossed with
a band that really really desperately wants to be on a level with Helloween or Angra. As nice as Kiara's voice
is, it doesn't really fit in with the motif. She has a great voice for Renaissance Faire music, and maybe folk
music, but it never generates the energy or range that the instrumentation requires. It is a lot like Candace Night
in that the complete lack of edge almost makes her singing voice boring. [Though this is an opinion.]
In 3 full listens, I've yet to find the thread, and will have to pray this will be a grower as I get older.
PEARL JAM - Pearl Jam (J) 2006
Get ready for the hype. The band has released
its most accessible album since YIELD nearly 8 years ago. This is true, but it is also assuming that everyone who bought
TEN is still a hardcore fan, and that the band has the same largesse it did in the early '90's. True, that history is
largely written by the survivors and the victors, and 15 years later, Pearl Jam is the last of the titans from the Seattle
"grunge" movement that is still fully operational. The problem is that the reason the hype can be seen as true is not
because this eponymous record is so great, but because the latest records haven't been so good.
I honestly lost the thread during the BINAURAL/RIOT ACT cds.
Until this point, the band was at least kicking a couple of decent songs per album. Yet even as YIELD was a decent song
collection, it didn't have a particularly great flow as an album. I found myself manning the skip button to separate
the great tracks ("In Hiding") from the filler. I liked NO CODE, but really think the band has been wandering the wilderness
since "Better Man" was on modern rock radio every 15 minutes.
So what to make of PEARL JAM, the album? The lead single,
"World Wide Suicide", is a blast that mixes Vedder's punky ideal of the Who with the band's own Neil Young & Crazy Horse
vibe. It is also one of the stronger tracks on the album. Other highlights include the melodic "Marker in the
Sand", and the best R.E.M. impression the band has done yet in the choruses of "Unemployable" which is my personal
favorite on the record.
Realistically, this is an album that will find its audience
with or without my comments. A band as ingrained as Pearl Jam will continue to roll without any real compromise to their
sound or vision despite current musical trends. Part of this is because of their popularity and longevity. The
rest of it is because the fairly headstrong band has cultivated a smaller but more adventurous fan base. A fan
base that is compelled to check it out for themselves individually, no matter what the larger and louder critical
voices say. If only more bands had this luxury...
PHENOMENA - PsychoFantasy (Escape/AOR Heaven) 2006
Returning twenty years after the first installment
of Tom Galley's Phenomena, this album also brings the band back to its core sound. Most of this is due to the return
of Glenn Hughes, who didn't participate in the previous Phenomena record, after being a central part of the first two
records.
TO BE CONTINUED. . ..
LIBERTY N' JUSTICE - Soundtrack of a Soul (LNJ) 2006
As a rule, I hate records like this. Santana
made this format popular, and everybody is beginning to ride this formula to a point where it is becoming a more tiring
trend than anonymous tribute records made by shoddy labels (I mean YOU. . . DWELL, BIG EYE, and DRESSED TO KILL!)
In this case, a songwriter/musician named Justin Murr has hired a who's who list of hair metal and Christian rock vocalists
to handle the vocals on these songs. So instead of Rob Thomas, Vanessa Carlton, and Seal, we get Stephen Pearcy (Ratt),
Tony Harnell (TNT), Leif Garrett, Sebastian Bach (Skid Row), and Mike Lee (Barren Cross).
Despite this, and somewhat begrudgingly, I have to say that this is quite good. The
vocalist change is one way to keep things fresh. Perhaps if Murr had made this more like a Brazen Abbot in which a cast
of two or three vocalists handled all of the songs, it would make for a more consistent listen, though.
I really liked "Malice in Wonderland", "Sight Unseen", and "Killer Grin" (though this one
has the dumbest lyrics on the record). My favorite however is the collaboration with Tony Harnell called "Flinch".
It takes a couple of listens to get it, but it really fits in with the direction Harnell has taken with his contributions
to Starbreaker and Brazen Abbot.
I do hope that this record finds enough success to let Murr settle into a band project
that will find an audience. SOUNDTRACK OF A SOUL shows that he has the talent in terms of writing, arranging, and
recording to keep up with his peers in the genre. Now he just needs a little consistency.
JOHN NORUM - Optimus (Mascot) 2005
COMMENTARY PENDING
TANGERINE DREAM - Rocking Mars (TDI Int'l) 2005/1999
ROCKING MARS is another live performance from the
band, taken in 1999. Much of the material seems to continue in the vein of their MARS POLARIS album.
The real shame about this is that it is likely to be lost in the shuffle as a result of all
of the other recent 2 disc BOATMOON releases. (The band has had two Box sets of official bootleg material released by
Sanctuary, and several double disc packages of concerts during the '80's on their own TDC label.)
It is enjoyable "tune out" music, in that I usually listen to Tangerine Dream when I need
a rhythm and a melody without being overwhelmed by it. It is good for reading, daydreaming, meditating, or just getting
stuff done. I do like to "vege" out with a record like MELROSE or LILY ON THE BEACH, where I can let the synthesizers
and guitars narrate a locale, a theme, and a general emotion.
ROCKING MARS does not vary too far from the Tangerine Dream music I listen to most frequently (versus
the vocal stuff, or the true avant-garde nature of their earliest albums). Still, it is likely going to take more than
4 or 5 listens before this album will find its identity away from the many others in the band's canon.
STEVE KHAN - The Green Field (Tone Center) 2006
I might be one of a very few who was actually excited
by 'Metal' Mike Varney's Shrapnel label taking on a jazz guitar imprint. It showed even greater potential by bringing
back one of my favorite "fusion" guitarists, Bill Connors who hadn't made a new recording in 18 years. Now it brings Steve Khan
back to the record racks after an 8 year absence.
Khan may be best known for his work as the leader
of Eyewitness, who worked as kind of a more Latin-influenced Pat Metheny. Manolo Badrena's percussion and vocalizing
(sounds, not specific words) gave a haunting dreamlike character to the proceedings. During the 90's, Khan went to a
guitar trio, and the albums LET'S CALL THIS and GOT MY MENTAL showcased smooth jazz with strong playing.
THE GREEN FIELD also marks the return of MENTAL's
world-class sidemen, bassist John Pattituci and drummer Jack DeJohnette, as well as the return of Badrena, who couldn't be
replaced by 3 different guest percussionists on the MENTAL record. The album eschews traditional songwriting,
and goes for longer, moodier compositions. The overall effect isn't that far from Khan's turn in Eyewitness (given Badrena's
vocalizing throughout the record), nor his work as a traditionalist (versions of Ornette Coleman's "Congeniality", Herbie
Hancock's "Riot", and Thelonious Monk's "Eronel" show respect for the original works while being lovingly adjusted and adapted
to the unit at hand).
Surprisingly, my favorite moment on the record is
the 18 minute long title track. These days most music is based on short attention spans and "get it/get out" patterns,
so it is somewhat jarring to take in a track like this, that takes its own sweet time to blossom. Still, the listener
is rewarded as the musicians PLAY rather than work the track. You hear the energy of the moment and the interplay between
top-shelf musicians. These kinds of thrills were common long ago when albums were one of a very few entertainment options,
but as there are so many different ways to spend your time these days, few take these kinds of risks anymore. It's
a shame really.
WEEK OF APRIL 24 - APRIL 30
IAN GILLAN - Gillan's Inn [DualDisc] (Immergent) 2006
There is a disturbing new trend among older performers
and artists, and that is re-recording old songs. GILLAN'S INN is a new recording, but features mostly updates of old
songs. For a new fan, this is a strong starting point, but because so much "cherry picking" has been done, no other
studio album (especially since most of Gillan's solo recordings and prime Purple work is nearly 25 years behind us now)
will be able to hold up. To the long term fan, this package (including the DualDisc technology) equates
to yet another summation of a solid musical career.
The song choice is great, where else are you going to find songs like "No Laughing in Heaven", "Trashed",
"When a Blind Man Cries", and "Unchain Your Brain" in one place? Some of the remakes shine, such as his solo track "Sugar
Plum"; while others like "Trashed" (done with Black Sabbath for the BORN AGAIN album) are a little smoother and lose a little
vocal edge from the key change and tempo adjustment.
Though the real value is in the DVD. The "personal mix" of "Smoke on the Water" is neat (though
where is the Ritchie Blackmore guitar track?!). The behind the scenes footage and live bootleg stuff is a nice bonus.
The most significant thing is the inclusion of full mixed, pre-ripped files for portable mp3 devices. I don't want
to speak too soon, (as we await the fallout from the Sony Spyware case), but kudos to Immergent for recognizing personal
use rights, and for not hampering the individual from using the materials from this package in a device of their
own choosing. Now the pressure is on consumers to use these rights legally, and not to blow it by abusing
these rights.
Being a recently converted fan (and having finally caught up with most of the solo Gillan catalog) it
is far more likely that I'll grab individual albums. Still, as a world that constantly feels a need to revise and upgrade,
GILLAN'S INN has accomplished this and then some, with potential risk to the value of back catalog. Overall, I
do recommend checking it out though the audio portion will likely satisfy mostly new Gillan solo fans and completists.
FATE - Five (Frontiers/MTM) 2006
I've listened to this record at least 15 times, and
have taken very little from it personally. The Fate that I know and loved was the one that issued A MATTER OF ATTITUDE,
which is a (personal) guilty pleasure about a time and place that I'll only see in dreams and memories.
SCRATCH AND SNIFF was a pretty good album, but with
the different vocalist and musical approach, it was a different band. It is pretty much "this" edition of the band
that brings us V (which averages out to an album every 4.25 years).
It takes talent to be spectacularly good or spectaculary
bad, but to be relatively anonymous is fairly easy. I think that in the case of Fate, it is that everything they presented
was something I've heard executed better elsewhere. Perhaps I'll finally get a bug about this record and find it
almost as enjoyable as I find SCRATCH AND SNIFF (its predecessor), but for now, I'll hold off from making any recommendation
for this one. (Okay, if you liked Dirty Looks or the last two Fate cds, you probably should check this out, as it is
likely to be in your wheelhouse...)
LUKA BLOOM - Innocence (Cooking Vinyl) 2006
COMMENTARY PENDING
ELDRITCH - Neighborhell (LMB/SPV) 2006
COMMENTARY PENDING
THE MINUS FIVE - The Minus Five (YepRock!) 2006
The Minus Five is a project helmed by Scott McCaughey
(formerly Young Fresh Fellows) and a rotating cast of guest musicians. His most frequent collaborators to date have
been Peter Buck of R.E.M., Jonathan Auer & Ken Stringfellow of the Posies, and Jeff Tweedy of Wilco. The records
have been a bit of a mess as the record labels have intersected and intersperse causing songs to show up on more than one
release, and for goofy reissues/remasters. Still, the band is a solid songwriting effort with a mid-grade lo-fi production,
and plenty of artistic gristle for typical music critics to gnaw on.
The draw for me is McCaughey's connection to R.E.M. As a multi-instrumentalist, McCaughey's onstage
role has exceeded that of his predecessors (going back to Peter Holsapple almost 15 years ago). On his own, McCaughey
has a taste for garage-y rock, country themes, and occasional British Invasion moments.
The latest self-titled album (which will likely be referred to as the GUN ALBUM by fans and press) features
another collection of songs in the vein of the DOWN WITH WILCO release. The main difference are several song references
to guns, and the general downer of some of the lyrics. Still, the band plays with more life than the lyrics may
hint at, making music that fans of Wilco,early R.E.M., Nick Cave, or Robyn Hitchcock would find incredibly enjoyable.
WEEK OF APRIL 17 - APRIL 23
LITTLE ANGELS - Young Gods (Polydor) 1991
What a neat hard rock band! I stumbled across
this disc in the used stacks, and saw former Robert Plant drummer Michael Lee listed as a member while looking through
the booklet, so I picked it up.
This is hard rock along the lines of Thunder, Rockhead, or Alias. The songs vary from ballads
like "I Ain't Gonna Cry" (which suspiciously sounds pretty similar in structure to Aerosmith's version of "I Don't Wanna Miss
a Thing". . . particularly in the chorus). A little underproduced Slaughter meets Tora Tora while incorporating mid
'80's synth horns power "The Wildside of Life". Of course it makes perfect sense that the US buried the album in its
time as it was a fairly common sound, and one that would be dismantled by the coming grunge explosion.
However, I have to admit that on first listen (in a car on a reasonably open highway) that it felt really
amazing to speed along with an open window and the title track cranked up. Vocalist Toby Jepson makes like Sebastian
Bach to soar over the choruses, while the arrangement has a very strong heartland sound. (Heartland being
kind of a generic term for "small town" rock artists like John Mellencamp.) Because this sound is so amazingly
out of vogue, it was a little comforting and refreshing to hear something (new to me) in this style.
To be fair, I can't really recommend this as a great album, but I can say that I enjoyed it immensely
and that fans of the aforementioned bands (Thunder, Rockhead, Alias, Tora Tora) will likely enjoy this as well. Everyone
else should proceed at their own risk.
CHEAP TRICK - Cheap Trick (RedAnt) 1997
When a band has been going as long as Cheap Trick,
questions arise as to how much novelty can still be found in the act. After all, bands like R.E.M., U2, and the Rolling
Stones or artists like Eric Clapton, Paul McCartney, and Steve Winwood have had brilliant starts, and have built a strong
base that allows newer records to get their moment in the press, regardless of the diminishing quality of the music or its
artistry. In one of several biographies of R.E.M. (which I've read with interest), the author makes an open speculation
that the band has established its periphery, and is limited by the vocals of Michael Stipe, regardless of the arrangement
or any songwriting adjustments that can be made. So twelve albums in, what is left for a veteran "been there-down that"
act to do.
Well, in the case of this album, the answer is to strip down to basics and rebuild the expectation.
Unlike many bands who follow this strategy, Cheap Trick doesn't rely on nostalgia or the sonic shorthand of other longtime
bands trying to make this connection (I see you, Mick & Keith, trying to rewrite "Brown Sugar" again...) They keep
then-modern production techniques working alongside a very strong set of songs.
"It All Comes Back to You" is an early favorite, though the pick of many is "Hard to Tell" which has
a strong chorus. Overall, this isn't groundbreaking, but still sounds fresh. It should appeal to all fans of rock'n'roll
to some level or extent. Don't be scared by the price, it is one more positive reason to snag this one before it is
gone, and again becomes collectible.
JACKYL - Night of the Living Dead (Mayhem) 1996
A listen or two into this live show from Jackyl,
and I begin to wonder if the band wasn't a tragedy of marketing. Like Enuff Z'nuff, Extreme, and Saigon Kick, Jackyl
was bringing up the tail end of the "Hair Metal Movement" before the opening 4 chords of "Smells Like Teen Spirit" completely
made the costumed and made-up bands look like clowns.
Enuff Z'Nuff were a Cheap Trick-styled band that could've easily gone power pop or even taken on some
of the alternative points of bands like Eleven or Screaming Trees. The songwriting was fairly strong, and except for
some guitar squealies and a glam image, the band really wasn't like other hair metal acts.
Extreme had the talent to do whatever they wanted, but the inability to follow up PORNOGRAFFITTI's hits
("More Than Words" and "Hole-Hearted") killed this band dead as its sophistication was lost on the grunge and post-grunge
crowd.
Saigon Kick was unfortunate enough to break on a power ballad. The band was closer to Jane's
Addiction or Faith No More in its prime, but the fact that its lone hit was a traditional power ballad, lumped them in with
the rest of the bands who relied on this form to make their own careers (Dokken, Poison, Skid Row, Warrant, Bon Jovi, etc.).
Jackyl really might be a hard southern-rock act in hair metal clothing. I think they are closer
to Ted Nugent or Blackfoot in their approach than to Slaughter or Tuff. Unfortunately, after breaking the first record,
the band was lumped in with the others.
Unfortunately, it is the tunes from that first album that are the highlights here. "Down on Me",
"I Stand Alone", and "Dirty Little Mind" feature the right mix of DuPree's "Jim Dandy" attitude and persona with the
right level of sassy boogie riffing, crackling with energy. The execution isn't the greatest, but the spirit more than
makes up for it.
There is a little of "you had to be there" involved with this, but overall it captures the band clawing
its way out of a corner. The band was fighting its quick success and its dealing with a changing musical landscape.
Though most Jackyl fans likely have already bought this, even casual fans may find it worth checking out.
SHREK 2 (Dreamworks/Geffen) 2004
The major problem with most soundtracks is in the
manner in which they are assembled. More often than not, the artists included on a soundtrack are becoming
more and more like the product placement in the movie. Despite the fact that most of the participants here
might be labelled as AA artists, there is a real uneven quality to the running order. Part of the problem is that
they have a lot of "cusp" artists that may segue nicely on paper. Fortunately, cd players come with a skip button.
For instance, I too would have led off with the Counting Crows track, "Accidentally in
Love". It is the most upbeat song they've released to radio since "Rain King", and the sole reason to even
consider buying this. But instead of going to the dance version of "Holding out for a Hero" from Frou Frou, (which admittedly,
I had little shot of liking), I would have to somebody else who is a little closer in sound and audience to Counting Crows,
like Pete Yorn. To make the point easier, here is the artist breakdown. . .
- Counting Crows
- Frou Frou (dance-based)
- Butterfly Boucher w/ David Bowie
- Dashboard Confessional
- Lipps, Inc. (guess which song?!)
- Rich Price
- Eels
- Pete Yorn
- Tom Waits
- Joseph Arthur
- Nick Cave & the Bad Seeds
- Characters' take on certain songs
Now instead, look to the list below to see how this would make for a much
more even listening experience (and neither a parent or a kid would have to listen to the stuff they didn't want to hear without
hearing the stuff they did).
- Counting Crows
- Pete Yorn
- Dashboard Confessional
- Eels
- Butterfly Boucher w/ David Bowie
- Lipps, Inc
- Frou Frou
- Nick Cave & the Bad Seeds
- Tom Waits
- Joseph Arthur
- Rich Price
- -14 Character songs
Notice that with this sequence, you get your rock fix out front, yield slightly to more electronic
and danceable sounds, bring it back to the "character" voices of singers like Nick Cave and Tom Waits, giving way to
the songs covered by the character voices in the movie.
Still, most people will recognize the smell of the steam off of this soundtrack and use it
as another argument as to why people should be able to buy by the song rather than having to acquire the whole album for an
exclusive track.
WEEK OF APRIL 10 - APRIL 16
SLAVE TO THE SYSTEM - Slave to the System (Spitfire/Eagle) 2006/2001
SLAVE TO THE SYSTEM was a short-lived project combining
Brother Cane's Damon Johnson (vocals/rhythm guitar) with Queensryche's Scott Rockenfield (drums). Along for
the ride are Kelly Gray (guitars, ex-Queensryche) and Roman Glick (bass).
Like Audioslave and the recent Warrant, the vocalist's previous band is closer to the new group's overall
aesthetic. Queensryche is a very "glass and steel" kind of band, modern in approach; Brother Cane is more of a Southern
(and strangely 'Old West') dirt under the fingernails, unpretentious sort of way. In this merger, BC wins out from the
rusty artwork to the song arrangements. Despite a few songs with heft, a few of them hint at/suggest a groovier heavier
3 Doors Down.
Most of the songs were written and recorded in 2001, and why it took 4 years to get this packaged and
released is beyond me. Though my cynical side suggests that it is to take advantage of the marketing momentum gathered
by Queensryche's MINDCRIME sequel. Even so, this may gather a couple of listens and then gather dust. It is a
professional affair, but it never approaches the artistic or accessible heights of the previous bands. As a result,
I have a hard time recommending this for anyone outside of Brother Cane completists or fellow
brethren of my ilk who are morbidly curious about all side-projects, detours, and output by the members of favorite bands.
GALACTIC COWBOYS - Let It Go (Metal Blade) 2000
A very diverse album, even by GC standards, including
a Limp Bizkit-styled "rap-rock" intro, through sheets of STP meets Cheap Trick power pop, and even going into more psychedelic
and progressive directions. As the last studio release of GC, it is a fairly strong statement.
I'm confused as to why drummer Alan Doss is involved
in the recording/mixing end, but no longer in the performing end of the recording. King's X drummer Jerry Gaskill does
very well in his absence, but it doesn't change the overall sound all that much.
It is a fairly dizzyin' hour of listening here (especially
with the "novelty" intro and outro), but the band is at its best when the harmony vocals kick in. Add
the crunchy guitars, punky lead vocal, and a galloping tempo, and I'm a happy listener. Highlights include "Dirty Hands" and
"My Life and Times" which feature a memorable mixture of melody and momentum.
DREAMSCAPE - Trance-like State (Rising Sun) 1997
DREAMSCAPE - Revoiced (Massacre) 2005
Dreamscape's THE END OF SILENCE has become one of
my favorite discs of all time, primarily because of its mixture of progressive rock, accessible melodicism, and appropriate
hard rock touches. So it was a bit of a surprise to see both of these records become available to me in the same week.
TRANCE-LIKE STATE is the band's earliest recording, and shows a band that is still seeking
its balance. Former vocalist Tobi Zolean is a little overmatched by the guitar and keyboard passages that suggest what
the band would become. It is a pleasurable listen, but doesn't quite have the polish of the band's later work.
REVOICED gives the band the opportunity to recast old songs with their current vocalist
Roland Stahl. Unfortunately, these older songs just don't have the depth or melodicism of those found on THE END OF
SILENCE, but the recasting and modern production help them fit the band's current vision. The only hope right now is
that these reworkings didn't waste any energy needed to create a masterwork worthy of following up THE END OF SILENCE.
FANDANGO - Fandango (Wounded Bird/RCA) 2006/1977
FANDANGO - Cadillac (Wounded Bird/RCA) 2006/1980
Fandom takes us into some very unusual places.
As a huge fan of Deep Purple/Rainbow, I began to also follow the projects and pursuits of its members. This led to some
unusual projects like bassist Roger Glover's BUTTERFLY BALL & GRASSHOPPER FEAST or even Dio's contribution to Kerry Livgren's christians
project, AD. Another interesting reroute/detour is the career line of Joe Lynn Turner.
I had heard of the band Fandango as it was listed as a previous credit for both vocalist Joe Lynn Turner
and former Deep Purple bassist Nick Simper (who was in a UK band that shared this moniker). These Wounded Bird reissues
prove that they were 2 separate bands.
The self-titled album is a very basic late '70's rock album featuring a heavy dose of dated production.
It is more Doobie Bros. than Deep Purple, though few songs really stand out. Early listens pit "Down Down Down" and
the Neil Young-ish "Helpless Heart" as the more notable choices here. Though in listening to this record, I keep gettting
images of old tv shows like BOSOM BUDDIES or WHAT'S HAPPENING. The band does experiment a little, forgoing the hard
rock element Turner would forge shortly in Rainbow to embrace singer/songwriter based fare, "disco-wy" passages, and even
a little Southern California vibe. Unfortunately, I hate the Eagles (and all of the bands of the late '70's and early
'80's who really wanted to be the Eagles...Yes I'm talking to you... Little River Band, Pure Prairie League, and Poco!).
Still, the Turner voice is in great form, despite sharing some of the lead vocals with someone who resembles James Taylor.
CADILLAC is a little closer to the Rainbow vibe, particularly opener "Blame It on the Night" which merges
a disco-like rhythm section (think "Heart of Stone" by ELO) with a Foreigner meets Rainbow top half. Though it doesn't
take long for it to fall prey to the same stylistic gaps and lack of identity shown on the first record.
Despite the fact that neither record was an immediate favorite, I have to applaud Wounded Bird for stepping
up and making these discs available. I will likely grab the other two in short order to see what JLT does.
Oddly enough, in researching this, I found the other records were reviewed far more positively than these two(Murphy's
Law at work, I guess). These are very likely music "you would have had to been there" to really dig into
and appreciate. Perhaps with time and repetition, something will click.
WEEK OF APRIL 3 - APRIL 9
QUEENSRYCHE - Operation Mindcrime II (Rhino) 2006
I liked the album upon first listen, but didn't really
know how to really "rate" this album. There are a lot of factors to consider, and though the final product provides
some of the most memorable Queensryche moments since the departure of guitarist Chris DeGarmo (though to be fair, we
only saw two live albums and the TRIBE album in this period of 7+ years). Still, even the less cynical fans have to
accept the fact that the band is playing its final "major label trump card" by resurrecting their artistic masterstroke via
this sequel [though EMPIRE would prove to be the height of their popularity to date] shows more desperation than band
or fans would like to admit. The attempt to connect this with the original album includes dramatic black
and white political photographs that serve as cover art as well as the red and white title and song squares that
appeared on the back panel of the original album which will be abbreviated as OM for the duration of this commentary.
This record will be referred to as OMCII.
Like King's X, Queensryche reverts to a sound that they'd abandoned long ago, but return seemingly inspired
and rejuvenated. Songs like "The Hands", "Signs Say Go", and "I'm American" wouldn't have seemed out of place on OM,
and "Speed of Light" would've made the cut on HEAR IN THE NOW FRONTIER. Though "Circles", "Rearrange You", and "One
Foot in Hell" have some modern touches, these still are in character with the band and its sound. My favorite tracks
happen pretty early on the album, and include "Hostage", "I'm American", and "Speed of Light". To my ears, the
record begins to drag after "Circles", as the story is given more emphasis than the music used to support the narrative.
Most of the talk will likely focus on two points. Those who like the album should be glad
to see the return of Pamela Moore giving voice to Sister Mary, as well as Ronnie James Dio's inspiring performance
as Dr. X, on "The Chase" holding the sonic ground and interlocking with Geoff Tate on the choruses. Those who didn't
like (or dismissed) the album will probably complain about the the modern production touches. They didn't bother me
as the sound is very much in character with classic Queensryche while having a bit more aggression than they've shown over
the last 10 years. Other slight beefs might be made about the record's storyline, which is a little more direct than
OM.
Since PROMISED LAND, Queensryche albums have been pretty much hit and miss. With realistic expectations,
OMCII will definitely surprise and satisfy long term fans hoping for a last glimpse of greatness from one of the premier
acts of the progressive hard rock/heavy metal genre. Though now that this has been issued, where does the
band go now? My hope is that the next record will continue the energetic and aggressive sound of the first
third of OMCII while maintaining a strong vocal and melodic base; regardless of it being a concept album or
a mere song collection.
DEAF DEALER - Keeper of the Flame (SPV/Steamhammer) 1990/1986
I've wanted to find and hear this album ever since
hearing this Canadian band's main entry for the Metal Blade compilations. (The label released two 2 LP sets in the late
'80's commemorating its output leading up to its distribution signing with Warner Bros.) Like the band Warlord, Deaf
Dealer had a single track that was put on several different Metal Blade compilations (including the anniversary sets on cd
and the Metal Blade 20th Anniversary box set). I liked the track, and really wanted the album, but no area stores ever
stocked the entire cd, and aside from a used cassette I saw a couple of days after replacing the cassette deck in my car stereo.
[I'd sworn off buying cassettes ever again, as Best Buy no longer stocked in-dash cassette decks.]
Lo and behold, 4 years later, I finally stumble onto an auctioned copy of this album, and the results
are almost what I expected. KEEPER OF THE FLAME is a great time capsule, storing another band who "borrowed" the early
Metallica aesthetic, and adapted it to their own songwriting and vocal style. "The Fugitive" still sounds like someone's
personalized attempt at KILL 'EM ALL-era Metallica, but maintains its own dignity and energy. Unfortunately, this is
the high point of the album.
Overall, I'm glad that the cd age made a lot of things available (and the download era will make it
even easier to hear what you want and skip what you don't want) in print, and that online sites make it easier than having
to hope someone else was just smart enough to bring something this rare into a used disc store; yet dumb enough to trade
it in for $3 cash or $5 in store credit.
POI DOG PONDERING - Volo Volo (Columbia) 1992
One of the few perks of working at an independent
record store of any size and variety is the exposure to so many types of music. We all have our favorites, but with
co-workers, friends, and customers you can become almost hyper-aware to what is available.
I first heard of Poi Dog Pondering while I was working
at an area record store. I never bought the disc, because I had heard it so many times in-store. When I finally
left the store (after graduating from college), I was into many other bands and sounds, and this album escaped me.
I did buy a couple of later albums from the band, but like much else they just burrow their way into the depths
of the collection until called on for a needed listen.
I heard "Be the One" recently at a club and it put the band back in mind, and stunningly, I found this
disc in a used stack a couple of days later for a whopping $4.
Nearly immediately, tunes like "Lackluster" and "Jack Ass Ginger" brought back the good and bad from
my tenure as a store clerk. Though, time hasn't been particularly kind to the record. Many of the songs sound
alike, and while the consistency may astound; it gets boring to the average listener.
Still, there is a lot here to generate and inspire new ideas, and one can hear a little of the current
"granola set" in the rhythmic minutia in these songs. I'd comfortably recommend this to anyone who likes the modern
"jam" bands, those who like island music, and even some of those fiending for the janglier variety of college rock.
DUDES Soundtrack (MCA) 1987
I found this in a bargain stack recognizing that
it had a hard-to-find song from Ron Keel called "Rock'n'Roll Outlaw" (which is a cover of the Rose Tattoo song), and what
I imagine to be the first exposure for Jane's Addiction. Also of interest is the original version of Megadeth's "These
Boots..." (which has since been edited due to the publishers' offense at the liberties taken by Dave Mustaine in both the
lyrical content and his ad-libbing).
Though as far as rarities go, the Keel song can also be found on the LARGER THAN LIVE
album he released at the end of his tenure with Gold Mountain/MCA, and the Steve Vai track has also been transferred to THE
ELUSIVE LIGHT AND HEAT where a number of his instrumental contributions to movies have been collected. Still, this is
a fun little disc that is sure to answer a slew of questions on BW&BK, Metal Sludge, and other hard rock based
websites...
WEEK OF MARCH 27 - APRIL 2
WARRANT - Born Again (MTM/Frontiers) 2006
Any shred of dignity or coolness has left my body
in admitting how much I like this record. The infusion of Black'n'Blue vocalist Jaime St. James has made
Warrant a ROCK band. No knock is intended against Jani Lane as his songwriting was a key attribute to the band's success,
but I rarely got a sense of "RAWK" from him, it was more of the smooth-talking dude trying to steal your girlfriend while
you were off getting her a drink. Add it to weepy "girly" crap like "Heaven", "I Saw Red", and "Sometimes She Cries"
and 15 "Uncle Tom's Cabin"'s won't wash the 'Richard Marx power ballad' stink off of the band.
Instantly, the band is into having fun again, as
tunes like "Dirty Jack", "Hell CA", and "Roxie" roll through with energy, attitude, and power. Unlike previous
Warrant albums, I never went back to the booklet to seek out lyrics (especially silly ones like "Hari Kari-go 'round"
or "I'm in love with American Girl, I like to smoke and fight") as the band doesn't take itself too seriously.
It is refreshing, because many might remember how
Jani Lane felt he had reached the levels of his heroes with a "deep and meaningful" track like "I Saw Red". Not
that it was bad, but aside from Lindsey Buckingham; no one from those influences were as publically arrogant
about their abilities or their fortunes. It took stones to cover Queen's "We Will Rock You", but took even
greater ones to do it in such a cheesy-bad manner. (See Winger, "Purple Haze" for another example of poor cover choices
- treatments.)
Longtime fans may require a little time to warm
up to this record, particularly since it doesn't have the "power ballad by numbers" exercised on most of the band's
previous work. This is good enough to attract converts and to ingrain casual fans who wanted more of a "Down
Boys" and less of an "I Saw Red" quality to the band.
This is the start of a great new partnership.
My only hope is that Jani Lane doesn't set out to wreck it with a "NEW" Warrant lineup or by re-joining the revitalized band.
STRATOVARIUS - Stratovarius (Sanctuary) 2005
After all of the changes that guitarist Timo Tolkki
made to try to make the band more accessible to American audiences. (Firing his longtime rhythm section, and replacing
his vocalist with a model-quality "goth chick") I find it somewhat surprising that the band is back together 3 years after
the unravelling to make the first "big contract" record for Sanctuary.
The advance story on the release of this record is that it is the band's "BLACK" album (a reference
to the 1991 release by Metallica which saw a shift towards consolidating their sound identity with a more direct and accessible
collection of songs). For most fans of the genre in which Stratovarius operate, this isn't great news. The "proggier"
the better, after all, if you have this musical firepower, why not use it?!
Despite some Yngwie-esque song titles, the band's new direction isn't too far from center. This
change actually helps songs like "Just Carry On" and "Land of Ice and Snow" to stand out here, where as the "sameness"
(which die hard fans may refer to as "consistency") found on previous records would have easily buried these kinds of
songs and prevent them from coming to light. Despite this, I think it is about equal to ELEMENTS, but not quite as stellar as
some of the earlier work from this lineup.
JUDAS PRIEST - Painkiller (Legacy/Columbia) 2001/1990
PAINKILLER was the last record to feature Rob Halford
until the recent reunion. At the time the band was fighting off several challenges to its very survival.
First was the lyrical controversy both of the PMRC
(who singled out the song "Eat Me Alive" from DEFENDERS OF THE FAITH as being obscene) and the lawsuit prompted
by the errant belief that lyrics led two people to commit suicide. Both gave the band additional attention,
but at a pretty stressful cost; as this was before the Marilyn Manson/Eminem where standing out for negative reasons appeared
to be a direct path to commercial success.
The second threat to the band was the change
of tastes towards hard rock and heavy metal. Judas Priest was getting more theatrical and showy (with TURBO being the
album that lost many fans) while no-nonsense acts like Metallica, Slayer, Anthrax, and a slew of others were beginning
to catch fire in the genre. After TURBO, the band seemingly took 2 steps back with a near neanderthal effort
in RAM IT DOWN.
PAINKILLER doesn't fair much better, though the title track is as heavy as the band would get in its
first era. Though the real problem with PAINKILLER are the one-dimensional lyrics. Not to say it doesn't
have its moments. Personally, the addition of "Living Bad Dreams" does make for a better record, and tracks like "Hell
Patrol" (not quite as good as Raven's) or "Leather Rebel" make for spirited listening, hearing the energy ramped
up by new drummer, Scott Travis. Vocalist Rob Halford also pushes himself to expand further and regain entry
into the Hall of Legendary Metal Vocalists. New singers such as Bruce Dickinson, Geoff Tate, and even
King Diamond were getting most of the vocal accolades at the time.
HYDE - Hyde (Retrospect) 2005/1986
One of a million "buried" albums of the mid-80's
hard rock, this has recently found reissue (albeit cd-r) on a label equal to Wounded Bird in making long-lost obscurities
available again.
Hyde is a four piece band featuring a standalone vocalist. The music is solid hard rock with a
few metallic edges. The arrangements/production are a couple of levels beneath their major label peers of the time,
but that takes little away from what they have to offer.
The best way for me to describe this is to imagine Alan Marsh-era Tokyo Blade with a small
bit of Fate (circa A MATTER OF ATTITUDE). There are a couple of tracks early on that try to simplify
their sound, but the band is at its best when channeling Tokyo Blade (as on "Midnight Chambermaid" and "Land of Machines").
Unfortunately, time hasn't particularly treated this album well, and 20 years later this isn't likely
going to become more known or desired except by the handful of people who discovered it then and long for it now. I
like it, but would hesitate to recommend it to anyone who doesn't like older hard rock and can't name at least two
releases by Tokyo Blade.
WEEK OF MARCH 20 - MARCH 26
HARLOT - Room with a View (Olafsongs) 1989
Witch Cross's FIT FOR FIGHT was one of my favorite
metal albums growing up. It was very close in sound to many of the NWOBHM albums from the early '80's. Sadly,
aside from a 7" single and the one full-length album, Witch Cross never had anything else available after that, and shortly
broke up.
I was doing a little research on Witch Cross to find
out about them, when I stumbled across this band and album. The common denominator between Harlot and Witch Cross
is vocalist Alex Savage.
Harlot sounds an awful lot like Firehouse.
The layout of the songs and the choruses are fairly close sonically (though none were identical). Savage's vocals
bring it a little closer to the same territory as Witch Cross, though the anthemic choruses, and simpler songwriting
shows Harlot to be a different beast.
I got this online (and probably paid too much for
it) for the price of a typical Japanese import. I've seen the cd go for as much as $50 on eBay, so I don't
feel bad spending slightly less than half of that here. Overall, it is a pretty solid record, with "So Much
for Happy Endings" and "Dancing on Dynamite" as the highlights. A little appreciation for Firehouse will make
this even easier to enjoy.
DEMONS & WIZARDS - Touched by the Crimson King (SPV/Steamhammer) 2006
I found this disc used for $2 in the bargain bin
of a used bookstore. Though it is missing the slipcase, there are no marks of being a promotional copy, and nothing
else appears to be missing.
This is another outing by the side project of Iced
Earth's Jon Schaeffer and Blind Guardian's Hansi Kursch. TOUCHED BY THE CRIMSON KING is a sturdy dose of power
metal made for those who'd have an interest in this sort of thing. With only two listens on tap, it is hard to give
this one an overall rating, but I'd have a hard time recommending it to anyone who doesn't have at least a couple of
records from the participants' main groups.
EXODUS - Shovel Headed Kill Machine (Nuclear Blast) 2005
After a well-received comeback, Exodus takes the
step toward becoming an active entity again. Unfortunately, in the switchover, only original member and leader Gary
Holt survives from its original lineup. This housecleaning effectively rids the band of vocalist Steve Souza (who wrote
his own pink slip by blowing off a large festival concert), guitarist Rick Hunolt (who despite love and respect from Holt
was replaced due to his ongoing drug difficulties), and drummer Tom Hunting (who was just too fragile, according to Holt).
The replacements respect the role of their predecessors, and SHOVEL HEADED KILL MACHINE
poses an effective argument towards the band's claims of being one of the legends of thrash.
Vocalist Rob Dukes is a bit closer to a Phil Anselmo type, but he isn't afraid to go beyond
typical "knucklehead" vocalizing. Drummer Paul Bostaph was the most successful replacement for Slayer's Dave Lombardo
(who apparently is as integral to the Slayer sound as any of the other three members), and picks up the brutality that was
present but buried in the previous album.
There should be the same warning labels on this record as there are for other drugs. Do
not use while driving or operating heavy machinery. Do not mix with other drugs or alcohol. If blood is present,
discontinue use until seeing a doctor.
If it weren't for the song titles, this could be a newer more dangerous form of Exodus
than your dad might have imagined. [My first exposure to Exodus was in concert with Slayer and Venom on Good Friday
of 1985, when I was really a yun' un of 14 years old.] So whip out the neckbraces, crank up the volume, and take
in the violence.
SEVEN WITCHES - Second War in Heaven (Massacre) 1999
Jack Frost has been carving out a distinguished career
as a metal guitarist both with this project, as well as for his guest appearance on other records. This album is a decent
slab of old school power metal more closely associated with early Metal Church, Jag Panzer, and Manowar than the more ornate
style of their peers who are currently performing in this genre for labels like Limb or Nuclear Blast.
The odd thing about the record is the inclusion of two covers, the first is an "amphetaminized" version
of Fleetwood Mac's "The Chain" (which despite its dropped tuning, doesn't make particularly good source material for a band
such as this) and a fairly faithful version of Manowar's "Metal Daze". Still, a band such as this lives and dies on
its own compositions. Tracks like "Seven Witches", and the title track show a lot of potential for this band, and
what it would eventually become.
WEEK OF MARCH 13 - MARCH 19
JORN - The Duke (Candlelight) 2006
After two impressive projects in the last year (THE
BATTLE with Symphony X's Russell Allen and AERONAUTICS from MASTERPLAN), Jorn unleashes his latest solo effort, which fits
quality-wise directly between them.
Some may have read my commentary on THE BATTLE, and know that while I liked the album, there were a
few things that could have been slightly tweaked to make it better. I loved the AERONAUTICS album, and was enslaved
by it for nearly 3 weeks.
Jorn's latest follows a path that operates directly in the middle of Dio and Whitesnake. The opening
track, "We Brought the Angels Down" could've easily fit on any of the better Dio albums, while the title track is the best
Whitesnake song I've never heard. As I make these comments, I have to say that I think the Jorn stuff is better than
anything Dio or Whitesnake has come up with over the last 15 years. The pupil has outranked his teachers.
That said, Jorn's greatest appeal will be those who are already familiar with him. Those who don't
know of him already, may want to check those references before checking this out. Either way, THE DUKE has my attention
as an early runner for the best albums of 2006.
R.E.M. - Automatic Box (Warner Bros.) 1993
AUTOMATIC FOR THE PEOPLE was one of R.E.M.'s career
highlights. Its successes were both commercial ("Everybody Hurts") and artistic ("Nightswimming"). Of course,
whenever there is success on this level, there is a need to make more product available.
Credit goes to the band for not just releasing a
live album or a greatest hits compilation at this time (with maybe a single rare track or newly recorded cover tune)
to cash in on the momentum this record built. Instead, another "single-based" box set, like the one for OUT OF
TIME [that was actually called the SINGLES BOX] was released. This time, it would feature nothing but the b-sides
of each single.
Thus the AUTOMATIC BOX was released throughout Europe,
though hardcore U.S. fans were happy to pay import prices to bring some here. This box features four CD-EP's.
The first is devoted to "Vocal Tracks" and features
2 songs that appeared in movies, ("Fretless" from Wim Wender's UNTIL THE END OF THE WORLD and "It's a Free World
Baby" from CONEHEADS). The other two songs were available on obscure singles. Though "Chance" is only
available on a couple of import singles, this is the only place I have it to date.
The second disc, called "Instrumental Tracks" collects
some of the theme music that the band is known for. "Winged Mammal Theme" led by a stark piano figure is the kind
of music that someone may use in a radio show opening. Still the build and momentum is pure R.E.M. and it holds
interest.
The third disc is labelled "Cover Versions" and has
the band's recorded attempts at "Arms of Love" and "The Lion Sleeps Tonight" which aren't terrible; but clearly weren't built
with R.E.M. in mind. This disc also includes their track which appeared on the Leonard Cohen tribute, I'M YOUR FAN -
THE SONGS OF ("First, We Take Manhattan").
The last disc is from the SINGLE ACTION GREEN 7"
box set. It also features two covers, but includes a live version of "Everybody Hurts" from the 1993 Mtv Video Awards.
Overall, this is a nice sonic artifact from the time, but time and use from its previous owner(s) have
left a well-worn slipcase (meant to house all 4 jewel boxes). The package went for $30 new in its time, and a typical
copy would hold its value, while one in pristine shape could fetch $40 or $50 these days. In its present condition,
I think $20 would be generous for the one I own (though thankfully I paid a little more than half this figure if you include
the shipping/handling). Fortunately, I bought this out for use, and not to resell. As a result, it may be time
to laminate the box and color in the white seam splits that are beginning to show.
SHINING STAR - Enter Eternity (Nightmare) 2006
After seeing that vocalist Lance King (Empire, Pyramaze)
was a part of this, I didn't hesitate in picking this up. Unlike the other projects, this was based more in melodic
hard rock rather than the more Queensryche/Helloween type of sound of King's other projects. Like Seven Witches, Shining
Star is primarily the work of Fabio Rocha and the people he chooses to be involved with.
The highlight here is "Not Too Late", a power ballad that might have been a contender had it been made
and released 10 years earlier. Though someone like Pink might be able to make this song cross into the pop world fairly
easily. The verses are a little clunky, but the chorus is as memorable as they come.
Fans of TNT or Rainbow will find much to enjoy here.
BACK TO THE WALL (Purple Pyramid) 2005
To be fair, how you feel about Pink Floyd's album
THE WALL is likely going to affect how you feel about this tribute. The incredibly diehard Pink Floyd fans and
those who hated the original album will likely hate this; whereas the prog-rock fans who liked this album, but also liked
bands like Yes, Jethro Tull, ELP, Genesis, and so forth will love this.
I despise the album and do not particularly enjoy the band. Aside from MEDDLE, there is nothing
I actively seek out to listen to, though I also have DARK SIDE OF THE MOON and WISH YOU WERE HERE because both have songs
that one must know to play the cover band circuit. [I kept them out of respect to their quality, though I never sought
better versions of the records and can't really get through either one from start to finish.]
So what to do? A lot of people I follow closely are involved in this tribute, but I'm likely to
hate the music but admire the performances. Overall, I feel that Ian Anderson and Glenn Hughes both give good performances
here, and the guitar-work of Steve Howe, Steve Morse, and Ronnie Montrose were a nice mixture between the original parts with
some stylistic identity attached. For $6, I really can't complain (though I likely will).
All is not perfect, as Sherwood often keeps the best vocals and identifying parts of the original
album to himself. It is a highly listenable tribute for the casual fan of the album, though for me it is more valuable
as an archive of former Yes/Purple players.
WEEK OF MARCH 6 - MARCH 12
ROBERT PLANT - Slow Dancer (Chapter One) 199?/1983
This is a boot taken from a show in Dallas, Texas
during the PRINCIPLES OF MOMENTS tour. The most notable thing about the boot is the inclusion of Genesis's Phil Collins
on drums (a mere 16 months before his NO JACKET REQUIRED album gave him permanent leave of the kit and solo commercial success
that outshined Robert's).
Everything is reasonably good except the transfer. It is pretty obvious that this was from a vinyl
source. The problem is that the music was captured at the wrong speed (as pitches are about one and a half steps above
the original recording). To make matters worse, the version of "Big Log" has actual vinyl "skips" on the transfer, which
is a shame as someone had actually made the effort to transfer this to a "coded and coated" cd.
As this was a radio concert, I wonder if better versions of this show have since been made available.
LOUDNESS - Rockshocks (Crash) 2006
I'm really surprised at the negativity this record
is generating among long-time fans. This is a re-recording of their major songs of the early to mid '80's,
with detuned guitars and more of a modern production. People didn't really give Saxon, Sweet, Molly Hatchet, Yes,
Anthrax, Twisted Sister, or Blue Oyster Cult any criticism for "updating" old songs with newly recorded/produced
versions. It surprises me especially because Loudness has done the "redo" multiple times; particularly during the
Michael Vescera era, where several of their Japanese numbers were adapted and redone in English.
Personally, the downtuned guitars really do add a little texture and depth. They also
prevent vocalist Minoru Niihara from going into vocal pitches that he never was really equipped to hit in his prime. Live, many
bands do pitch adjustments to help their vocalists (whether it is recasting the song in another key, or downtuning so all
pitches sound a half to a whole step lower than written). Perhaps this is part of the reason for new versions.
Though this was released before the band's RACING album, this has just been issued domestically by Crash
Music USA. This edition also includes 3 of their more '80's sounding material from the RACING cd. (Though I would
have chosen "Crazy Samurai" to get a real picture of the modern band.)
Despite the general moaning, most fans should be grateful that between this issue,
and the recent Wounded Bird reissues; the band is finally making its first appearance in America in years, playing 6 shows
across Chicago, Ohio, and the Northeast this spring, with a possible return to the western part of the US in
late summer. The truly interesting part is going to be whether the band can sell the diehards on their new crunchier
sound; or if they turn tail and go back to the crackling energetic sound of their heyday.
RUNNING WILD - Rogues En Vogue (GUN/BMG) 2005
Much credit must be given to Rock'n'Rolf for nearly
25 years of following a distinct power metal vision. Unfortunately, as much devotion as one can muster for a such a
long musical career, it has to be kept separate from the recorded work.
ROGUES EN VOGUE has a lot of promise, but suffers from two problems. One is the "sameness" that
occurs when one person plays most of the instruments...(Rolf is playing almost all of the guitars and most of the bass on
this one.) The second problem is that most of the songs are somewhat interchangeable and don't do enough to capture
attention or change up enough to hold attention.
The argument about CD's being too long is being proven here. I've listened to the record about
3 times through, but I have to admit that I'd be hard pressed to pick out any songs from the record by title, and would do
worse if I were asked how the chorus went. On the most recent listen (before writing here) I was cringing realizing
that 5 songs in, not only was I bored, but I was barely a quarter into it. Still, as a fan of the band, I'll give
additional listens hoping eventually it'll click, but it doesn't seem promising so far.
XYZ - Forbidden Demos 1985-1991 (Fyco/xyz.com) 2005
Because of the immediate transfer of music via downloading;
and the semi-permanence of cd-r, there is a greater pressure put on artists to find a way to make
product that generates revenue, while seeming a value to their fans. As a result of online music trading and financially
desperate former musicians; there are more of these types of packages getting released each year. Twenty years ago, this kind of a record would never have seen daylight, unless the artist was an icon; and some condition
prevented that icon from being able to create or generate new music (i.e. death or dismemberment). With compact
disc as a dominant format; and the emergence of box sets, these musical scraps were provided as "bonus materials",
and euphenisms like "an intimate look behind the creation of this particular song" were used instead of "crappy-sounding recording
of a drunk guy with an acoustic guitar using his microcassette answering machine to save the idea." Now, diehard fans
can't help themselves when packages like these become available. (Though one of these days, I'd like to see someone selling
a demo collection as [Name of Artist] FARTS ON A SNARE DRUM.)
In the case of XYZ, a little intrigue is added because a demo collection was made available by
a former member a couple of years before this one was released. [A similar thing happened with Yngwie, as Marcel Jacob
licensed some of his recordings with a teenage Yngwie, which sold as BIRTH OF THE SUN, before Yngwie did some touchup and
released THE GENESIS.]
In the case of FORBIDDEN DEMOS, 17 tracks with 15 different songs on a single disc shows an attempt
to provide "bang for the buck". "After the Rain" and "Follow the Night" are pretty close to the versions that would
eventually show up on their debut record; while the inclusion of outtakes like "Can't Get Over You", "High Life", and "Seventeen" are consistent
and solid, though not interchangeable with most of the music on their first two albums. Fortunately, the recording
quality is fairly consistent; though a small step down may be detected on the older tracks. Also, the
sequencing was thoughtful enough to put the repeated tracks (two versions of "High Life" and "Souvenirs" with different
editions of the band) at opposite ends of the disc, leaving the older versions of these songs as the last two tracks.
As far as demo collections go, this one is among the better ones. Not quite as stellar as the
XTC/Andy Partridge stuff, but very comparable to the RAW TRACKS compilation Raven put together. This is very listenable,
and even casual fans of the band will find something to like here.
WILD WILLY'S GANG - Camouflage (FaceFront/VME) 2005
I found this one used, and bought it because of the
involvement of TNT members Ronni LeTekro (guitars) and Tony Harnell (vocals). Although Harnell only sings on one
track, it is the highlight of the album.
WEEK OF FEBRUARY 27 - MARCH 5
TRAIN - For Me, It's You (Columbia) 2006
I've had a long-standing discussion with several
longtime friends and music fans, that as you get older, you lose perspective on what is good and what isn't. For instance,
my father was probably the only Barry Manilow fan I knew or heard about growing up. When I got a little older, I realized
that somewhere out there is a Barry Manilow or a Kenny G., or some other incredibly uncool artist/band/musician with me or
my generation on it.
Train is such a potential candidate. They have
the Counting Crows connection, they write nice enough songs, they are adequate performers, and it is one of the few bands
that my girlfriend and I can listen to without an argument. Unfortunately, Train in the aughts are about as hip or as
challenging as Richard Marx in the late '80's. . . or as music critic Jim DeRogatis (who writes for the Chicago SunTimes,
Rolling Stone, and other musician-based magazines and newspapers) would say, "Safe as Milk". Despite this, I've found
much to enjoy and appreciate over the first 3 studio albums, and their live DVD; and songs like "Getaway" and "I Am" would
have been worn through on any format other than CD. Rather than lose myself in the art/commerce argument, I was able
to forgive the smooth edges and current lyric references (name checking then-trends like Soy Latte's, pilates, and J-Lo to
make soccer moms feel somewhat hip) because of the craftsmanship of the song arrangements and the fact that it didn't take
much for any of their songs to stick to your brain like velcro.
After 4 listens, I find little has sunk in (unlike any of their previous studio releases) and the band
sounds a little bland and generic, losing the Counting Crows/Bo Deans vibe from the first record, or the other references/touchstones
from the last two. In fact, two songs in there is little if any identity left at all.
The exit of guitarist Rob Hotchkiss seems like an early explanation for the streamlined, back-to-basics
sound. Though you have to wonder if a band like Train is facing the dilemma of a number of long standing bands where
keeping it fresh is a challenge. A lot of bands need a few albums to define themselves, but once that "square" has been
made, there is nothing but pressure to stay in that square.
Think of the great bands that literally hit a brick wall and release an album of great stuff that is
underwhelming because there is little left to explore. Yngwie, Iron Maiden, Dio, R.E.M., U2, The Moody Blues, Yes, and
the Rolling Stones. How else do you explain FIRE AND ICE, NO PRAYER FOR THE DYING, LOCK UP THE WOLVES, UP, POP,
OCTAVE, UNION, or BRIDGES TO BABYLON? The artistic failure of these records is nearly binary. Either the
artist didn't want to "fix what wasn't broken" in effect remaking new songs/albums in the same casts/molds of previously
made records; or the artist tried so hard to create something "new" that they forgot about why people liked them or
their music in the first place.
My hope is that this will be a "grower", and that a few months from now, I'll be adding a post-script
to this commentary marking off standout tracks and questioning myself as to why this was rated so poorly. Who knows?
PYRAMAZE - Legend of the Bone Carver (Nightmare) 2006
Pyramaze is one of several promising power metal
bands taking the vintage sounds of Queensryche and Iron Maiden into new places and new concepts. In this instance, the
band really comes across like an updated and re-energized Queensryche, minus the comic book/myths and legends concept that
this record advances.
The only minor complaint I have with this record is its over-reliance on narration. Three
songs have sections longer than a minute where the storytelling is advanced via talking over the music. Even Manowar
(who used this tactic early in their KINGS OF METAL heyday) can't overcome the cheesiness and melodrama that result from spoken
lines. Bands like Angra and Dreamscape had it right in that the "explanations" were printed in a sidebox by
the song as it appeared on the lyric sheet. People could draw their own connections and conclusions, and were not
forced to do so via voiceovers.
Minor complaint aside, there is a lot here for fans of music in a vein similar (though not exact to) Queensryche,
Angra, Fates Warning, or Gamma Ray.
DGM - Misplaced (Scarlet) 2004
This is fairly decent modern hard rock, with a slight
nod to the sound of 1990. The album itself sounds great, but it didn't get memorable until "Still Believe".
I really liked the movements in this song, and is part of the reason why it hasn't left my case in the last couple of weeks.
HITTMAN - Hittman ([unknown]) 1985
Rejoice! This is a band I remember reading
about in Hit Parader magazine in the mid-80's, and hearing about for just about ever. Unfortunately, I never was able
to find any of their records. Hittman were long forgotten by the time I hit college; and probably would have only
come up again if I found an old folder or notebook from middle school or if I was having brain surgery. Fortunately,
neither extreme came up as I found this among a list of items up for bid on eBay when bidding on one of the seller's other
items.
This is great American power metal along the lines of Jag Panzer's AMPLE DESTRUCTION and Metal Church's
THE DARK. Aside from a bad cover (and cover choice) of "Secret Agent Man", this is a well-preserved artifact of the
genre.
JUSTIN HAYWARD - Classic Blue - A Collection of Classic Songs (Sanctuary) 2005/1989
An old girlfriend of mine turned me on to the
Moody Blues [Avoid the potential humor this phraseology suggests - Ed.] less than a year before this was officially
released. I always had liked "The Voice", "Your Wildest Dreams", and "I Know You're Out There Somewhere" (sic),
but never really dug deeper than the obvious singles of the time. For the most part, I was still trying to explain
being a fan of both Testament and the Fixx at the same time; and had begun a dichotomy of being both a huge Yes fan as well
as a huge R.E.M. fan.
Fast forward 17 years, and this odd reissue
appears. CLASSIC BLUE is a noble idea; but to correctly execute this kind of record is a high wire act
between mountains that leaves no doubt to success or failure. Despite Hayward's longtime association with orchestration
and his adept songcraft; this is quite a crash. Even Sinatra back then, or Rod Stewart now had a good realistic
idea of their abilities and the material involved before the recording button was ever pressed.
This is almost 3rd layer of hell cheesy,
in which melodramatic orchestration (think of one of those awful cheap classical cd series that you can get for $5 or
less at a department store) and Hayward's limited (though expressive) voice come together in a cacophony of budget bin
excess. It is like those classic hit compilations recorded by the Countdown Singers; as you hear Hayward warble
through"God Only Knows", "Stairway to Heaven", or "Scarborough Fair". Cruel as it sounds, I think of it almost
like Uncle Ned sings your art-rock favorites.
The problem is that with so many sacred cows here, (most are seriously overplayed), I didn't really
want to hear the originals anymore, let alone these overdone testimonials to them. The earnest reverence and highbrow
approach undercut Hayward's ability to own the song (since the arrangement clearly shows he and Batt to be subserviant to
it).
I don't recall this being available domestically in its time of release; and it is kind of a mystery
as to why this is being made available now. It takes itself too seriously to be campy. On the other
hand, the outcome of this record is almost Spinal Tap-ish in its pomposity ["There's none more classical than this."] and
Hayward is almost like Nigel Tufnel as a classical nerd rather than a rock guitarist. All commentary aside,
I don't recommend this to anyone but the extreme Moody Blues diehards who already imported this years ago; and are preparing
their angry emails for me as you read this. Enter at your own risk!
WEEK OF FEBRUARY 20 - FEBRUARY 26
MACHINE MEN - Elegies (Magick) 2005
I bought this strictly on a hunch, and have been
rewarded greatly. Finland's Machine Men play a style of metal that has been forgotten since Iron Maiden released NO
PRAYER FOR THE DYING in the early '90's. There are hallmarks of the '80's metal sound ("squeal" harmonics, palm
mutes, harmonized riffs), but like Hellfueled (who have done a remarkable job of "updating" the sound of early Ozzy) they
have the power of today's technology and the youthful energy to make this sound somewhat new again.
Vocalist Antony bears a strong sonic resemblance to a young Bruce Dickinson that it will be hard for
the band to avoid the Maiden comparisons. On songs like "Dream and Religion" and "Daytime Theatre", other aspects like harmonized
licks, and prominent bass add to the similarities between the Machine Men and the mighty Maiden.
The band doesn't quite have the finesse or sophistication of bands like Angra, Helloween, or Edguy,
but their grit still makes for a compelling reason. This will appeal to anyone who wore holes through vinyl copies
of PIECE OF MIND, SCREAMING FOR VENGEANCE, and MOB RULES. Cheers to Machine Men and Magick for making new music
for headbanging geezers (like me) who aren't anywhere near ready to give up their music, despite being neglected
by the record companies who've given up on these fans.
EDGUY - Rocket Ride (Scarecrow) 2005
I should likely brace myself for the incoming hate
mail when I say that Edguy has yet to realize its potential. Vocalist Tobias Sammet is immensely talented, but throughout
the Edguy canon (as well as that of Avantasia), he just misses the rung that present hard rock and metal vocalists
like Jorn Lande and Tony Harnell hit. As a band, it seems that Edguy want to be seen as equals to Helloween, Gamma Ray,
Rhapsody, and Angra. Unfortunately, this too falls short.
ROCKET RIDE is a solid power metal record, but there is very little here that you haven't heard done
better by any of their power metal peers.
MOODY BLUES - Lovely to See You Live (Image) 2005
Taken from a live performance at the Greek Theatre
in LA in June of 2005, LOVELY TO SEE YOU finds the band returning to their 80's re-emergence as a popular AC artist. These
two discs cover almost all eras of the Hayward/Lodge edition of the band excepting the strong STRANGE TIMES record.
Which is a surprise, as that recording is at least as good as SUR LA MER or THE PRESENT, and far better than the
awkward OCTAVE, all of which are represented here.
The band these days uses a core trio of Justin Hayward (guitar, voice); John Lodge (bass, 12 string
acoustic, voice), and Graeme Edge (drums, vocals); and is augmented by a flautist/acoustic guitarist, two keyboardists, and
a second drummer. The instrumentation provides enough depth to replicate the soundscapes of "Nights in White Satin",
"Are You Sitting Comfortably", "Forever Autumn", and "Isn't Life Strange".
As far as live albums go, the performances are a little workmanlike, but are solid. The song selection
is above average for the casual fan, as the core hits that have shown up on every 'best-of' compilation make appearances
here. (Though like most best-of's, everyone can make an argument to add or remove certain songs from the package.) Arguably,
the package could have been tightened up considerably; but is a great value at 2 discs for less than $15 at most outlets.
Plus the inclusion of the 80's material that did not feature on the last two live releases [RED ROCKS or HALL OF FAME], provide
a good incentive for this package.
Historically, the release of a live album suggests either the end of an era, or desperation for
new product. For a long-running concern like the Moody Blues, this may be more an attempt to prove that the band can
still deliver the goods; and to help them regain an audience for a new album. Either way, with realistic expectations
in mind, LOVELY TO SEE YOU - LIVE is worth the effort.
KREATOR - Coma of Souls (Noise) 1990
For many followers of thrash metal, COMA
OF SOULS was one of several signals that the genre was getting a little stale. The tempos were only
going to get so fast; the subject matter would only hold for so long; and the instrumentation never really
changed. Every acoustic intro would give way to top speed riffing, and the contrasts were no longer a surprise
to the listener.
At the time of its release, I was "growing up" and listening to a lot of prog rock, college rock
and industrial music. I was over Kreator (or so I thought) shortly after getting my driver's license a few
years earlier. I was beginning to hear all forms of music again, and my favorites weren't as accomplished, but
far more melodic.
A few years out of college, I realized that what I like only applies to me. If I'm the
only one who likes it... so what?!... and at this time I began seeking out the hair metal and thrash stuff that were
tossed during the 'grunge' movement; and recovered much of this myself before most of the stuff was going for
ridiculous money in collector's shops and on eBay. This one was overlooked until a thoughtful trader sent a clean used
copy my way.
With 15 years of space, COMA OF SOULS is a refreshing blast
of aggressive music. This is about as far as I could hear metal without it becoming sloppy, noisy, or plain unlistenable,
if someone tried to make it faster, edgier, or darker. As I only have a few Kreator discs, I don't have the
comparison sample that hardcore fans and critics have. On first listen, I'd say that
"People of the Lie" is the standout track. Overall, there isn't anything egregiously bad here, though several
tracks appear a little undercooked, and may have benefited from editing. Overall, COMA OF
SOULS is deserved a far better fate than its received critically; and has to be considered for
setting a thrash watermark that the genre hasn't reached since its release.
BAD COMPANY - Holy Water (Atco) 1990
Time plays funny tricks on you as you get older;
or at least it starts following truisms and Murphy's Law and what-not. The instance is here, as absence makes the
heart grow fonder.
This was crap when it was released. It was the second generation of Foreigner; meaning hard rock
for dentist offices and middle aged women. The combination of anthems and ballads borrowed heavily from the
hard rock at the time, but the goal always seemed to be commercial rather than artistic.
The problem was that everybody was making this kind of music during this time. Grunge not
only killed "hair" bands, but it put the power ballad on life support. Though Bad Company would find a way to survive
the backlash for another album, it ultimately had to reform to keep interest by the end of the '90's, and hasn't been checked
in on since.
Listening back to HOLY WATER is a quick reminder of my college years, when stations like Milwaukee's
LAZER103 and Q-FM would play the heck out of this style. Whether it was "Fly to the Angels" by Slaughter or "Blaze of
Glory" from Jon Bon Jovi, it seemed radio couldn't get enough of this. It hasn't aged particularly well, though the
title track and "If You Needed Somebody" are well executed and fairly representative of the time. For $1.98,
can I really ask for more?
WEEK OF FEBRUARY 13 - FEBRUARY 19
BELA FLECK & THE FLECKTONES - Hidden Land [DualDisc] (Columbia) 2006
Much like the last record (the 3 disc LITTLE WORLDS),
the band is again all over the place. Country, Progressive Rock, Americana Jazz, Classical, Bluegrass, Instrumental,
and R&B jockey for position throughout the record. Despite all the jostling, the ultimate winner is the
patient listener who gives this more than a cursory spin.
In fairness, this is the type of record that gets
lost in the shuffle because the primary focus is on variety. "Weed Hacker" is the kind of Americana
instrumental that you might have pictured the Dixie Dregs doing if they were an active concern (and had a banjoist duelling
with Steve Morse on guitar). Conversely, "Chennai" finds the Flecktones doing something of a Phish impression in which
each member takes on part of a song, playing together; doing call and response, and drawing out the slightly Arabic nature
of the tune. "Misunderstood" is a Future Man vocal number, that is closer to something from brother Victor's
solo albums.
This should play well in the modern granola set;
though Hidden Land will find appropriate play in my collection as well.
I should note that this is only the second album
that I've bought in the DualDisc format. The DVD feature is pretty neat (except for the corny Benjamin Franklin
in-joke that permeates much of it). Though I have to admit that I'm not really thrilled by this format. One
must be really careful in handling the disc since both sides are used (so touch only the edges and center cut only as fingerprints
can affect play). Also, the DualDisc case is a weird beast that features a curved spine, and doesn't appear to be replaceable.
With replication costs lower than ever (and the growing availability of slimline 2 cd (flip) cases) I hope
that the studios will go back to offering a "bonus DVD" as a separate disc than as part of something that can get scratched
in a car stereo; or ruined through traditional handling.
ROBERT PLANT - Live at Olimpiysky Stadium, Kiev, Ukraine, August 14, 2003 (SRS) 2003
Part of a radio concert series put out in limited
edition form from Spain's S.R.S. records, this time we get the DREAMLAND edition of the band pouring through the more
psychedelic edge of Plant's solo songbook. Like other S.R.S. releases, this silver disc was released in a limited
batch of 250 and has the same art format along the tray cards and spines.
The S.R.S. releases that I've received so far have been of pretty strong quality, until this
one. It sounds a little like it was taken from a radio station that wasn't exactly tuned in. The songs are
present and recognizable; though a lot of the subtleties and definition is missing. A shame since so much of this
material hasn't made it to "coded and coated" format, yet.
I was particularly excited to see two Love tunes appear on this package, "7+7 Is" and "A House Is Not
a Hotel". The first one also appeared recently on the Rush FEEDBACK ep, and the second is featured as a b-side on the
cd-single for DREAMLAND's first single, "Morning Dew". However, the poor sound quality (at best a B- at worst a C) taints
the first number, and though the second is a bit better (as part of a different show), it does not compare to the full
range of the live version on the cd single..
The sound does improve slightly at the end of the second disc for bonus material taken from a 2001 concert
in Norway. As a result, there is a little duplication, but the repeated songs are from the first disc.
CANS - Beyond the Gates (Noise/Sanctuary) 2004
COMMENTARY PENDING
ROB ROCK - Holy Hell (Massacre) 2005
COMMENTARY PENDING
THE LAST TEMPTATION OF ELVIS - SONGS FROM HIS MOVIES (NME) 1990
This is a 2 disc tribute to Elvis hosted by European
magazine NME as a fundraiser for the Nordoff-Robbins Foundation. For those in the know, the Knebworth concerts
(including the one from 1990 featuring Tears for Fears, Robert Plant, Genesis, and Pink Floyd) are a primary source of fundraising
for the organization.
This one is a pretty fun listen as most follow the original songs pretty faithfully. Despite
the "artist touches", the identities of most of these performers are easily recognizable; yet several embrace an "Elvis" style
of production, with certain vocal effects or instrumentation.
The highlights here are appearances from Sydney Youngblood, Lemmy (Motorhead), Robert Plant, and Paul
McCartney. Despite not being a huge McCartney or Springsteen fan; I really enjoyed their turns on "It's Now or Never"
and "Viva Las Vegas" respectively. Though I favored Plant's "Let's Have a Party" (which after a short sweet pedal steel
intro, goes into a groove very similar to his own "Billy's Revenge" from NOW AND ZEN); I found myself really getting
into the vocal arrangements of Youngblood's "(Let Me Be Your) Teddy Bear". It was 90's-modern but traditional sounding
as well.
I do not know how the disc was originally sold (though I imagine mail order via the magazine was likely
the most common way); it seems to go for higher than expected sums online (about $20 or higher on average). I was lucky
to find this for less than $10 in an area used shop.
There is a lot to enjoy, though it isn't a bad idea to man the skip button for those cheesier songs
and less-than-ideal versions from unknown artists. It is a little long at two discs and 26 songs, and might have made
an excellent single-disc 15 song extravaganza. Still, for fans of Elvis, some of the artists involved, or of tributes
overall this is one of the better ones I've come across.
GALLOGLASS - Heaven Seeker [Deluxe Edition] (LMP/Limb/SPV) 2005
COMMENTARY PENDING
SEASONS OF THE WOLF Lost in Hell (Earth Mother/S.O.T.W.) 1999
COMMENTARY PENDING
WEEK OF FEBRUARY 6 - FEBRUARY 12
CHICK COREA - The Ultimate Adenture (Stretch/Concord) 2006
Chick Corea makes another story soundtrack, this
time adapting the story to his Spanish-tinged Return to Forever sound. The last one, TO THE STARS had incorporated
the long dormant Elektric band joined by wife/vocalist Gayle Moran. In the same spirit, the basis of the story
borrows a little of the Arabian Nights theme, allowing Corea to adapt his Spanish touch and blend gently with more of an
Arabic quality.
As a fan of almost every Corea grouping (with
the exception of A.R.C./Circle) this is a neat return to his mid-70's period recordings, particularly FRIENDS (which
is one of my favorite recordings of his outright) with a small touch of MY SPANISH HEART as well. It is welcome
to see Corea revisit this sound, though he approaches some of this as if he will not be back, lingering for long periods of
time in certain songs and wringing every drop from 2 and 3 part suites. I'm not sure that this will make
people forget those RTF highlights, but the fact that he can still be vital in this area is impressive.
In terms of artistic conviction; THE ULTIMATE
ADVENTURE is as good as it gets. This may not be the right time for this record, commercially, but for piano jazz fans
there will always be time for a record like this. To those unfamiliar with Chick Corea, you might start with the
self-titled RETURN TO FOREVER cd, LEPRECHAUN, and MY SPANISH HEART before getting here. That said, THE ULTIMATE
ADVENTURE would rank in the top third of his albums.
ROBERT PLANT Ship of Fools (Es Paranza) EP 1988
This is a three song 3" cd single that comes in a
cardboard mini tape reel box. Opening the tapebox, you find a booklet, and a paper sleeve to hold the disc. Thankfully,
it also came with an adapter so that it can play in most conventional cd players (though I'd think twice before popping it
into my car system).
The disc includes the original version of "Ship of Fools" from his NOW AND ZEN cd, as well as a live
version of "Helen of Troy" and a previously unreleased song called "Dimples". The live recordings are pretty good, and
are at least radio broadcast quality. "Dimples" really conjures up the "Zep-o-matic" approach that marked much of the
album; even slightly borrowing from "Heartbreaker". It is apparent that this is something done in the live setting to
offset the increased clamoring for Led Zeppelin at the time.
Unfortunately as an 18 year old item made of cardboard and paper, this one has seen a bit of wear.
The visual reminded me a little bit of 8-tracks and the old cassette boxes (where the art was glued to an open-ended
plastic case) looked like after a bit of wear. The air pockets, and handling marks are apparent over much of this.
Still, it is not a common item these days; and until I find one in better shape it will have to do.
GRAVE DIGGER The Last Supper (Century Media) 2005
COMMENTARY PENDING
STRAPPING YOUNG LAD City (Century Media) 1997
This is a very dense recording, perhaps approximating
the claustrophobia of most city life. This approach works well with a track like "All Hail the New Flesh"; where the
intensity and the dynamics change up. However for most of the songs here, this is too much of a good thing; and the overall
processing is migraine-inducing. At the very least, Townsend and co. are talented enough to make the soundtrack to a
headache worth checking out.
GEOFF DOWNES & GLENN HUGHES Roads of Destiny (Eagle Rock) 2005
COMMENTARY PENDING
DEVIN TOWNSEND BAND Synchestra (Inside Out/SPV) 2006
Leading two bands is not an easy thing. The
first quibble is who is going to get the majority of the attention, the next is who is getting which songs, and lastly will
each band be trapped in a sound because a difference needs to be maintained in order for two bands to exist.
Devin Townsend Band and Strapping Young Lad are both solid entries into the heavy metal category.
Some might argue that SYL are more of an industrial act, and that DTB is a progressive rock band. While these descriptions
definitely capture a part of the sound; DTB is not exactly quiet.
SYNCHESTRA is built out of a gnarlier sound than most "prog-metal" bands. While it may borrow
a little from King's X and Rush; the lyrical themes and the execution aren't anywhere as logical. [An acoustic number
leads to a thrashy shoutdown, did someone request a polka? Is that a banjo?] Despite the sudden left turns; the
album kept my attention without overly precious avant-garde attempts (a la Mr. Bungle or Primus).
Those new to DTB may want to start with ACCELERATED DEVOLUTION, before getting SYNCHESTRA. Though
fans of Faith No More, Steve Vai, or King's X will likely find a lot to enjoy here (including a guitar solo by Mr. Vai himself).
SABER TIGER Saber Tiger (VAP) 2001 SABER TIGER F.U.S.E. (VAP) 2002
SABER TIGER Indignation (VAP) 2005
Japan's Loudness is possibly one of the most influential
rock bands that most Americans have never heard. They've always been one of my favorites, but the true reward is now
finding, seeing, and hearing the bands who have been influenced by them.
One band, Saber Tiger has been going in Japan since the early '90's, but are beginning to find their
footing in the States. Part of this can be attributed to hiring Ron Keel (Steeler, Keel, Iron Horse) to sing on one
of their albums; the rest can be explained through the devotion certain hard rock fans feel towards Japanese hard rock and
heavy metal. Though this is still heavily underground here; area stores are beginning to stock their albums, former
members and peers are very active and prolific at this time too. (Note: Keel's current involvement in two projects,
former vocalist's new band Double Dealer, HTP's Japanese live album, Goldbrick [consisting mostly of HTP's backing band
during the Japanese tour], and the Kajiyama/Joe Lynn Turner collaboration have only increased the attention towards Japanese
artists.)
The first two Saber Tiger records listed [s/t & F.U.S.E.] sound very close to what many people might
have imagined once Masaki (EZO) had joined Loudness as its vocalist. Though the Masaki albums eventually showed Akira getting into
sloppier and more downtuned areas than many fans were desiring, the initial promise of the "Exploder" and Masaki's unique
growl strung along more fans than King's X ever did.
I have to start by saying that Saber Tiger guitarist Akihito Kinoshita is the goods. He is
writing some of the most interesting riffs that I've heard in the genre. Most are on a par with Japanese classics like "Strike
of the Sword", "S.D.I.", "In the Mirror", and "House of 1000 Pleasures". He has a very similar approach to mid-80's Akira
Takasaki, but the band interplay is a little tighter and Akihito isn't afraid to use altered tunings either.
INDIGNATION is the strange bird of these three, as it features only Akihito from the
original band. The vocalist is not quite as out front as Takenori from the first two records mentioned, though this
record features a little more diversity; mostly from dynamics and the vocal performances. Sonically it is
in the same terrain... pre-Atlantic Loudness, with more modern production, better technology, and tighter songwriting. Though
INDIGNATION is a healthy sign that the band survived the member change-over, and still has much
to offer artistically. Its a shame that we don't have a lot of modern American rock music of this quality
these days.
WEEK OF JANUARY 30 - FEBRUARY 5
AKIRA KAJIYAMA + JOE LYNN TURNER Fire Without Flame (Yamaha) 2005
With the past track record of both parties, the sound
of this record isn't much of a surprise. Kajiyama's previous project, Goldbrick, owed so much to a combined sound of
Rainbow's DOWN TO EARTH and Deep Purple's PERFECT STRANGERS, that the
only way he could get physically closer (musically speaking) would be to bring in a former member.
Enter vocalist Joe Lynn Turner, who has been a longtime member of Rainbow, and saved Deep Purple from
a massive album/tour wreck at the end of the '80's as vocalist Ian Gillan exited the group after much tension with long time
guitarist, Ritchie Blackmore. Though in hindsight, Gillan may have made a smart career move as SLAVES
AND MASTERS was a severe dropoff from the Purple standard (though Gillan would be involved in
the worst post-reunion album in the bunch in THE BATTLE RAGES ON).
Overall, this might even be a better Rainbow album than the one JLT did with Brazen Abbot, and throw
more Purple sound than the entire HTP studio project canon (which is the JLT highlight in my book). It isn't
much of a reach, but it is very enjoyable.
If you dug Goldbrick or longed for Turner to make good for the much maligned SLAVES
AND MASTERS album; FIRE WITHOUT FLAME will be a necessary addition.
BIG FISH Soundtrack (Epic) 2003
I bought this for the exclusive Pearl Jam track "Man
of the Honor", after finding it at a whopping $3 in an area used shop. The track itself isn't exactly vintage Pearl Jam,
sprawling somewhat lazily along the lines of "Low Light" or "Indifference" from earlier records. [It would really
be nice to hear this band actually "rock" again...]
The bonus is the inclusion of much of Danny Elfman's score, and it has the right level of
whimsy and general wistfulness that far outshone a rather garish movie. (Though to be fair, my taste is for comedies
and action movies; so its slightly arty fare may have been lost on me.)
The inclusion of several chestnuts, (Elvis's "All Shook Up", The Vogues' "5 O'Clock World", and the
Allman Bros. "Ramblin' Man") help this soundtrack play well across generations, despite the fact that these appear
on tons of other period compilations and soundtracks. Fans of Pearl Jam and Danny Elfman's orchestrations will need
this; the general audience should proceed at their own risk.
PETER GABRIEL Long Walk Home [Music from The Rabbit-Proof Fence](Realworld) 2002
COMMENTARY PENDING
DREAM THEATRE A Change of Seasons (EastWest) EP 1995
This is a pretty cool ep that debuted a longtime
concert staple on album, with several appropriate cover songs/snippets to add value. That staple is the title track
of the recording, features a lengthy 20 minute multi-sectioned epic mixing Yes, Kansas, and Genesis flavored pieces into something
slightly less obscure than Fates Warning. Still as far as prog-metal epics go, this one probably wouldn't fit comfortably
on a typical album (even with the band's penchant for 'pushing the envelope'). Also included are several numbers from
a club concert in which Dream Theatre paid tribute to their influences.
Art aside, the fun here is seeing the cover
songs get the 'DT' treatment. First up is a fairly faithful rendition of Elton John's "Funeral for a Friend/Love
Lies Bleeding" which has enough momentum to offset the natural aggression possessed by most hard rock bands but
still retain some excitement. It's a little jarring at first to hear LaBrie's voice here, but it gets
more appropriate as the song moves along.
The next tune is Deep Purple's "Perfect Strangers".
This was a great choice that allows both guitars and keyboards to shine. I hadn't heard the song in a
couple of years, but hearing it here made me go dig up the original. Again, I like the more familiar vocal of the
original version; but this version didn't fall short by much.
Afterwards we get the Guitar Center special...two
medleys of songs (one devoted to Led Zeppelin, the other a group of "important" artists to the development of prog and
the band itself) that feature incomplete songs and cherry-picked riffs and sections that highlight the chops and
most familiar parts.
In the Zeppelin medley, the shame is that instead
of using the band's talent to really dig in a create a new gem from an older track (as they've done with the first two or
separately in a version of Rush's "Tears"); they just kick around mostly instrumental sections of "The Rover", "Achilles
Last Stand", and "The Song Remains the Same".
The final section hits on music from Pink Floyd,
Kansas, Queen, Journey, Dixie Dregs, and Genesis. Though aside from "Turn It On Again", the sections are so quick-cut,
that it feels sonically like listening to the music from a TIME LIFE SONGS OF THE 70'S commercial.
Though I credit the band for not picking more "obvious" influential choices (like say, Jethro Tull, Yes, Rush, ELP, Styx)
than the Dixie Dregs or Journey. Though I think it would've been cool if they had thrown a bone to the influential Fates
Warning (whom drummer Portnoy had seen multiple times before joining Dream Theatre).
Overall, this is a pretty cool disc (that is long for an EP or a mini-album) that may provide cool archival
material for homemade cover song compilations, or to throw a dash of familiarity to someone who isn't familiar with 'DT'.
SEASONS OF THE WOLF Seasons of the Wolf (S.O.T.W.) 1996
For the life of me, I can't explain why I really
like this disc! While the cover art suggests Death Metal, the song titles are very Black Metal, and the
feature of a female band member make it somewhat Gothic Metal. SOTW are an interesting breed that are aware
of their connections but stands out on its own anyway.
I don't hear much instrumental prowess, and the songwriting isn't as structured (or as cliched) as most
heavy metal. The production is a bit murky, and the overall quality is a bit somber in almost a Type O Negative sort
of way, but far more interesting.
The only comparison I can make (that holds up for me personally) is to Canada's Exciter. Exciter
was a very basic band (some may say 'One-Dimensional') who were solid, anthemic, and energetic. Despite their
limitations, they were able to make 2 very important metal albums [HEAVY METAL MANIAC and
VIOLENCE & FORCE] before succumbing to their limitations and seeking more sophisticated players.
S.O.T.W. doesn't inhabit similar sonic territory; but you get the vibe that everyone but the band sees its limitations.
HIT THE LIGHTS Until We Get Caught (Silent Movie) EP 2005
A very cool indie EP bristling with caffeine-laden
power pop. The name is very Metallica, and the song title "These Backs Were Made for Stabbing" kind of recalled Megadeth's
cover of the Nancy Sinatra tune "These Boots (Were Made for Walking)", so I tossed it in expecting a Sum41 type of mixture
between modern rock with some appreciation for the past.
Realistically, this fits in very close to the "punk-pop" bands I've liked recently including the Ataris
and the DumDums. It is short, catchy, and bears repeating. Maybe they will grow into something classier (a la
the Tories or the Grays) or maintain a bratty edge (back to the Dum Dums or Marvelous 3); either way this is a promising start
for the band.
WEEK OF JANUARY 23 - JANUARY 29
ROBERT PLANT Shine It All Around [CD#2] (Es Paranza/Sanctuary) EP 2005
ROBERT PLANT Tin Pan Valley (Es Paranza/Sanctuary) EP 2005
SHINE IT ALL AROUND [CD#2] is a
different edition of the lead-off single from Robert Plant's MIGHTY REARRANGER cd. This one
includes a bonus remix and a special computerized version that allows the listener to "mix" it in the manner s/he would like
to hear it. This technology is from the U.K. and is called U-MYX. Unfortunately, my dinosaur (err...I mean my
computer) is running Windows ME, which isn't supported by this cd-format; so I can't tell you is the U-MYX is any good or
not.
TIN PAN VALLEY has two tracks, the first is an edit called "The Humour and the
Couch" and the second is the regular album version. The edit is shortened, though it makes more dramatic use of the
violent section of the song; cutting to it much earlier than on the original and repeating more frequently. The remix
is neat, but I prefer the original. Still, this cd-ep has some pretty neat artwork.
IAN GILLAN Dreamcatcher (Forbidden/ Navarre) 1998
This is a different version of DREAMCATCHER
than I've normally seen. The most common is the pastel-blue cover with a depiction of a dreamcatcher (the Native American
folk-art in which a hoop has feathers and fabric both inside and hanging outside the hoop), a funnel-shaped image in the center,
and a large feather in the lower right of the cover art. That edition was released in late 1997 on the Caramba label, featured
10 tracks, and is the "recognized" version of the album when looking through allmusic.com or the collector databases
for Deep Purple.
This copy has a picture of Gillan in a tropical setting; up to his armpits in murky (but reflective)
water. It also features 2 tracks not found on the regular version ("Sugar Plum" and "Any Way You Want Me"), and a revised
program order. The insert booklet is a rather cheap 8 page affair, in which three pages are devoted to discographical
information (for Gillan, Ian Gillan Band, Ian Gillan Solo, Deep Purple, and Ian Gillan w/ Others) as well as a label website.
Most people buying this (or actively seeking it out) are well aware of Gillan's involvement in a variety of projects throughout
his long and storied career.
The sound is a little more stripped down than most would expect from him. The material comes in
a number of flavors, though the highlights here are "Chandra's Coriander" and "Country Mile". The former is somewhat
psychedelic and Gaelic-tribal sounding like a mechanized version of Oregon slightly rocked up by Gillan's energetic
vocal. "Country Mile" has a very strong George Harrison meets Dire Straits feel, (particularly in the slide
guitar figure that opens the song). "Country Mile" may be the best crafted "song" on the record, as its mellow qualities
do ramp up a little on the chorus. The rest of the album will satisfy hardcore Gillan fans, but those who
don't drink the Kool-Aid will recognize that most of this passes by pleasantly without leaving much of an impression. Most
of the blame goes to the songwriting which relies more on Gillan's voice and solid instrumentation to get across
rather than on hooks, melody, or lyrics.
That being said, this record does show growth in Gillan's artistry; as he shows his voice to be much
more versatile than his Deep Purple/Black Sabbath output might suggest. I would hesitate to recommend this album to
hard rock fans, as only a couple of the numbers here would "qualify" in this style. I would not recommend this as a
first exposure to Gillan's solo music either (as much of this is far from representative). Though if you aren't afraid
of mellower music, there are a few things worth exploring here.
FORCED ENTRY Uncertain Future/The Shore (Century Media) 1999
Classy thrash the way San Francisco used to make
it in the early '90's. No frills but plenty of thrills as the band fits very comfortably between the Testaments and
the Gothic Slams of the genre. Without much coming out in this genre these days, this is a very refreshing listen; though
I imagined that even a band of this quality could've easily been overlooked or underexposed when the more extreme form of
metal was actively sought out by the major labels. There was a similarity between a number of the acts that led to a
fairly rapid burnout of the genre; leaving innovators like Metallica, Slayer, and Anthrax to all ponder new directions (Metallica
simplifying their sound, Slayer slowing down and getting creepier, and Anthrax taking on a new vocalist and going for a more
traditional metal sound.) Still, looking through the genre; Forced Entry may not match the "Titans", but match up quite
well with second-tier acts of the genre (who have had greater longevity than the main acts) like Testament, Exodus, and Overkill.
ANTHRAX Penikufesin (Island) EP 1989
Though the spelling is intended to trick the censors,
the actual title of this imported EP can be found by reading it phonetically backwards. (Not unlike the "I am SOFA KING
retarded" word play.) It's success led to an Americanized version of this called ATTACK OF THE KILLER B'S.
Unfortunately, like most things for America,
that compilation was dumbed down and (of course) lost out on two tracks from this precursor. "Friggin' in the Riggin'"
is an unusual sea-chanty type song that celebrates the road crew and its exploits. The band's humor shines through
again on this one. Also included here is the French version of "Antisocial" (which appears in English on the
STATE OF EUPHORIA cd).
As always, singles like these are for diehards and
collectors, who always take the risk that they'll be re-released on a later outtakes compilation or box set.
WEEK OF JANUARY 16 - JANUARY 22
ROBERT PLANT In the Moonlight - Live at Brighton Center 1983 (Midas Touch) 199?/1983
A very nice 2 disc cd-r of Plant and band on a UK
stop, while touring THE PRINCIPLES OF MOMENTS cd. While not quite as crisp and clear as the S.R.S. issue from
this tour (in Newcastle, Australia) the show features a solid songlist and a fairly strong presentation.
What I really enjoyed about this one was the version
of "Worse Than Detroit" (which didn't make the Newcastle show), as well as this take on "Moonlight in Samosa". Much
maligned among Plant's axemen, guitarist Robbie Blunt delivers tastefully on both tracks with a clear
and full tone that keeps the sliding on the former and the resolving chords on the second number from going too far off the
boards.
I do not know if there is a legitimate replicated
version of this as my other Midas Touch cds have also been cd-rs (which have been purchased in shops, online, and via
eBay). Though I applaud the attempts of labels like SRS for making the radio concerts available in a full replicated
cd with artwork. My only hope is that Robert and his handlers were paid for these.
ROB ROCK Eyes of Eternity (Massacre) 2003
This is the perfect record for anyone who loves the
guitar-led albums of someone like Yngwie or Impellitteri, but doesn't need to hear 3 instrumental tracks or repetitive redline
solos with the same exhausting techniques that leave little to the imagination. I never figured that subtle
would be a word I'd use in a review for this. But producer Roy Z. shows why he has become the go-to guy for bands
like Judas Priest, and solo acts like Bruce Dickinson. He creates the fireworks with the song, rather
than the solo.
Rob Rock is one of the classy metal voices (particularly for those who enjoy Joe Lynn Turner, Doogie
White, Michael Vescera, or Jeff Scott Soto) that functions best in the Rainbow/Yngwie/Impellitteri soundscapes. He doesn't
(nor needn't) take a back seat to an equally talented guitarist.
KUNI - Lookin' for Action [Featuring Panther] ([Unknown]) 1993/1988/1986
This is an Italian import featuring the LOOKIN' for
ACTION album, plus the songs from an ep recorded by a later project involving Jeff Scott Soto called PANTHER. This is
a replicated disc, though the quality is doubtfully lesser than the original which is fetching almost 15x what I paid for
this edition.
LOOKIN' FOR ACTION is best described as what it might have sounded like if Yngwie Malmsteen had been
a huge Kiss fan instead of a Deep Purple fan. The songs are a little rawer, and the subject matter a little baser.
It also doesn't hurt in that Jeff Scott Soto's voice is in a similar register (though much warmer and fuller) to Paul Stanley
for many of these songs.
WEEK OF JANUARY 9 - JANUARY 15
MOTORHEAD - The Birthday Party (Enigma) 1990
COMMENTARY PENDING
OZZY OSBOURNE - The Essential Ozzy Osbourne (Legacy/Epic) 2003
COMMENTARY PENDING
PHENOMENA - Phenomena (Parachute) 1993/1985
COMMENTARY PENDING
DOUBLE DEALER - Double Dealer (LMP/Inside Out/SPV) 2000
DOUBLE DEALER - Deride at the Top (LMP/Limb/SPV) 2001
WEEK OF JANUARY 2 - JANUARY 8
LIVING LOUD - Living Loud (Capitol) 2005
In 2003, Ozzy Osbourne's management team decided, in
response to a royalties dispute, to remove the recorded tracks of bassist Bob Daisley and drummer Lee Kerslake from the
first two Ozzy solo records. The existing vocal and guitar tracks (featuring the brilliant Randy Rhoads) were
left alone; and new tracks from Robert Trujillo and Mike Bordin were made for a "remastered" version of these albums.
[BLIZZARD OF OZZ, and DIARY OF A MADMAN for those who didn't know about this already].
Daisley still is in line for songwriting royalties for songs that appear on both records; but these
newly recorded tracks cut out Daisley's and Kerslake's performance royalties. As neither were part of Osbourne's touring
band, most people thought DIARY was recorded using Rudy Sarzo (bassist) and Tommy Aldridge (drummer) from the touring band.
Shortly afterward, the announcement of a new band featuring Daisley and Kerslake was making people wonder
who would get the last laugh here. The band, called Living Loud, features both Daisley and Kerslake; as well as current
Deep Purple members Don Airey (keyboards) and Steve Morse (guitar), and Australian superstar Jimmy Barnes to sing.
Despite the album's written intention; its very existence puts forth the challenge of whether Ozzy
or Daisley was right.
First off, Steve Morse is the sole reason that any of this is worth listening to. The fact that
7 songs here made their debut on Ozzy records more than 25 years ago, prevent anyone from seeing this as a "new" project.
The additional songs aren't bad; but do not benefit from the trends and production style. The vocals of Jimmy Barnes
doesn't really work for me either. His voice is somewhere between John Fogerty (CCR) and Dan McCafferty (Nazareth).
It's not bad, but it isn't fully appropriate for the material here.
The last question, is Living Loud a viable project, or a one-off for the Daisley/Kerslake retirement
fund? Only time will answer that one...
WEEK OF DECEMBER 26 - JANUARY 1
ROBERT PLANT Mighty Rearranger Tour - Live in Chicago 2005 (cd-r) 2005
When I saw this show was available online, I was
incredibly excited. I was in the audience at the Auditorium Theatre for this show and it was really neat to check the
recording up to what I remembered about the show. It is also a neat test to see how much listening I did with my eyes.
The concert was very neat, as Robert is a very visual performer, and his band was also fairly animated.
I had seen half of this band in Milwaukee during the tour for DREAMLAND (though this was the first time seeing "Skin" on guitars
and Billy Fuller on bass).
The recording is an above average audience recording and everything (including the 10 minutes of clapping
before the encore) is included here. The show itself starts a little weakly as it opens with Zeppelin's
"No Quarter". This isn't one of my favorites, but for some odd reason has really been a "core" song for Robert
since the first UNLEDDED project. Afterwards is a somewhat slow and sloppy version of "Shine It All Around".
[This was greatly tightened up when I saw him perform it in the WTTW studios for the SOUNDSTAGE tv program.]
Following a very nice version of "That's the Way", the show picks up steam and energy, and even
some questionable harmonies on "Hey Hey What Can I Do?" don't get in the way of a spirited and professional performance.
My particular favorites here are the version of "Black Dog" and "All the King's Horses". "Black
Dog" undergoes quite a metamorphesis from it's recorded form. The new arrangement reconfigures the guitar riffs
into something more akin to Clapton's "Lay Down Sally" or Plant's own "Promised Land". "All the King's Horses"
is just a plain gorgeous lullaby, which show Plant as the last of a rare breed. He finally has the sound of longing
and yearning, that only age can bring.
I really hope that Plant moves quickly to keep the band intact, and to keep new music flowing while
he has this spark.
AEROSMITH - Rocking the Joint [DualDisc] (Columbia) 2005
With the recent release of the Geffen contract-filler,
A LITTLE SOUTH OF SANITY, and the recent DVD/CD combo for YOU GOTTA MOVE, it really surprised me that either band or label
felt that there would still be an appetite for another live album. The band is a great live act, but generally follows
a regulated show that rotates between 6-8 songs over the course of the entire tour. Unlike the Dead, Phish, or other
recent Dead-like acts which improvise and changeover nightly, Aerosmith plays a stock show with small changes made night to
night. [It is still more flexible than most bands of their stature whose setlists don't change unless circumstances
dictate a shorter show.] Fortunately, the band was feeling pretty similarly, and went a little obscure this time out.
The band may be trying to reposition itself, as this collection, and the recent "blues-based" album
suggest that Aerosmith is at a crossroads. They are capable of keeping up with the kids, but the loyal fanbase are the
ones buying the discs, concert tickets, and t-shirts. The band had unabashedly gone after the younger audience through
the JUST PUSH PLAY album. Though as the current economic issues of downloading and reduced concert draws have affected
many artists and their reach; perhaps this is why Aerosmith is trying to get back to its "roots".
Despite this, the newer tracks on ROCKIN' THE JOINT sit comfortably here, including the material from
the last couple of studio records. Though my personal favorite is the live take on "What It Takes" on the dvd side
of the disc.
This disc is only available in the Dualdisc format, in which the center of the disc is
marked CD on one side and DVD on the other. Handling is an issue because both surfaces are used (either for viewing
or listening). Also the product comes in a special case with a curved spine and a catchpin for the jewel box door.
Will need to be careful as I don't think the case is replaceable. The video stuff is good (though I prefer
the "bluesier" YOU GOTTA MOVE, due to content and length). As Aerosmith begins another touring cycle, I can't
wait for another studio record to see the light of day. As the band members are each nearing 60, the hope is that they'll
continue writing and recording as much as possible for the inevitable losses of energy and ability that come with
advancing age. Though this should tide the diehard fan until new studio stuff is available.
FREE The Best of Free (A&M) 1972
Deep Purple's BURN remaster has a story talking
about Richie Blackmore's hope to start a new project with Paul Rodgers (or to have him join Deep Purple). In re-evaluating
Blackmore's last albums with Deep Purple and his Rainbow efforts; it became clear that Coverdale, Dio, and Turner were
also blues-based vocalists with powerhouse ability; who were somewhat comparable to particular facets of Rodgers's voice.So when I finally stumbled across a copy of this at a reasonable price, I couldn't resist checking it out for
myself.
I'm now convinced that the first 2 Rainbow records would've sounded much differently had this band not
existed. It wasn't a far logical leap to make from this to something like "Self-Portrait" or "16th Century Greensleeves"
sonically [particularly since early Free had a strong "folk" quality to it]. Though Free has more of a blues influence
than anything Blackmore touched.
Taken now almost 35 years afterward, this hasn't aged poorly. The lyrical content has gotten a
little tired, but the musical portion is still relevant, as a song like "All Right Now" has to be considered a godfather to
modern acts like Jet and The Darkness.
ENYA - Oiche Chiun [Silent Night] (Reprise/Warner Bros.) EP 1991
This is a nice little collector's single of Enya
single the Gaelic edition of "Silent Night". It is a little short for a "Christmas Album", but if strategically placed
in a multi-disc changer (or burned into an MP3 player or personal mix cd-r) spreads the adequate amount of cheer. The
bonus tracks come from the re-release of her self-titled debut, now known as THE CELTS.
KING'S X Pillow (Atlantic) EP 1994
This is a promo single featuring the studio track
"Pillow" from DOGMAN, as well as live versions of DOGMAN's "Shoes" and
FAITH, HOPE, LOVE's "We Were Born to Be Loved". The "cover art" is a humongous
yellow sticker centered on the door of the jewel box, featuring a black & white version of the band photo that appears
on the back cover of DOGMAN. with text touting the 2 LIVE TRACKS!
The sound quality here is a little better than the Woodstock tracks from their BEST OF
compilation; though these songs aren't among the band's better known compositions. Still, they really do get to
rip it up on "We Were Born to Be Loved" with its raging, yet free-flowing signature riff. I would love to hear
more audio from this show, as it is a little more energetic and free form than the LIVE AROUND THE WORLD
package.
From what I see online, this promo is somewhat rare; though like most King's X stuff,
is more valuable personally to the fan, rather than to a typical collector [in other words, there is little, if
any resale value here].
HERBIE HANCOCK - Possibilities (Starbucks/Hancock) 2005
Can we sound the death knell for the "Special Guest"
albums that follow in the footsteps of Santana's SUPERNATURAL? POSSIBILITIES uses this same approach by getting
modern "stars" to record with the legendary jazz pianist, for an album of lukewarm pop.
I don't know what the idea here was. Was it to alienate the loyal base or to try to recast Hancock
to a very fickle younger market? The same 50,000 people who've bought the last 4 albums Hancock has issued, will
likely buy this one and then recoil in horror. The other ones, will buy it for the artists/acts that they liked and
will either burn it and trade it in, or will wait for a version of the track to appear as a semi-exclusive track on
a greatest hits package or (if the artist/band has a long enough career) a box set.
This record will bore his jazz audience, and does not really challenge a pop audience either.
Enter at your own risk.
IRON MASK Hordes of the Brave (Lion) 2005
I'm beginning to think that the biggest influence
on power metal musicians might actually be Yngwie Malmsteen. Yngwie set a particularly high standard
for guitarists not only in technique, but in (for lack of a better word) style. Twenty years after his
greatest success, a new generation of guitarists in search of a personal identity have instead borrowed his (as he once
had borrowed Ritchie Blackmore's). Though in most instances, identity-theft is a crime, it is especially creepy
seeing so many guitar players taking on Yngwie's "fashion" cues; making like Tom Jones at a third-rate Renaissance fair.
Dushan Petrossi is a very talented player and writer
in his own right; but HORDES OF THE BRAVE is almost like Yngwie's TRILOGY-by
numbers. Granted, its production and tones have far advanced those of Yngwie's seminal works, but I can almost picture
Lion executives (if there are more than one) going through a marketing checklist.
Is there a medieval theme in the cover
art? "CHECK!"
Do the song titles have allusions to either historical or mythological events or characters?
"CHECK!"
Is the guitarist playing a Fender Stratocaster?
"CHECK!"
The problem with having so many (musical) progeny is that Yngwie was not particularly original
in his own right. Before putting out WWYD bracelets and t-shirts, we need to recognize that Yngwie found his greatest
success by reaching an underserved Rainbow/Deep Purple fan base in the early to mid '80's. He borrowed everything from
guitar choice, clothing cues, and even the "difficult" act from Ritchie Blackmore. Fortunately, he was talented enough
to make Blackmore's stuff his own; and was young enough at the time to make it "new" again. In fairness, Blackmore was willing
to indulge in the live setting (as countless Purple and Rainbow bootlegs will attest) but knew that album buyers
wanted to hear a song, not a technique.
Petrossi is still rather young, and has plenty of time and talent on his side. While
the material here doesn't match up to the best of Yngwie's material, it outclasses nearly one-third of Yngwie's
catalog. Overall, it is familiar enough to gain attention, and novel enough to hold it. Though I think
I'm hearing more of this as remaining potential rather than realized potential.
No doubt this record will hit its intended targets and make a lot of shred fans incredibly happy. I
find it personally weird to be somewhat detached to an album and genre that is passionately loved or hated.
HELLFUELED Born II Rock (Black Lodge) 2005
If there is a band that could really cause a resurgence
in heavy metal music for the Americas, it could very well be Hellfueled. Taken as part of a group of modern metal bands
like Fireball Ministry and Icarus Witch, there is an underground metal movement that is potentially as disarming as the
"real" metal music coming out in the early '80's by artists like Iron Maiden, Judas Priest, Black Sabbath, Ozzy Osbourne,
and Accept.
Hellfueled "borrows" its sound from a close resemblance of Andy Alkman's voice to Ozzy's voice during
the Randy Rhoads years. The music is a little faster moving and more complex than the original Sabbath, though no less
crunchy. This sound has become original because no one sounds quite like this (with the possible exception of Trouble)
anymore. Ozzy has moved on to a newer sound, and Black Sabbath are no longer a creative entity (at least in the last
4 or 5 years).
While not quite as immediately engaging as their VOLUME ONE cd, Hellfueled still keep it fresh and entertaining.
Strangely mine is an unusual version that features the disc in a steel cannister. I do hope that
I can keep it from getting rusty over the next 20-30 years that it is in my possession. (Of course, this is assuming
that the record/cd remains reasonably close to state of the art for playback media.
MCA Masters Series Sampler '88 (MCA Masters) 1988
Compilations are a mixed bag for me, because most
compilations aren't honest endeavors. Whether it is paying $5 for a label sampler that really is nothing more than part
of a "marketing campaign", or dropping $15 on a "money grab" compilation because a favorite band has an exclusive track
(which will later appear on a $50 box set as a semi-exclusive track) the whole process seems weighted in favor of the label.
However, time pays compilation releases back, with interest. I'm sure that this instrumental disc
was exploiting new "digital recording technology" as a selling point; and that it featured music yet to be released was another.
So some schlub paid $10 for this instead of ponying up $4 more for a whole album by an artist s/he really liked. Somehow
it made its way into a used stack (probably during a "spring cleaning") and falls into a $1 bin 13 years later, to be picked
up by the schlub writing this.
Now, this is a pretty good compilation of instrumental artists. Most walk a delicate line between
jazz and classical music, but fortunately, the vocalists have been left out of the mix. Of particular highlight are
two tracks by Acoustic Alchemy, the British guitar duo, who make music that sounds incredibly mid-American.
BOSTON Third Stage (MCA) 1986
BOSTON Walk On (MCA) 1994
Tom Scholz is the mad scientist of rock'n'roll both
literally (for his discoveries at Polaroid and Rockman) and figuratively (for the length of time and involvement
making his "huge" sounding RAWK records). Though his smartest move may be for using Brad Delp as a vocalist.
His is a very unique voice that sits well in the mix, as it has enough character as a leading voice but also makes a great
foundation for vocal harmonies. Also, listening to the call and response harmonies on the debut (particularly "Hitch
a Ride" and "Something about You") hints at a greater songcraft on the part of both Delp and Scholz.
Delp makes another reappearance on THIRD STAGE, Boston's debut for MCA.
Surprisingly enough it is reasonably current in the musical climate of 1986, despite taking nearly 8 years between records.
Credit Delp's voice for taking leadoff track "Amanda" and hurtling it to power ballad heaven. This one was huge
for the band, and it continually finds new life as a result of new compilations and retro-radio. Next track, "We're
Ready" was a fairly popular song on local classic rock radio (and I was actually more aware of this then of the "hit" as I
got into the band fairly late). Despite the obnoxious harmonic overkill at the end, this song builds rather nicely and
shows a direct progression from 70's rock to the then-modern sound. The other highlight is "Cool the Engines" a rocker
that would've fit on either of the earlier albums. Unfortunately, the album then takes a dramatic shift (though others
might remove the 'f' from that last word) to reprise "Amanda" (the song title of "A New World" doesn't fool me, it is the
same song though slower and with different instrumentation) and go into some seriously melodramatic, syrupy stuff
(like "Still in Love" or "Hollyann").
Unfortunately, the lack of rock at the end of this is the major problem with the album overall.
It was part of the reason why I was slow to upgrade my cassette copy of this. I had this
on cassette for a long time, and was able to pick up a clean used cd for half of what I paid for the cassette.
Surprisingly enough, I found the 1994 effort, WALK ON, at the same store and same time for a whopping
$2. I was full-on into the college rock, alternative stuff, grunge, and the more extreme metal at the time so I never
picked this one up. While THIRD STAGE managed to stay current, the grunge explosion left little
stable ground for WALK ON to build. The original fans were long into their families, and the
ones won over during the mid-to-late '80's were onto newer and more challenging music. This was exactly what Nirvana
and Pearl Jam preached against; corporate rock. Despite the band's very challenging social and political stances, the
subject matter was reasonably vapid; and aside from Billy Corgan, no one was going for the "big guitar" sound requiring countless
overdubs. Taken 12 years after the fact, the album was ignored because there was little special about it. Had
WALK ON been issued in 1988, it might have fared a little better in the marketplace.
Vocalist Tommy Funderburk (who would also sing on the COVERDALE PAGE album) sits in for Brad Delp, and
while he, too, has a great singing voice; it doesn't have the same character as Delp's. Though Scholz makes some adjustments
in his composing to offset the differences; it does not make for comparable chemistry. Boston without Brad Delp might
as well be Journey post-Steve Perry or Chicago post-Peter Cetera; able to cover its past but not quite generating the same
excitement for its new projects.
OTHYRWORLD Beyond into the Night of Day (Othyrworld) 2005
SACRED BLADE Of the Sun + Moon (Othyrworld) 1999/1986
Sacred Blade were a highly touted power/progressive
metal band who operated in a similar sonic area to bands like Fates Warning and Crimson Glory. They appeared on a METAL
MASSACRE compilation, recorded a number of demos made one classic underground album, and fell apart after recording several
demos for a followup.
Taken nearly 20 years after its initial release, OF THE SUN + MOON is deserving of the positive
accolades that I've seen online (via BNR Metalpages, Fan Sites, and other electronic media). It combines futuristic
sci-fi style themes (a la Crimson Glory or pre-MINDCRIME Queensryche) with a progressive metal sound that was
a little darker and crunchier. There is definitely a strong prog influence here, though I'm recognizing it as more
of a Pink Floyd or early Genesis influence rather than a Yes, Rush, or ELP one. The only criticism I can make is
that the vocals really weren't as strong as those found in their peers.
Fast forward 13 years later, and the remaining members of Sacred Blade (leader Jeff Ulmer
and drummer Ted Sawadzki) form a new project called OTHYRWORLD.
BEYOND INTO THE NIGHT OF DAY was released in early 2005, and includes a couple of newly recorded songs
from the Sacred Blade album, as well as several new originals composed by Ulmer. The new coat of paint on the older
songs is interesting to me, though I imagine long time fans cringing at seeing updates to "classic" metal performances.
As of this moment, the albums can only be bought through the Othyrworld website (www.othyrworld.com), and a special is being offered if both albums are purchased at once. I highly recommend these records to fans of
Crimson Glory, Warlord, Fates Warning, or Trouble.
BEAUTIFUL CREATURES Deuce (Spitfire) 2005
The debut record from Beautiful Creatures was a well-camouflaged
blast of garage-y hair metal. It fit in really well with bands like The Darkness, Brides of Destruction, Jet, and Starwood.
The songs had plenty of attitude to spare. So when I saw that the band was recording a new record, I was a little excited.
Unfortunately, the band has taken an exceedingly
modern turn, and a lot of their original sound didn't survive the changeover. The songs are closer in spirit to
groups like 3 Doors Down, Theory of a Deadman and Nickelback than of Velvet Revolver, The Darkness, or even Bang Tango.
Hopefully some additional listens will eventually
turn my head, but on 3 full listens; I've yet to find something memorable.
MORNING WOOD Morning Wood (Escape) 2002
Morning Wood is a side project led by Tony Harnell
of TNT and also includes guitarist Al Pitrelli. Unfortunately, Pitrelli is immensely talented but has had
terrible luck as he always seems to be one step behind the curve of the bands he's joined; figuratively becoming the
musical equivalent of the "ex-Cub factor" in baseball.
For those who aren't aware, in the time period from
1950 until 2001, there were actual statistics in Major League Baseball kept on the teams that made the playoffs
and World Series. Sometime in the mid-80's, a statistician noted that no team that had 3 or more players that at
any time played for the Chicago Cubs had ever made it to a World Series. Until the late '90's, the team with the
fewest former Chicago Cubs had always prevailed in the Championship round. The ex-Cub factor was ended when the
New York Yankees beat the San Diego Padres in the World Series several years ago. Though it has been more
of a coincidence than anything, Chicago (particularly Cubs fans like myself) still are sensitive about this trend
and still believe in it to some extent.
For all times and purposes, Al Pitrelli has entered
a number of playing situations and projects just as they fell from favor. Start it off with Widowmaker, a brand
new band project with Dee Snider. I don't think Twisted Sister's success was a fluke, and I do think Dee is
enough of a character (good, bad, or otherwise) that he could've maintained enough of a "punk" presence to override
the hair metal purge that Nirvana, Pearl Jam, and R.E.M. caused.
Second task is Alice Cooper; who for a short while
was a starting point for a number of musicians to find success on their own. Kane Roberts got a solo
record deal. Winger was comprised of 2 former Cooper members. By the early '90's shredders were clamoring
for a chance to play with Alice, and HEY STOOPID! had Slash, Joe Satriani, and Steve Vai on different songs. Afterwards,
bring in Al Pitrelli and Alice is going from regular rotation on Mtv to lengthy club tours.
A most recent example is his tour of duty with Megadeth.
Around for the album THE WORLD NEEDS A HERO, Pitrelli saw the decline of the band as they dropped to a majorly-distributed
independent label and a much reduced production budget for the album.
These are bad luck scenarios that were caused by
several factors; but the sick coincidence is Pitrelli's inclusion. The hard luck continues with Morning Wood.
Tony Harnell is as talented a hard rock singer as
they come. He has a higher vocal range than many but possesses the versatility to go from soaring ballads to angry
rock. T.N.T., Westworld, Brazen Abbot, and Starbreaker have all effectively used Harnell's voice to advance their original
ideas. Who'd think that deep down, Harnell only wanted to lead a cover band?
MORNING WOOD has only one previously unrecorded
track. All of the other songs have appeared on albums by other artists. Most have been relatively successful songs
that still can be found on the radio in classic rock or "dusties" (classic Motown and R&B) stations.
Did anyone really need to hear Harnell leading me through bad '70's rock songs like "One of These
Nights" [Eagles], "Crazy on You" [Heart], "Midnight Rider" [Allman Bros.], or "Give a Little Bit" [Supertramp]? Answering
this question will determine if this album is worthy of your attention out of fandom or sheerly morbid curiosity.
Harnell and co. have talent to burn, but it is sorely misplaced here. The songs themselves
are so classic to most people that no updating was necessary and it's futile to think that any of these might be
improved upon. So I don't quite know what the overall goal of this recording was. It is kind of like buying
a race car and using it for car pooling; or buying a school bus to haul sheets of plywood or pane
glass.
There are people who will eat this type of stuff up; but most "covers" albums select at least a
few odd songs that you wouldn't think influence or motivate the artist (with the exception of Yngwie who rightfully devoted
several spaces to Deep Purple and Rainbow on his). The repertoire here appears on the setlists of a million classic
rock cover bands haunting cities and suburbs throughout the U.S. Cover versions often are better left to the amateurs.
WEEK OF NOVEMBER 27 - DECEMBER 3
THE MOB The Mob (Frontiers) 2005
Despite the snarkiness of Beavis & Butthead's
friend, Stuart; Winger were one of the first bands to speak out positively about the greatness of King's X. Both Kip
Winger and Reb Beach were quoted in an industry ad promoting the GRETCHEN GOES TO NEBRASKA recording
(as was Vernon Reid of Living Colour and people higher up) discussing the "bold" new sound the band was taking at the time.
In fact, Winger really was an underrated band that were poorly represented and poorly marketed. From the cheap
seats, Winger was successful because Atlantic had focused more on their look and their opportunistic timing to get across;
then on the fact that Winger and Beach were very strong musicians and could've easily have been considered the late '80's
heir (hair?!) apparent to Jon Bon Jovi and Richie Sambora.
The fact that Winger and Beach had spoken positively of King's X and the changing face of hard rock
at the close of the '80's, shows that the band weren't threatened by what was to come. Of course that's the only reason why
nearly 13 years after the fall of Winger and their hair metal brethren; I didn't find it unusual to see Doug
Pinnick fronting a project featuring Winger principals, Reb Beach and Kip Winger.
I see a couple of punters wondering why I'm counting Kip Winger as a MOB principal as well. He
produced the disc, co-wrote most of the album, and performed the bass tracks. While he is not pictured anywhere in the
liner notes; this is a heavy enough involvement in the project to count. The absence of Kip in anything but the songwriting
and production credits makes me think that the project didn't want to be compared to the bands' Atlantic output.
As a result, the album sounds almost like you'd expect it to, and the comparison is even harder to avoid.
It feels like Doug Pinnick is performing the vocals on a Winger album. For the record, this is not a bad thing, and
the inclusion of Night Ranger's Kelly Keagy on drums and vocals adds a fuller harmony blend and a more AOR approach to the
proceedings. Though it is a little awkward to hear Doug waiting for "cherry pie" and delving into more hetero-based
lyrical content than the religious-politico-relationship fare in his main band, King's X.
Despite it all, I have to say my favorite songs are "The Magic" and "I Will Follow". One is a
ballad that sounds like Night Ranger going into Brian Howe-led Bad Company with a modern production, the other a sly nod to
Zeppelin while still maintaining the Pinnick/Winger identity. These are two songs that show how the old can be made
new again, and could be quite influential to young musicians who don't want to integrate rap, granola rock, or just plain
old power pop into a new sound.
If this consistency would have held up, THE MOB would definitely have qualified
for TOP TEN status at year end. Still, there is plenty to like, and hearing Pinnick stretch his voice into new directions
(whether in a doom mode like his latest solo record, going Hendrix-ian in his main band King's X, or even adding a soulful
edge to a very white hard rock sound) is a treat. Hopefully, there will be a second installment by this band that won't
take as long to air as new Soprano's episodes.
ROBERT PLANT Now and Here (Main
Event) 1989
Recorded live at the Spectrum in Philadelphia as
part of his Non-Stop Go tour; NOW AND HERE captures all but 2 songs of the entire show that
night in 1989. On the set that night were highlights from two of my favorite Plant albums, THE PRINICIPLE
OF MOMENTS and NOW and ZEN, as well as four Zeppelin numbers. Highlights here include the rarely performed, "Black Country Woman", and the extended jam of "In the Mood".
The quality of the recording is in the B+/A- range and this is a pretty solid quality bootleg in that
it features full art and is a replicated (silver) disc. I found it used for less than $10 in a DeKalb area cd shop and
it has spurred my interest in finding and acquiring more live recordings of Robert Plant.
TWISTED TOWER DIRE Crest of
the Martyrs (Magick) 2005/2003
TTD is a great story, in which a couple of the area's
top cover musicians bemoaning the state of modern hard rock/heavy metal; decide to make the music they feel is missing from
the current mix. Running similar to Icarus Witch, the band has a strong desire for early-to-mid-80's heavy metal, with
a more modern approach to playing, songwriting, and recording.
The real problem for me is that in paying tribute to the genre, the band lacks enough of its own identity.
A more unique and versatile vocalist may help the band make the next step. For the most part, this will
appeal to fans of early Ozzy, mid-80's Priest, and the pre-glam end of 80's hard rock.
AEROSMITH Rocks (Columbia)
1993/1975
AEROSMITH Toys in the Attic (Columbia) 1993/1975
AEROSMITH Draw the Line
(Columbia) 1993/1977
AEROSMITH Live Bootleg (Columbia) 1993/1978
This was a total impulse buy, as I was able to upgrade
two albums from their original cd issue and the latter two from well-worn cassettes for less than $25, as part of a Sony
sale, I was able to get them for $5.99 each.
What can I say? Aerosmith is rock'n'roll.
They had the Stones' swagger, Zep's energy, and a groove that no one can touch. Even wacked out on illegal drugs; the
band was light years ahead of all of the American rock bands and a majority of the British ones as well. While
I prefer other bands [Rush, Van Halen, Led Zeppelin, XTC, and R.E.M. are bands that I like more than Aerosmith] I have
to concede that none of these are been as consistent or have had as long of a hot streak as Aerosmith has. I also
have to concede that aside from one Van Halen concert, that Aerosmith has blown out energy-wise the other two bands from this
list that I've seen.
TOYS IN THE ATTIC and ROCKS should be issued to every person
as they begin to determine what music they like for themselves. This is the apex of '70's hard rock, and aside
from a few other key acts (AC/DC, Black Sabbath, Deep Purple, Led Zeppelin, Rush, and Van Halen) the peak of rock
music in general. Both albums may require a little bit of work to get into at first, but have enough attitude and
wrinkles to maintain interest long past those first listens. One has the hits (TOYS) the other has the legend
(ROCKS). This newer remaster (my previous copies were the Sony originals with the red block letters on the spine
and the poorly reproduced album art) has upgraded its booklets. In addition to clearer album cover art, each
features record-specific collages featuring memorabilia from the period, including t-shirts, trade ads, laminates, and photographs.
These are my first cd copies of DRAW THE LINE and
LIVE BOOTLEG, though I've had both on cassette from when I was learning to drive. I never bought these because
I had intended to get their BOX OF FIRE complete studio album boxset. I abandoned the thought of getting the BOX
OF FIRE set, after finding a new copy of GET YOUR WINGS for $6. I have waited a long time to hear "Mother Popcorn" and
"Sight for Sore Eyes" in the digital realm as a result of this delay. (Silly me). These are good discs to put
in a changer and play at random; a recommended use until I have to pony up for the next remaster.
R.E.M. Find the River (Warner
Bros.) EP 1993
Anyone who has been reading this page for long should
guess that R.E.M. are one of my favorite bands and that as a result of my collecting, a dangerous trend may commence.
In the time of release, I ignored most of the domestic
singles due to the fact that the "bonus" tracks (b-sides) were primarily live versions of already recorded songs. As
new R.E.M. music is becoming harder to come by, I've been going back to get the singles and bootlegs that I didn't in the
day.
FIND THE RIVER is of note primarily for an instrumental
mix of "Orange Crush". Peter Buck is a notorious vinyl fan and looking through R.E.M. releases like DEAD LETTER OFFICE,
suggest that 45's were a huge part of his musical upbringing.
To be fair, this is something I hadn't seen since the '70's (where many artists only had 1 song to record,
so the flipside of a 45 would be an instrumental take of the song). Overall, it is more of a novelty than a necessity;
though many R.E.M. collectors have bought far more for far less.
STEVE HOWE'S REMEDY Elements
(Inside Out/SPV) 2003
It is no secret to most of my trading friends that
YES is one of the primary groups that I collect. Blind devotion to the band has resulted in multiple purchases of band
product, side projects, live bootlegs, and tribute albums. So after a thoughtful and nice recording by guitarist
Steve Howe with Paul Sutin, I was looking forward to hearing more of Howe's solo stuff.
Until I heard this. I really like Howe's guitar playing, love most of the music he's been involved
composing, and even respect his ability to play nearly any stringed instrument (particularly after looking at the "guitar
use charts" on earlier records). Unfortunately, his singing voice just doesn't match many of his other talents.
It isn't as bad here as it was on BEGINNINGS, but the use of a stronger voice would benefit this music greatly.
Before I knock too hard, few get the opportunity to play music with their children. Two of
Howe's sons are involved here; Virgil on keyboards and Dylan on drums. Should any further acclaim come to the Howe
children, this may be where the torch was originally passed.
BLONZ Blonz (Imagine/Epic) 1990
These days I don't really stumble across many older
rock discs unless they are original editions of newly remastered recordings, so I was pleasantly surprised by stumbling across
this hard rock act. From the first note on, you could hear the band really going for it to reach the heights of Slaughter,
Tesla, or to a lesser extent, Firehouse. The performances are fairly solid and the production is as good as the time
would allow. Unfortunately for Blonz, this form of AOR was beyond saturation at its release that the band wasn't able
to climb above the muck to make a name for itself.
Aside from the tendencies for ballads and the somewhat preachy "Last Call" this is a fairly solid slab
of AOR that has a somewhat "southern" quality to it. Try to imagine a cross between Night Ranger and Tora Tora, or Firehouse
with a little bit of early Brother Cane to get an idea. Blame part of the band's failure on a very sterile mix (Kansas
members run amok in a music form they really didn't understand), and the rest on the weird juxtaposition of placing a "message"
song about alcoholism in the middle of a record that asks you to drop responsibilities and "take part" in the fun. Some
may argue that the band deserved a better fate, but there is nothing special (although there is a lot enjoyable) here
to merit attention or repeated listens.
WEEK OF NOVEMBER 20 - NOVEMBER 26
JORN Out to Every Nation (AFM) 2004
COMMENTARY PENDING
ALEX MASI Attack of the Neon
Shark (Metal Blade/Enigma) 1989
One of the worst bait & switches of the shred
movement of the mid to late '80's was to have a single vocal track to demonstrate the versatility of the shredder. The
problem is that either the vocal song was better than any of the instrumental tracks, or else the vocal damages the continuity
of the instrumental album.
Masi's album opens with a vocal track featuring Jeff
Scott Soto and infamous Japanese shredder Kuni. Unfortunately, the track "Under Fire" is the only one of its kind before
Masi takes us on a twisted (and rather unpleasant) ride through his talents. Not that this track is that great,
but it is the highlight here. The main reason is bluntly, that some of these instrumentals are work to get through.
Also, aside from Emerson Lake & Palmer, who else would even know about Ginastera's "Toccata", let alone cover it?
It is a bit painful to say the least, not even bad portamento-enabled keyboards are available to put this into a fuzzy focus.
There is no denying his abilities, but great talent doesn't always make for great music. I would've
preferred to see Masi operate in a more conventional manner here.
IRON MAIDEN Out of
the Silent Planet (EMI) EP 2000
This was a limited edition cd-single featuring a
very cool cover painting putting Eddie (the band's longstanding rotting corpse mascot) in the role of an official
giving a press conference. Colorful and somewhat in the spirit of the futuristic cover art of those SOMEWHERE
IN TIME singles, this is a new image I hadn't seen before. As a limited run of 5000, this will have
to do until either a poster or a coffee table book of this cover art appears.
In addition to the exclusive cover art, the
single also includes spirited live versions of warhorses "Aces High" and "Wasted Years" from the ED
HUNTER tour. These versions are little more rugged and less polished than in previous appearances on
LIVE AFTER DEATH, the REAL...ONE series, or even the DONNINGTON package.
Still the power and charge carries these songs to places most metal can't reach.
ETERNA Terra Nova (Crash) 2003
I was lucky enough to receive the EPIPHANY
cd from a fellow trader long before stumbling into this album, so I was aware of the progress made by the band in terms
of ability and songwriting. TERRA NOVA opens with 5 very strong new tracks that combine
Stratovarius with Dream Theatre, before reprising several songs from their first album PAPYRUS (which
was thoughtfully forwarded to me by that same trader a few years before EPIPHANY).
Overall, the album maintains a very strong Christian lyrical stance, as the band is highly religious.
Fortunately, the lyrics are more story and idea based rather than a collection of melodic sermons. This is a band that
can stand up as an artistic collective, and is not propped up by being an "alternative" to secular progressive metal music.
I wouldn't go so far to compare these guys to Angra or Helloween, but they would fit comfortably in
the second tier (Blind Guardian, Edguy, Sonata Artica, etc.) would be a pretty reliable indicator as to what you are getting,
musically speaking.
JOEY VERA A Thousand Faces (Metal
Blade) 1994
I hadn't seen this record but once since stumbling
across this copy in a used bookstore for $1.98. To be fair, it wasn't something I went to eBay for, and a lot of traders
I've talked with have mentioned that this was practically released with the drill bits and sawcuts in place for its pending
demotion to the cutout bin. In his musical career, Joey Vera has been the bassist of two of the classiest hard
rock/heavy metal franchises out there, Armored Saint and Fates Warning. With this pedigree, you'd think he'd have
enough currency to have at least one solo record given a proper reception by the label and the public at large. Though,
this was released at the height of grunge, meaning many Armored Saint fans had moved on to Alice in Chains, and the "new"
metal with a grungier more realistic lyrical sheen. So it is of little wonder that this record was released in small
numbers to a resounding thud. Surprisingly,
I've found several copies in the last couple of weeks with the highest price being $3.
It was with the price tag in mind as I sat down to listen
to this album. As a whole, the highlight is the track "Replacing You" and features Vera's Armored Saint comrade,
vocalist John Bush. The lyrics are a little confusing, but it is very close to SYMBOL OF SALVATION
era Armored Saint sonically. The overall mood of the record is dark, but in a Salvadore Dali sort of way.
"American Bruise" is an example in that the song itself is fairly anthemic in an almost mindless way, yet under the surface
is a somewhat dangerous and unexpected; specifically for those who aren't mindful.
Other surprises include the gallows humor of "Laughing in the
Light" which despite its anchoring in hard rock, comes off with a flippancy you're more likely to see in the work of groups
like Faith No More, Primus, or Mike Patton's other project, Mr. Bungle.
Overall, A THOUSAND FACES isn't
something I'd find myself listening to on a regular basis, but it is definitely a novel record and hints at a deeper
artistry than the typical bassist role - that of holding together someone else's artistry.
GALACTIC COWBOYS The Horse
That Bud Bought (Metal Blade) 1997
The Galactic Cowboys were the second band, producer
Sam Taylor brought to the Alt.Metal community after longtime favorites, King's X. Both bands are close peers and
have done a lot to move hard rock and metal music away from the cheap and tawdry topics that dominated the "hair metal" era.
Unfortunately, GC were the negative side of modelling. Following King's X, they were seen critically
as soundalikes, and commercially one of the few bands that seemingly undersold King's X. The major problem is that Taylor's
productions for both bands were a bit similar. The songs were "sweetened" by vocal harmonies; the guitar tones weren't
varied enough, and the arrangements seemed to use the same building blocks. Despite this, Galactic Cowboys were accepted
and part of the King's X family.
King's X had several major label chances before joining Metal Blade, Galactic Cowboys had two.
The first efforts of both bands had been somewhat disappointing. The addition of guitarist Wally Farkas didn't make
up for the lack of polish on MACHINE FISH (Galactic's first record for Metal Blade). At this juncture, I decided to
cut my losses with the Cowboys, though I remained steadfast with King's X.
Listening now to THE HORSE THAT BUD BOUGHT, (which I found for $1 in a used bin), I realized that the
band really deserved a better fate. The music is fairly original here (but 3 years later these sounds would appear to be
the base of bands everywhere from Creed to Nickelback).
I really dug the track "Oregon" as it seems to sum up the best parts of the band.
It has some heft, a little genre mashup, some goofy lyrics, and interesting vocal harmonies and choices. I hadn't
liked G.C. this much since I was thinking how clever it was to make the lyrics appear as letters on their debut
record.
WEEK OF NOVEMBER 13 - NOVEMBER 19
BLIZARD Blizzard of Wizard (Warner Japan) 2002/1984
After stumbling into two other Blizard recordings,
and really liking them (HOT SHOT and KAMIKAZE KILLERS); I finally
broke down and snagged the band's debut.
BLIZZARD OF WIZARD is a typical adaptation of American hard rock for Japanese audiences,
but lacks the depth or intensity of their later albums. Part of this can be blamed on the appearance of two Journey
songs "Only the Young" (which later became a soundtrack hit for the American band) and "Liberty" which has yet to be
released on a Journey album. Though songs like "Lady Stardust" and "Dream of Flower" hint that the band had the potential
to escape the shadow of Loudness.
For those new to the band, I still recommend KAMIKAZE KILLERS as an entry
as it compares favorably to Loudness's DISILLUSION, particularly in the progressive elements each
brings to their hard rock sound.
THE SYN Syndestructible (Umbrella) 2005
The Syn was one of several "tributary" bands that
flowed members into Yes. In actuality, the Syn was tne step Chris Squire had before joining Mabel Greer's Toyshop
and meeting Jon Anderson; the Syn dissolved in the mid-60's. Now, nearly 40 years later the band reconstitutes
and drops a record. As a longtime Yes fan, I'm a little confused by this step back; though it is an interesting look
into what Squire was doing before Yes, though this is primarily a partnership with vocalist, Steve Nardelli.
The album itself is kind of an unusual listen these days because of its utopian themes. I'm not
sure I understood everything, but there is a lot of innocent optimism here. The grotesque thing is that these words
are coming from the aged voice of Nardelli; a man that has likely lived through a lot of things in which hopeless naive optimism
seems like a cop out. As a teenager, 11 minute tone poems to the healing power of love is pretty interesting; however, any
musician in his mid-50's should have some clearer answers by now.
As a vocalist, Nardelli has a little bit of a Peter Gabriel quality, though not quite as clear.
The music itself is a little stilted, and not quite as accessible as Yes, as most of these songs go over 6 minutes.
Though many who miss the mid-70's prog-rock of groups like Gentle Giant, Eloy, or The Nice will find plenty to enjoy
here, as the performances are strong even when the songwriting isn't.
I was really hoping for another Conspiracy album during Yes's current hiatus. (Squire's longstanding
partnership with former Yes-man, World Trade, Magna Carta tributeer Billy Sherwood.) If Conspiracy is an update
of Asia or the Yes-West sound, then the Syn is a return to the Peter Banks era of Yes when the idea was a little more
developed than the actual product. Fortunately, there are a few worthwhile moments, (particularly "Golden Age")
that keep this disc from hitting my trade-in stack.
EDGUY Vainglory Opera (AFM/ Connected) 1999
Okay, I'm likely to show my ignorance here, but I
don't quite get why Edguy is so highly rated. There are a lot of bands in a similar genre (melodic power metal/progressive
metal) that just outclass and outdo this band. The most positive thing I can see about the band is that they are still
a relatively young and ambitious group of guys and that they have the potential to really bring the genre back to mainstream
ears; but the band has spent more time showing potential than realizing it.
VAINGLORY OPERA is an album that has everything I love about heavy metal, but for some odd reason it
just doesn't come together for me like it has for peers like Helloween, Angra, Dreamscape, or Blind Guardian. The wailing
vocals, aggressive harmonized guitars, killer riffs, anthemic choruses, and an unmistakable energy. Perhaps because
the formula for Tobias and co. is so rote (gallop here, scream here) that this seems more of a replication of what is already
available than bringing something new to the formula. It hasn't caught on 5 listens, though I'm hoping that time will
help me to appreciate the record and talent involved.
MONSTER Through the Eyes of the World (Pulse) 2005/1996
When I was starting my search for the Black'n'Blue
and Malice albums on compact disc, I stumbled across this band, but figured that maybe one member might have done touring
duties or something relatively insignificant. Most of the sellers didn't say much but put the band firmly into these
two camps. It is a bit strange, though both are LA bands featuring members from Portland, OR. Still,
without a clear idea who or what was involved in the recording, I didn't bother until seeing this shiny new reissue in an
area shop.
Monster features former Black'n'Blue drummer Pete
Holmes, with the former guitarist and bassist of Malice (Mick Zane and Mark Behm respectively), and then-newcomer Mark Isom
on vocals. The sound is what one might expect, that of a more direct Malice with a slight difference in vocal tone,
and less frills than the LICENSE TO KILL form of the band. The involvement of Max Norman as
producer guarantees a guitar sound that curried little favor during the grunge era and may have prevented it from selling
more than a handful of copies at live shows and overseas; and garnering more rejection letters from major labels than
the legends of Meat Loaf and Twisted Sister combined.
From what little information there is online about the album, this Pulse version is basically a
domestic reissue with nothing exclusive on the collection or its packaging. Despite this, it is a solid effort falling
somewhere between Malice and Wildside, but without the "played out" quality of LICENSE TO KILL or
UNDER THE INFLUENCE. Personally, I would have a hard time recommending this to someone
unless I knew they were a major Malice fan.
STRATOVARIUS Elements Pt. I [3-D Box] (Nuclear Blast) 2003
I finally found the upgraded package of this for
less than $8. This upgrade features a deep cd-sized box that opens like one that holds a reel-to-reel tape. Inside
this box, which features a 3-D rendition of the cover art, is the cd album, poster, sticker, and bonus cd-single.
Although I got this used, it still had all of the materials inside.
The record itself is a pretty standard "prog-metal" fare, though the demo versions found on the bonus
disc provide a neat insight into the creative processes of guitarist Timo Tolkki. I particularly enjoyed the more
aggressive sounds ("Soul of a Vagabond") and the proggier stuff ("Fantasia") then the direction-changing fare like
"Drop in the Ocean", "Papilon", or the ultralong title track. The band is at its best when playing at a gallop,
but ELEMENTS Pt. 1 only gets to this pace a few times.
SPYRO GYRA Carnaval (MCA) 1980
One of their first major-label releases, CARNAVAL
finds Spyro Gyra in a very comfortable instrumental jazz/rock niche. Comparable to the work of Steely Dan and Yellowjackets,
this has also aged comparably (not particularly well...very dated).
Still, between the '70's production and the elaborate
cover art; there are plenty of hints that this will be the rare band that lasts long enough to be embarrassed by
its early days. The music is solidly crafted and performed, despite the image or sonic limitations of
the time. It is hard to tell if a group like Spyro Gyra would have found this kind of success if it was started in the
last 10 years, but the band still rolls on as a result of earlier successes.
TORI AMOS Silent All These Years (Atlantic) EP 1991
In time it is surprising how and when you'll find
certain things. When I was "Tori-crazy" (Primarily between the CRUCIFY ep until seeing her
in-concert on the UNDER THE PINK tour), I couldn't find her cd-singles for less than $9.99. Most
of the time, the singles would duplicate b-sides, so you'd get "China" on the album as well as on each single.
So it was tough to decide which ones to buy and which ones to skip. According to my research, the only "exclusive"
b-side tracks I was missing from LITTLE EARTHQUAKES were "Thoughts" and "Song for Eric".
That is, until I stumbled into this cd-single in
a pristine slimline case for $1. One of the b-sides, "Thoughts", appears here; the other ("Song for Eric")
will just have to wait for now.
GRAND SLAM Without Dreams (Alfa) EP 1991
GRAND SLAM Free (Alfa) EP 1992
For all of the reading I've done on the band's heritage,
I really expected better from Grand Slam. The cd-single, WITHOUT DREAMS, features studio and live versions of the single
which doesn't really have anything that distinguishes it from the dregs of sleazy hard rock that stood like Custer waiting
for grunge to kill every last hair spray denizen and pointy-shaped guitar poseur. It is passable, but not much
past it.
FREE is an "acoustic" album that even a solid vocalist can't salvage. Too many "cowboy chords"
and a lack of any momentum make this a very sleepy affair.
Before passing an ultimate judgment on Grand Slam, I do feel like I need to listen to one of their full-length
records, but I can't recommend either of these as a starting point.
ROSE OF ROSE First (Zetima) 1999
Rose of Rose is a modern hard rock band featuring
Loudness drummer, Munetaka Higuchi. Female vocalist Ryoko leads the band through these songs like a Japanese equivalent
to Avril Lavigne, Pink, or Vitamin C. The music is a little rattier and there is no shortage of talent between
Higuchi or guitarist Hatake who ignite several fires throughout the course of the disc.
Unfortunately, the "modern production" and the
songwriting is not quite on a par with the American pop/punk/hip performers like those mentioned in the last paragraph. Ryoko seems
a little tentative in spots, and her voice doesn't convey the attitude of the edgier performers, especially when
the band is hitting on its more metallic edges. She also doesn't quite have the power or ability of more skilled pop
singers yet (a la Christina Aguilera, Mariah Carey) so that she sounds a little out of place on the ballads. I do think
she has the capacity to improve, and likely will with experience. With this kind of backing, she won't have much choice.
BEAT THE RETREAT The Songs of Richard Thompson (Capitol) 1994
I found a relatively clean copy of this at a local
shop for $1, and realized that while I had the track that appears here from R.E.M. as a b-side to two different singles,
I didn't have the track from Bob Mould. Even so, this collection shows the versatility of Thompson's writing as each
band has room to communicate the songs in their own identifiable style. However, many of these artists are "critically
acclaimed" without having much commercial success for a reason.
I can't say that this is something that will gather repeated listens, it is a nice addition to my existing
stock of R.E.M. and Bob Mould listenables.
WEEK OF NOVEMBER 6 - NOVEMBER 12
TREY ANASTASIO Shine (Columbia) 2005
In my world, Phish was a solid but not particularly
inspiring band. It was to the Grateful Dead as Barenaked Ladies were to Too Much Joy. The band had its moments,
including excellent records like BILLY BREATHES and HOIST. Though
there was some stuff I couldn't listen to in its entirety such as RIFT and STORY
OF THE GHOST. Still, it was sad to see the band put to pasture too soon.
With SHINE, Anastasio really
does take a step to music that is far more direct and accessible than at least 75% of the Phish canon. Opening
with the title track, there is a movement and a linear structure that gives it a catchiness, he hasn't personally seen
since "Down with Disease" (which was musically accessible, though lyrically obtuse). However, "Air Said to Me" is
the best rawk tune he has ever written. Landing somewhere between Foo Fighters and Steve Miller Band (and in a distinct
nod to all of those great '70's driving songs) this one is going to alienate the 'Heads who want the progressive sounding,
swirling, complex tunes. This is as close to AC/DC simplicity as Anastasio is likely to get, and he sounds darn good
at it.
Overall, the die-hards will find plenty to like here,
but this was made to convince the general populace (those that either didn't like Phish or its scene) that Anastasio
is a "new" artist. One versatile enough to hit a lot of different areas sonically; but smart enough to know
when, where, and why to do this. The only knock I have on this record is that it uses the same "copy protection"
scheme that leaves computers open to hackers and spyware. [One that also ignores a consumers' right to make
a personal safety "copy" or to transfer to another form (a.k.a. - MP3).] That said, this is certainly a contender
for this year's 'best-of' lists.
SUPERGRASS Road to Rouen (Capitol) 2005
There are few experiences more frustrating than
having a band magically get all of the ingredients right once, and never getting back to that level again. With
Supergrass, this happened on IN IT FOR THE MONEY and maddeningly, the releases since have had a good song or two and a bunch
of filler. With the release of a greatest hits package, it was easy to assume that the band was out of ideas.
ROAD TO ROUEN starts off with an extended instrumental sequence before introducing some odd elements
(the opening track has a weird country stomp with strings juxtaposed together). The next track, "Three Days" has a great
western songwriter feel with a resigned quality to the vocal that not only rounds out the character; but strangely enough
provides a conviction not heard since "Richard III" or "Late in the Day" from IN IT FOR THE MONEY.
While the band has been overshadowed by Oasis and Radiohead; the real hope is that this album didn't
come too late to save the fanbase. Averaging at best 3 songs over the last 2 studio records worth listening to will
exhaust a fanbase quickly. This is a few steps back in a favorable direction, and hopefully the next move will stay
the course.
BOBBY MILITELLO Straight Ahead (Positive Music) 1995
Bobby Militello has most recently been known
as the big man on tenor sax in Dave Brubeck's recording and touring bands over the last 15 years, so it was a pleasant
surprise to uncover an album from this sideman as a leader.
Overall, it is a nice mix of originals and a couple of standards, as performed by a modern jazz band.
Militello's band includes an organist and a guitarist, so their is a lot of texture and "song-serving" rather than a good
old-fashioned "blowing" record.
While not quite of Brubeck's caliber, STRAIGHT AHEAD is still
pleasant listening. It is a "needle-drop" record in that it provides a great soundtrack to dinner, company, or even
a quieter activity like playing cards or even reading...as it has a very consistent, yet accomplished sound the whole
disc through.
EDDIE HENDERSON So What (Eighty-eights/Columbia) 2002
There really wasn't a lot of information about Henderson
or this record, but I found it in a sale bin and recognized several tunes and a few instrumentalists who appear here.
The title track is a long standard written by Miles Davis for his KIND OF BLUE album. Henderson's
version is incredibly respectful to the original, but the performance and soloing is fiery and spirited. Henderson takes
a crack at several warhorses in the jazz realm.
The problem is that Henderson covers these songs like a prodigious classically trained instrumentalist
takes on Chopin or Beethoven or the like. This is a problem because the standard has already been set. Dave Brubeck
has set THE model of "Take Five", and unless someone really wants to redefine it, all other versions by skilled and unskilled
players can't dethrone it.
Henderson could have used some ringer-help in the composing department. Perhaps lesser known
songs from Miles, Monk, or Parker; or more original compositions may have made this a better overall record. While
it is comfortable and well-worn; it is ultimately exciting to hear talent taking on something new.
DAVID BENOIT Urban Daydreams (GRP) 1989
There is a common attitude towards modern "smooth"
jazz in suggesting it is the aural equivalent to wallpaper. That music is reduced to pattern and soft colors is nearly
insulting. In order to research this a little closer, I've spent a great deal of time and energy tracking down the GRP
releases from 1980-1995, as this is the company and the prime era in which they've received most of these complaints.
Sometimes, it is true that the music has no quality
aside from "soothing" an excited person. GRP has also been known to trash cultural icons it tries to tribute.
Despite the inclusion of Chick Corea, its Beatle tribute (I GOT NO KICK AGAINST MODERN JAZZ) may
be the greatest crime against music in the last 15 years. [Specifically in getting "unknown" artists publicity for (poorly)
reinterpreting well-known Beatles songs in styles that most Beatles fans would be horrified to hear them in.]. But GRP
was the last major label bastion for very talented jazz musicians like Chick Corea, Dave Weckl, Billy Cobham, Lee Ritenour,
Gerry Mulligan, and Gary Burton; who were able to continue their musical journeys and raise both the profile and catalog
of the label in return.
David Benoit is one of the label's longest associated artists (short of Dave and Don Gruisin) and his
piano has been a part of no less than seven albums for GRP in the '80's. URBAN DAYDREAMS definitely
qualifies as smooth jazz, and several songs would make great opening themes for talk radio shows or tv news programs. However,
its best use is to provide a relaxing (yet melodic) backdrop for other activities (reading, working at the computer, or something
else that requires partial use of your brain).
Though this may sound like a knock on Benoit, it really isn't. A lot of people make
music for this specific purpose that is nowhere near as interesting or as accomplished. (Hello John Tesh, Andreas Vollenweider,
and to a lesser extent, Yanni!). While Benoit definitely has passion for his work, a lot of it is smoothed
over via the synthesizers and the final production.
DAVE & DON GRUSIN Sticks and Stones (GRP) 1988
COMMENTARY PENDING
BRIAN BROMBERG You Know That Feeling (Zebra) 1998
Brian Bromberg is a fairly accomplished bassist/composer.
As a studio musician, he guested on all sorts of music, including '80's hard rock, shred, and even the occasional classical
session. After a few steps in the shred category, Bromberg has come forward as a "smooth jazz purveyor".
YOU KNOW THAT FEELING is a sentimental pseudo-R&B record that one would find on
the 'New Jazz' stations. Much of the playlists are little more than aural wallpaper. A lot of that description
applies here, save for some fairly heartfelt playing. Perhaps due to the fact that most of the record was
made in tribute to his late father.
Overall, if the Yanni/Chris Botti/Michael Buble circuit isn't of great offense to you, then this record
will make your week. To fans of shred or of a more traditional jazz sound; you may want to look elsewhere.
2000 - A Tribute to Van Halen (Eagle) 2000
Looking at the guest guitarists and vocalists on
this one, I couldn't help myself. Unfortunately, like the most recent Rush tribute (SUBDIVISIONS)
the original songs are so ingrained that the material isn't flexible enough to allow for these musicians to put
their sound signatures on the final tracks; particularly on overly familiar songs like "Panama", "Running with the
Devil", "Hot for Teacher", and "Unchained".
There are some guilty pleasures though, guitarists like George Lynch, Mitch Perry, Doug Aldrich, and
Yngwie try to find the ultimate compromise between their sonic identities and the large hole that Eddie fills with the band.
As usual, I find the best versions were the lesser known numbers, like "So This Is Love" featuring a robust Jeff Scott Soto
vocal. Also impressive is Joe Lynn Turner's take on "Dance the Night Away" as well as the headturning vocal take on
"Light up the Sky" courtesy of King's X bassist/vocalist, Doug Pinnick. The rest is listenable with the exception of
"Little Guitars". The original is such a neat tune, but the absence of the Van Halen harmony vocals really hurts.
YES Owner of a Lonely Heart (Atlantic) EP 1992
This is a cd single including a couple of remixes
of Yes's one and only American #1 hit, "Owner of a Lonely Heart". One version intersperses the percolating keyboard
intro and various bits from "Close to the Edge". These are exclusive mixes, though I'm surprised that the 12" re-mix
isn't included here. (Especially since they could've redone the blue vinyl of the original.) Still what do you
want for a buck? It was more expensive to replace the thin cd-single case than to buy this disc (how screwed up is that?!!)
WEEK OF OCTOBER 31 - NOVEMBER 5
PLACE VENDOME Place Vendome (Scarecrow) 2005
This is a new project featuring former Helloween
vocalist Michael Kiske and Pink Cream 69 bassist, Dennis Ward. Place Vendome is a wealthy area in Paris, France closely
associated with several post-WWII jazz and classical performers. [It is also the title of a French film from 1998
involving the widow of a diamond shop manager who watches a former lover twist in a feud between rival diamond cartels.]
The music here varies from adult rock to the galloping Maiden-esque sounds of Kiske's former band.
Though to be fair, Kiske sounds better than I've ever heard him. Part of the reason is that the songwriting here is
far better than what I've heard from Kiske since his first album with Helloween. Secondly, the material allows him to
use all facets of his voice. Whether he is hard charging like Geoff Tate on the album opener ("Draw the Line") or adding
a somewhat Saigon Kick-ish vocal blend to "Heaven's Door" [a tune that wouldn't sound out of place on a Bruce Hornsby or Train
album; but a departure here], he just seems to have the right touch at the right time.
As I listen to this, I do think that if this record had been released shortly after Queensryche's EMPIRE
cd, that the band would have been stars in the U.S. Even so, aside from Angra, this kind of music is getting scarcer
by the year. If you really miss the glory days of Queensryche, Fates Warning, and Iron Maiden then you really will find
a lot to like about this record.
DEEP PURPLE Rapture of the Deep (Eagle) 2005
A new Deep Purple album is always an interesting
barometer. They haven't been considered cutting edge for decades, but they always seem to find a new
way to present their sound. This time out the newest members are given an opportunity to really shine. Guitarist
Steve Morse shows why he is one of the most underrated guitarists of all time, as he moves easily from the "son
of Blackmore" type riffing to classy Southern-rock soloing to understated acoustic parts. His contributions since
PURPENDICULAR have really moved the band into an adventurous space that they haven't been since
former keyboardist, Jon Lord was using the band for his orchestral works in the early 60's. The new keyboardist, Don
Airey, in a nod to his predecessor has gone back to an organ sound. It is somewhat new and novel again, because
this is a sound that the band hasn't used since the mid-80's. It links the album to the earlier output of the band,
while maintaining a modern sound and edge.
Look no further than "MTV", a rather unclear swipe at what I'm uncertain. Again, the band is far
past its "TRL" days and will likely only be referenced in news items on Mtv from here on out. The lyrics seem to suggest
the disappointment in modern music, particularly in the pop realm. Yet, the lyrics also knock classic rock formats in
which the band is held to a handful of 70's "classic" songs. The hard part to construe is that the band has only been
allowed to remain an ongoing creative entity because of those hits and the stations that promote the concerts and keep their
music in front of an audience. BANANAS wasn't a bad record, but no one is going to select
it over the top third of the band's catalog; it didn't merit the attention of previous hits.
Overall, the continued genius of Steve Morse is the overwhelming reason why this is worth a listen.
There are very few who have the taste, tone, and ability to play like this. While the cult of Blackmore may not want
to hear this; the band has continued to grow despite his loss. [To be fair, Morse has been in the band for 10 years
now, while Blackmore in two stints has spent 12 years.]
FEEDER Another Yesterday (Echo) 2000
I found this in a reduced bin at Tower Records for
about one-third of its original price. This is an import featuring an entire album's worth of outtakes and b-sides from
Feeder's YESTERDAY CAME TOO SOON cd.
The highlight here (which also appeared as a studio bonus track on a bootleg entitled EAT
ME) is the song "Getting to Know You Well" which features a neat rhythm track and decent momentum. Unfortunately,
several of these experiments just don't catch. Still, it is more than a mere "collection completer"; as it is the only
holding place for most of these tracks (officially or unofficially). Fortunately, cd players have a skip button.
DREAM THEATRE Octavarium (Atlantic) 2005
I've always liked the idea of Dream Theatre more
than the actual sound of them. "Pull Me Under" from IMAGES AND WORDS is my favorite song
from the band, and one of the best songs ever from the "progressive metal" genre. The idea of the band, forever
woodshedding, composing, performing, and recording in search of perfection is an example I wish most in the music business
would undertake. I hear a lot of hip-hop artists talk about "stepping their game up", but usually that means following
Gene Simmons into the showroom with as many "saleable memorabilia collectable items" as humanly possible; spreading themselves
incredibly thin. It disgusts me that most people could spot 50Cent or Fred Durst who have "used" music to develop celebrity
only to become absolute tools in the process (according to interviews and the media). Imagine if they spent half the
time they waste on "outside business ventures" on their artistry instead. I don't think we're going to see
a Dream Theatre video game, feature film, or energy drink; because their focus is already where it belongs... on making the
most of their hard-fought talents.
Unfortunately for me, I like them better when they're direct, a little edgy and putting vocalist James
LaBrie to work on the higher end of his range. Often times, the fact that the band consists of virtuosos (especially
in these times) on guitar, bass, keyboard, and drums; suggest to the novice that each requires ample time to stand out
via extended instrumental and solo sections. (So much for direct...)
OCTAVARIUM is a strong record that at times brings to mind Fates Warning's
FWX album from last year. The opener with its "weapons fire" percussion and guitar edge hints
at commentary of the current war (as does the track "Sacrificed Sons"). Still the band has the class and sophistication
to keep from preaching or oversimplifying a very complex situation. Unlike the other studio albums, I
was able to get into this on first listen. The sound (like the Fates Warning) gets close to what I imagine
a reformed Genesis or a younger Yes possibly doing if they were active in this time and place.
MASTERPLAN The Masterplan (AFM/Connected) 2003
Masterplan is a supergroup featuring in-demand vocalist
Jorn Lande (ARK, Jorn) and guitarist Roland Grapow. The sound is classic power metal, and no punches were pulled
on this, their debut record. Songs like "Enlighten Me" and "Sail On" show a perfect balance of power and melody.
Fans of Helloween, Grave Digger, Angra, and the sort will likely already have this, or will definitely
enjoy it.
WEEK OF OCTOBER 24 - OCTOBER 30
TNT All the Way to the Sun (MTM) 2005
TNT have had a very good run recently, as the last
3 albums (TRANSISTOR, MY RELIGION, and ALL THE WAY TO THE
SUN) have demonstrated that there is so much left to uncover in hard rock songwriting, arranging, and production.
They are a rejuvenated act who is silently pulling off as strong a resurrection as any act this side of Aerosmith. Even
more outstanding is the fact that vocalist Harnell has been lending creative energies (and vocal talent) to other projects
like Westworld (a side project with Riot guitarist, Mark Reale), Starbreaker, and even the latest Brazen Abbot album.
You figure there'd be some sort of rundown or dilution with that much going on.
Fortunately, this is not the case. MY RELIGION was a handful of great
songs but not as great a whole as ALL THE WAY TO THE SUN (which will be referred to as A.T.W.T.T.S.
from here on through). This time out, there isn't a killer song (like "She Needs Me") but the album is much more consistent.
The second track "Too Late" likely would have been a top 10 song for Bon Jovi, but here it shows the strength of solid songwriting
(though a clumsy lyric about a "baby overdue" wouldn't likely make the final product elsewhere). The title track is
both classic and modern, as vocal harmonies move closer to King's X territory, the riff is modern, but the effect is
a little psychedelic. A small misstep is the cover of "What a Wonderful World". Harnell's voice is a marvel,
but he can't go into the "Satchmo" zone of Louis Armstrong, and all of the histrionics at his top end can't make
up for it. [Though, I highly recommend everyone go check the original version of Louis Armstrong's "What a Wonderful
World"... a fine example of how music is magical.] A nice instrumental, ("Mastic Pines") breaks the slate before the
last stretch.
A nice edition is the specially-made bonus DVD in the shape of a concert t-shirt featuring live
performances of "Everyone's a Star" and "She Needs Me" that come with this, the MTM 10th Anniversary Edition
of the album. The slipcase is a nice touch as well, though the jewel box entrance is on the wrong side. Overall,
another strong outing from a vastly underrated band.
HELLOWEEN Keeper of the Seven Keys Part III - The Legacy (Scarecrow) 2005
Call me strange, but I think books are really the
only medium that allow for sequels without seeming like a commercial or artistic compromise. Though as suggested, movies
and music (particularly concept albums) are working to supplant this.
Helloween revisits the KEEPERS saga from the late '80's. Unfortunately, while the band is really
firing on all points, only two musicians remain from the first two installments of the series. Time and personnel are
two strikes against this album before I've even opened the package. Working to the band's favor is the fact that the
band has re-emerged successfully with vocalist Andi Deris and guitarist Sasha Gerstner; particularly on 2003's RABBIT
DON'T COME EASY (a weird title but an enjoyable record).
Four listens in, and I have to say it is an undertaking; as it is the equivalent of a double-LP.
(It is presented as a 2 disc set with each disc clocking in at less than 40 minutes.) The first disc
is a little slow in developing, and some of the "songcraft" demonstrated over the last couple of albums has been overtaken
by intentionally ponderous progressive themes. The pay-off from the choruses here just aren't as rewarding as on previous
albums. The highlight is the single "Mrs. God" as it is the most direct track of the whole project. Disc two is
no less challenging, though the band does have a sense of needing to "wrap" up the proceedings. Still, I don't
quite think I have it yet. Hopefully with repeated listens this one will open up a bit.
FEINSTEIN Third Wish (Magic Circle/SPV) 2003
COMMENTARY PENDING
ANTHEM Bound to Break (Nexus/King) 2000/1987
Anthem is one of the great Japanese bands that made
a small splash in the U.S. (along with Loudness, Earthshaker, and later EZO). Anthem's sound isn't that different from
Loudness. BOUND TO BREAK was the band's first album officially released in
the U.S. (via Enigma records), though I have the remastered version from a few years back.
SHEENA EASTON The Best of Sheena Easton (EMI) 1989
The song "Strut" came on during a break at a
gig I was on recently, and despite its vapidity it stuck in my head like a really bad earworm. Not unlike what happened
with James Brown's "Living in America"; I stumbled across a moderately priced retrospective [and have since added pieces
of this to my mp3 player].
Overall, it doesn't make much sense that Sheena Easton was able to make a strong 5 year run
as a very popular singer and performer in the U.S. The songs vary from mildly enjoyable ("Strut", "Morning
Train (9 to 5)") to colon-clinging treacle ("Telefone (Long Distance Affair)" and "Sugar Walls"). Nothing here
(including her James Bond theme, the duet with Kenny Rogers, or even "Modern Girl") is really remarkable except for this
collection's lack of staying power. It really has earned its spot in mid-80's oblivion.
Sheena hit pretty hard between '83 and '86, and even her advertisements for Bally's health club (who
also had Cher as a spokesperson); kept her in the public eye until the close of the 80's; nothing much has been heard about
her since.
Despite Sheena's developing looks (she went from girl-next-door, to a quite attractive woman) this retrospective
is another reminder that nostalgia isn't prettty.
WEEK OF OCTOBER 17 - OCTOBER 23
GOLDBRICK II (Victor) 2004
I was cursed the moment I got the receipt for this
record. I told the clerk about how much I enjoyed the first album from this Japanese duo, and he went on about
how much better this record was. It didn't matter if he said it sucked, I likely would have popped for it to check it
with my own ears.
Call me crazy, but I still prefer the first record. There is more of the Rainbow-influenced
sound, and vocalist Yukio Morikawa still carries a strong resemblance to Graham Bonnet, though there is a little
bit of an EZO feel to this as well. Unlike the first record, nothing jumped out and caught my attention,
and while it has been an enjoyable seven or eight spins through the album since acquiring it, I'd be hard pressed to
sing any of the choruses here from memory.
I do wonder if guitarist Akira Kajiyama is the Rainbow fan of the group, especially since he is slated
to release an album with Joe Lynn Turner in the next year or so. Even though Goldbrick owes a large part of its sound
to Rainbow, it is far preferable to the guitar histrionics other noted Rainbow fans have taken on in tribute to the band.
Blizard Kamikaze Killers [My Tears Evaporate] (Warners Japan) 2002/1984
Blizard Hot Shot (Warners Japan) 2002/1985
Blizard are a recent discovery, as I found a couple
of their items during an eBay search for Loudness. Luckily, I was able to locate both albums via the same seller.
KAMIKAZE KILLERS is a more aggressive hard rock album in the vein of THUNDER
IN THE EAST from Loudness. It opens with a chorale style a capella number. It rages through
the next few songs like Loudness's hyper kid brother. Despite the added energy, neither the songwriting or the playing
ability are up to the quality of Loudness; though there is a regionalism between the two bands that will need to be compared for
those who aren't familiar with Japanese hard rock.
HOT SHOT is a little more subdued, actually including an instrumental acoustic guitar
number as the second track. The songwriting is of a little higher quality this time, as are the sonics which may be
a little subtle in comparison to KAMIKAZE KILLERS. Though even I was surprised to see two
Journey compositions on another album (BLIZZARD OF WIZARD), and had I known this sooner, it may
have affected my ability to enjoy the band.
If you like direct hard rock, opt for KAMIKAZE, if you like more "progressive"
sounding stuff; you may want to give HOT SHOTS a spin. Though the band was never able to get
out of Loudness's rather formidable shadow in the States; they are a welcome and refreshing change from much
of what I listen to regularly.
AKIRA TAKASAKI Ki (EastWest) 1994
Akira had an instrumental guitar album out prior
to the Shrapnel/Joe Satriani movement of the late '80's (TUSK OF JAGUAR from 1986). So 8 years
later he revisits the instrumental side of his talents by recruiting a band that holds his hard rock fusion in check.
Unfortunately, this recording demonstrates that a solid band is going to be listenable, but barely rise
above it without having somebody involved who has something to prove. When Loudness was first breaking in the U.S. (in
the mid-80's), Takasaki had to keep up with guitar players like George Lynch, Randy Rhoads, and Eddie Van Halen. He
adapted an approach that took Van Halen's showy techniques with a more modern European approach (a la Michael Schenker) and
solo pieces like "Exploder" had the showiness the interest American players while featuring a melodicism not commonly found
in this playing style. Here, the guitar kings have been unseated by the popularity of grunge, death metal, and urban
music. As a result, Takasaki sounds like a detuned Ronnie Montrose making another nameless/faceless Shrapnel instrumental
guitar album.
WEEK OF OCTOBER 10 - OCTOBER 16
CHRIS WHITLEY Soft Dangerous Shores (Messenger) 2005
I've been following Chris Whitley since his
LIVING WITH THE LAW cd was released almost 15 years ago. I really thought he had a great sound,
mixing the older guitar sounds of a National Steel with then-modern production techniques and a warm rural blues/gospel kind
of voice. His image at the time really appeared in his music as well. Unfortunately, like most artists; he got
bored with it. And since then his albums have been hit [DIRT FLOOR] or miss [TERRA
INCOGNITO].
A lot of buzz was put on this one as this reunites him with Malcolm Burn, the producer here and on
LIVING WITH THE LAW. 14 years is a long time in the music industry, and though many fans were looking
for a continuation of the first sound (rather than a seemingly random course of music-making) this isn't quite it.
SOFT DANGEROUS CURVES has a wide and expansive sound to it, but is the sonic equivalent of a slightly overexposed,
out of focus photograph. Four listens in, and I still haven't made the connection to this material as a whole.
Slide guitar with programmed loops, stream of consciousness lyrics, and the necessary "artist" touches of a few left-turns;
would seem to be a rather easy thing to digest. Though midway through you begin to wonder if Whitley feels like
he has to live up to artistic pressure or if he just gets bored too easily to "serve the song" with his playing.
This one is going to make you work to find the connection to the music. Though seemingly futile, I'm going for another
round...
DUG PINNICK Emotional Animal (Magna Carta) 2005
Less a solo album, and more of a musical sketchbook,
King's X's bassist/vocalist releases his third solo album(though the first without the Poundhound moniker). The songs are
left a bit sparse and edgy, and the overall effect is that this is kind of a counterbalance to the recently released
OGRE TONES.
Highlights include the "legalization" message of "Equal Rights", the oddly named "Zepp", and the sad,
but somewhat uplifting "Beautiful". However, it's going to take a little work to get there; making the uncertainty
of the title painfully appropriate.
GOLDBRICK Goldbrick (Victor) 2003
This was a pretty cool find online, as it merges
the best sounds of Japanese hard rock with a mixture of mid-80's Rainbow and Alcatrazz. Overall, I'm always thrilled
when I take a chance and have a song that really hooks me. In this instance, the song "Silver Shine" has just the right
amount of guitar, songcraft, and the right voice to make it work. It was almost like a lost track from Alcatrazz's
DISTURBING THE PEACE (which is one of my favorite albums of all time).
Vocalist Yukio Morikawa is a dead-ringer for Graham Bonnet in terms of phrasing and grit. It is
uncanny, but also a surefire way to reach fans of Rainbow, Deep Purple, and Alcatrazz. All of whom would definitely
find something to like here.
BLIND FAITH Blind Faith [Deluxe Edition] (Polydor) 2001/1969
One of my earliest music-making experiences was jamming
with a couple of friends who were totally into the Grateful Dead, Bob Dylan, Neil Young, and Eric Clapton. As I was
still coming to grips with learning how to play bass, it was a good counter (skillwise) to all of the heavy metal/hard
rock I had been playing almost exclusively to that point. I hadn't heard a lot of the songs, and was encouraged to "jam"
it out in my own way. Though eventually, I became interested in the music of all of these artists. One of
my favorite songs of all time, I discovered through jamming with these friends. When I first heard "Can't
Find My Way Home" rendered fairly closely on my friend's acoustic guitar, I needed to hear the real version. Eventually, I
found the original BLIND FAITH cd (due to its rather silly cover art, a lot of places didn't
stock it).
While out, I stumbled across this expanded and remastered
version for less than $10. It is a dual digi with a clear plastic slipcase. The cd also adds some in-studio jams
and alternate versions of the released songs. The booklet has been expanded to include the history of the sessions as
well as a bunch of photographs that weren't used in the original album. The sound here seems fuller
and a little brighter; as the original cd mix was a little quiet and hissy at higher volumes.
The original album hasn't changed, and while
it sounds like it was made under very stressful conditions; the varying tones (like the quiet of "Can't Find
My Way Home" to the riff-y "Sea of Joy", to the church-like "In the Presence of the Lord") really go in a lot of places while
having a distinct identifiable sound to connect them.
The additional tracks are nice to have, as the electrified
version of "Can't Find My Home" shows that even the band needed a little experimentation on this before recognizing
its quiet power. [Countless bands try to rock this up, since the vocal here stretches so many regular male voices.]
But the jams are a "once or twice listen" (and shelve) because of their length and lack of overall focus. [Part
of the reason why I waited until this came in used at a reduced price]. Though the expanded package definitely
justifies the higher cost. Overall, a nice upgrade on a personal favorite.
HOODOO GURUS Kinky (RCA/BMG) 1991
The Hoodoo Gurus have become a recent fave, as I
overlooked them during college rock's transition into "alternative rock". At the time, I just didn't have enough resources
to get everything I was into (not that I necessarily do nowadays, but I do a pretty good job!). With the distance
of so many years, it is like a time capsule that showcases the good and bad of this style of music.
Unlike today's urban influence, a lot of the college rock bands sounded like they lived in farming communities
and did everything in their power to seem grass-roots. John Mellencamp was the popular example in terms of sounds and
looks. [Think about the hairstyles and the clothing. There were plenty of white dress shirts with black vests
and jackets during this time.] The guitar led it off, and accessibility depended on the bands' songcraft. [Hence
the emergence of bands like U2, R.E.M., and Midnight Oil vs. the sea of bands that didn't quite get there.]
KINKY isn't quite as solid as CRANK, or as tuneful as
MAGNA CUM LOUDER, but still has plenty to offer fans of college rock. The vocals remain
on the brooding side of Midnight Oil's Peter Garrett (with a small touch of Tragically Hip), and the guitars have
plenty of Stones-influenced kick to them. The consistency of the band is quite remarkable, especially when so many
of their peers really dropped off in quality at one point or another. Still as a veteran band by this point, it
is a little disappointing that they never achieved much in the U.S.
VON GROOVE Chameleon (MTM) 1999
COMMENTARY PENDING
WEEK OF OCTOBER 3 - OCTOBER 9
GRAVE DIGGER Heavy Metal Breakdown [+10] (Victor) 1996/1985
I'm always amazed at how unusual heavy metal recordings
from independent labels made it into small suburban towns like those near where I grew up. The fact that a very
tiny German independent label made it all the way into a tiny suburb like Crystal Lake, IL was mind-boggling. (This
was before Noise became part of BMG/RCA.) There was generally only one copy of each of the very unusual stuff
(like this album, Witchcross, Witchfynde, Wildfire, and so forth) so either my friends (who were brothers) or I would
end up with it. I think there were a total of 4 people who were familiar with the "metal underground" and that was the
shopkeeper, and my "clique".
I had bought this on vinyl new; taking a chance on the cover art, band name, and song titles.
Even the record company was new to me at this time. (Though this helped the label build a positive reputation; especially
since recordings by Helloween, Running Wild, and Kreator were on the way to becoming period favorites and lifelong treasures.)
This was an eBay stumble, in which included not only the entire HEAVY METAL BREAKDOWN
vinyl but also bonus tracks including tracks found on the American vinyl version of WITCH HUNTER
(though inexplicably absent from the cd) as well as their contributions to two label compilations and a couple of tracks
from the Digger album STRONGER THAN EVER (which has yet to find an issue on cd).
This was such a pleasure to throw in on a long Friday afternoon drive from work. (I have a 50
minute commute, so I get at least an album's worth of listen for the ride home). Chris Boltendahl's wail and the slashing
guitars brought me back to the moment when I first dropped the needle on this metal classic. "Headbanging Man" could
be Accept if they were more influenced (instead of influencing) the NWOBHM. By the time I made it through "Heart Attack"
my inner 14 year old was wishing I had time for another round through the album. Though I was fortunate enough to have
time to examine the "extras". An outtake called "Violence" was appropriately buried for a long time and really didn't
seem like a great loss. "Shoot Her Down", "Tears of Blood", "Storming the Brain", and "Don't Kill the Children" (though
the opening chant was edited out) brought back the missing parts of my WITCH HUNTER cd. The
cd closed with a great unreleased track called "Girls of Rock and Roll" which appeared on their BEST OF THE EIGHTIES
compilation, and two tracks from the Digger album.
These last two tracks (from STRONGER THAN EVER) are a little out of place,
as the pace is closer to contemporaries like Dokken or Europe rather than Accept and Judas Priest. I did a
cd-r of the vinyl, but am hoping to eventually score a proper cd edition of the album.
Overall, this is the deluxe model, and well worth the extra coin that Japanese imports require.
Highly recommended to those of you who are still in search of your "inner headbanger".
DREAMSCAPE Very (Rising Sun) 2001
I first heard Dreamscape roughly a year ago,
when a maverick record store clerk gave their most recent cd, THE END OF SILENCE, an in-store spin.
When I finally got my own copy, I had found one of my top 3 albums last year (overall). So when I found this earlier
cd, I didn't hesitate, and bought on sight, without any additional information.
Turns out, VERY was recorded in 2001, (though no release date is found anywhere in
the liner notes) and features original (as far as I know) vocalist Huby Meisel. A lot of the hallmarks (guitars and
keyboards) from THE END OF SILENCE appear here, but unlike the poised vocals of Roland Stoll; Meisel
doesn't quite sound as confident or as assured. Still this is a top-shelf prog-metal act. Material like "Thorn
in My Mind" and "Winter Dreams" stride proudly with majestic instrumentation and controlled but dignified intensity.
VAN HALEN That's All Folks (Bootleg) 1998
Van Halen has a very long history of recording
and performing prior to their signing to Warner Bros. and becoming one of the leading hard rock bands of the '80's and '90's. This
is a compost collection of demos, covers, alternate versions, and missing tracks from the mid-70's through Eddie
Van Halen's involvement with Brian May's Starfleet project, and even some later demo tracks that would appear midway
through Sammy Hagar's tenure with the band.
Though this is a cd-r edition, the front and rear
cover art are fairly inspired, using the LOONEY TUNES characters and credit screens to discuss the band. Warners
may do well to cop this kind of feel should a odds-n-ends box set ever come to fruition.
Cool things include "Voodoo Queen" which would eventually
become "Mean Street", as well as "Bring on the Girls" which would become "Beautiful Girls". Though the sound quality varies
widely (and wildly), there is no doubt about the talent of the band and the upfront qualities of David Lee Roth.
This was a band with big ideas and no fear in trying to meet them.
I'm not aware if a replicated version of
this boot exists, though I have to think it is a possibility. Though I would prefer to have a legitimate means to purchase
this material and to have a more stable recording quality. (Anybody listening in the Van Halen/Warners/Rhino camp?) This
is really for die-hards only as much of this is barely cassette quality, but it is a neat reminder of the fireball that was
once Van Halen.
C.I.A. In the Red (Combat) 1990
This is a rather interesting side-project (solo project)
for the drummer of Nuclear Assault, Glenn Evans. Like a lot of "one-man recordings", there is a particular "in-bred"
performance quality that makes this sound more like a demo than an actual band recording. There are a few
guests including most of his N.A. bandmates toting a guitar or bass to liven up the proceedings.
Still, songs like "Buried Alive" and "Mind over Matter" give a firm idea of the album both in title
and sonics. This isn't particularly sophisticated music, but is delivered with brutal conviction. Fans
of Nuclear Assault, M.O.D., S.O.D., and to a limited extent, early Megadeth will find worth checking out.
UNITED No I.Q. (Metal Blade) 1996
Novelty is wherever one finds it. Lately, I've
been really into a series of Japanese hard rock and heavy metal bands (Loudness, Anthem, Earthshaker, et al). So
when a thoughtful friend who was aware of my pending addiction sent me this, I was a little stunned.
This is very good thrashy punk metal. If you
like Suicidal Tendencies and S.O.D., and don't mind someone who doesn't have a full command of the English language, this
is for you. Though it sounds a little harsh, this has been a musical wake-up call for me, and has been a gateway
into the heavier albums in my collection that I've been ignoring for sometime (hello, Possessed, Suicidal Tendencies, Death...
long time no listen).
Conversely, though a little United goes a long way, and in 15 minute bursts, it is the most refreshing
stuff I hear (though it begins to grate on that 17th or 18th minute). Still, I'd love to hear more from this band and
see which side of the punk-metal divide that they ended up on.
WEEK OF SEPTEMBER 26 - OCTOBER 2
KING'S X Ogre Tones (Inside Out/SPV) 2005
King's X is one of those "should'a been HUGE!!" bands
from the late '80's/early '90's. Their mix of intense guitars and riffs with massive vocal harmonies made a very majestic
sound. The album FAITH, HOPE, LOVE is a template for modern hard rock. Songs like "Shine"
by Collective Soul and "Them Bones" by Alice in Chains borrowed much of this sound with detuned riffing and full vocal harmonies.
After being largely ignored through several more ventures via Atlantic and later, Metal Blade, King's
X have teamed up with outside producer Michael Wagener. (Wagener has worked with a variety of artists, but his affiliation
with Raven, Stryper, Accept, and Dokken are likely to give you a hint as to what he brought here.) The result isn't
unlike Yes's THE LADDER album, a later-period return to form; a dignified and uncompromising way
to take its basic sound and show how and why it is still relevant; so many years past its greatest commercial success.
"Alone" is a great opener, giving bassist/vocalist, Doug Pinnick (dUg) the emotional verses while
guitarist/vocalist, Ty Tabor, takes the rational pre-chorus before the exploding chorus. (Almost like a modern-day Hendrix
and Lennon in the vocal department.) The effect is sonically like DOGMAN with fuller vocals
and harmonies.
Other songs like "Hurricane", "Open My Eyes", and "Freedom" also draw from the Megaforce/Atlantic era
of the band (1987-1991); acting as if the brooding groove experiments of PLEASE COME HOME MR. BULBOUS
or MANIC MOONLIGHT didn't even exist. The only real "nostalgia" move is a revisit
to "Goldilox" from their second album, GRETCHEN GOES TO NEBRASKA retitled, "Goldilox (Reprise)".
The band even serve up an instrumental ("Bam") that re-establishes a claim to another great power trio that was supplanted
by three goofy dudes from San Francisco.
Critics might argue that this was a decision to cater to fans of the "lowest common denominator".
Others might think that this continues the look back from their previous album BLACK LIKE SUNDAY (which
put their oldest songs onto an album). My feeling is that good songwriting, strong musicianship, and versatile vocal
talents never go out of style. OGRE TONES is an optimistic new chapter in the King's X story.
GOTTHARD Lipservice (Nuclear Blast) 2005
A number of people have told me about this group
(along with Pink Cream 69 and Damned Nation) everytime we talk about good old hard rock in modern times. The partial
problem is that Gotthard has a large (and relatively inconsistent) catalog which makes it hard to figure out the best spot
to jump in. The other problem is that it seems like the only way to get a Gotthard cd is online or through
a specialty merchant like Impulse Music. You'll never find this in typical shops and never used or at a reduced price.
[Hence that inconsistency angle working again.]
With a new record in a limited version (this one is an ecobook with a sleeve for the disc inside) with
bonus material; I figured this would be a good starting point. What I found was a very solid hard rock album with modern
touches. The music has a little bit of '80's hard rock sound found in older bands like Heaven, Kix, and Tora
Tora.
After several listens, I found I liked everything except the ballad "I've Seen An Angel Cry".
No real explanation except that this ballad seems somewhat overwrought and melodramatic.
Though this may seem like a knock, there is a very nice ballad called "Everything I Want" that has a
very cool Def Leppard/White Lion vibe on it. It is a great song that I wouldn't be surprised to find covered by a country
artist in the next 5 years. (This is the type of song a producer like "Mutt" Lange just tends to kill on; and may be
a good fit for his wife...)
Good melodic hard rock hasn't completely vanished, but it is a shame one needs to dig so deep
to find it these days.
THE OUTFIELD Big Innings: Best of the Outfield (Legacy) 1996
There was a "budget" greatest hits package by the
Outfield called PLAYING THE FIELD, in which the 3 bandmembers were pictured like baseball trading
cards on the cover. It was a tight 10 song collection of songs that made the radio without any extras. For
some odd reason, I always thought that this particular cd was a repackaging of that package, in all this time just thinking
it was nothing but a "greatest hits" cd.
BIG INNINGS though is a rather fine retrospective of the mid-80's pop/rock band.
Included among the band's radio hits are four exclusive tracks to this disc. In addition, the booklet also features
a historical essay on the band, as well as quick notes from both bandleader, John Spinks, and producer Bruce Dickinson (not
THE Bruce Dickinson of Iron Maiden fame...)
The essay provided me with several bits of information about the band that I never knew. For one,
I felt that the band name was given to them by their record label to make them seem American. I didn't realize it was
taken from the mid-70's street gang flick, Warriors. Though, I don't think the world was (or will be) ready for a rock
band called the Baseball Boys. Secondly, for their sunny melodies and subject matter, you'd never guess that they were
from a rather challenging part of the big city. (Kind of like finding out the Beach Boys were from Watts or something...)
The two new tracks "It Should Have Been Me" and "Through the Years" follow the typical subject material
for the Outfield, while maintaining the sonic identity the band has established over 15 years of playing. The former
is a little like "For You" sonically, but the subject material is closer to pining after the one that got away. The
second number is giving advice for a lasting relationship (though with "Years" as a song title, you can predict the tears
and fears rhymes relatively easily).
The two other exclusive tracks are an unplugged version of "Alone With You" which fits in nicely despite
the slightly overdone vocal, and the non-LP b-side, "Somewhere in America '89" which recasts the BANGIN'
song in a slightly more modern casing.
The strength in this collection is in the inclusion of songs from both their Columbia and MCA catalogs.
This makes a true "Best of..." collection, rather than the single label "best of's..." for bands who just don't have a deep
enough repertoire to justify it. The consistency of the songs is the real star of the show. The fact that the
goods were spread across 5 different albums, (and each had something worth listening to) doesn't hurt. It also makes
this collection a very nice listen, straight-through (unlike many best-of's whose song orders aren't based on anything but
inclusion of the hits). The band may be a footnote in '80's music history and should've received a better fate these days than
playing in semi-anonymity in area clubs and recording for fly-by-night indie labels. BIG INNINGS
is one of the few projects that supports the argument that this band deserved much better than they got.
YES Re-Evolution (Flashback) 199?/1974
This is a decently produced European bootleg taken
from the Boston Gardens date of the RELAYER tour in 1974. This boot features professionally
manufactured inserts and a regular silver disc. (Not a cd-r, YAY!!) The sound quality is above average, and
would likely rank a B+ overall (though very well preserved for a recording generated in the mid-70's on less than professional
equipment and media).
This is the only boot I have from Yes, that features
Patrick Moraz on keyboards. Moraz would later go on to record with both Bill Bruford (former Yes drummer) and spend
the 80's with The Moody Blues. It is also the only place I have seen a live version of "Sound Chaser" from the RELAYER
album (incorrectly referred to on the liners as "Sound Chasero").
The band open with the two shorter tracks from RELAYER ("Sound Chaser" and
"To Be Over") and give them a very authentic performance before leaning into the first two epics from CLOSE TO
THE EDGE (the title track and "And You and I"). They close the performance with "Roundabout", though the
recording adds a bonus cut of "I've Seen All Good People" (taken from a previous show with Rick Wakeman in 1973).
The band seems energized by the new material, but the versions of "Close to the Edge" and "And You and
I" begin to show a little wear. While I really love these songs, it is apparent that a break for these is needed.
Despite this, RE-EVOLUTION is a nice document of this rarely-seen edition
of the band. The performances and sound are quite good for their age. The decent cover art and true cd inside
only make for a nice addition to my collection. A true find.
WEEK OF SEPTEMBER 19 - SEPTEMBER 25
GENESIS Platinum Collection (Rhino/Atlantic) 2005
When you consider the ebb and flow of most bands,
Genesis may have be one of the hardest bands to categorize of all time. It is hard to believe that the twisted, claustrophobic
"The Grand Parade of Lifeless Packaging", "Paperlate", and "Jesus, He Knows Me" all came from the same band (even in
16 years of time). So assuming that one is too many and a thousand isn't enough, Rhino puts out this 3 cd compilation
of the band's works, including the vocal work of all three singers, Peter Gabriel, Phil Collins, and Ray Wilson.
This overview is great for casual fans of the band, but comes too late to be of consequence. Most
fans have either bought their necessary studio albums (depending on which era of the band they preferred) or have plunked
down money for one of the box sets or the more than adequate survey of the Collins' era TURN IT ON AGAIN: THE
HITS.
The twist is the the collection (with the exception of the track "Calling All Stations") is
in reverse chronological order. Starting with the early '90's output and working back through the early '80's
SPOT THE PIGEON ep on the first disc. Exhausting the band's middle period and containing the remainder
of the Collins vocal tracks on disc two. Concluding with the Gabriel era going all the way back to their breakthrough
track on the debut, "The Knife".
It is kind of an uneasy feeling (something that Gabriel-led Genesis might willingly do) kind of
like the creepy story that appeared on the GENESIS LIVE cd. The body of work is gradually
unzipped, stripped down, and brought back into its primitive state; the first note of a sturdy pretty woman, to the last note
of a defeated corpse whose final gasp sends it like a spirit into the skies. As arranging, songwriting, production,
thematic elements, and playing ability are exponentially stripped down, one can imagine it being a somewhat difficult listen.
Most compilations (particularly in sequencing) try to show the growth of a band. This analogy is more like comparing
a band's career to the growth the grand maiden to matriarch dame as she grows prettier, smarter, and more self-assured
throughout the years.
The second beef is with the liner notes. There is little new to tell about the band. People
who are making an investment in this collection probably know the history of the band already, and the writer focuses too
much on the history, when commentary would be more important. Talk about why the band was popular and argue the case
as to why Genesis should still be seen as one of the greatest bands of all time. Where is their influence today?
These liners just didn't go deep enough. Compounding this is a manufacturing flaw that transversed 4 pages, making one
have to skip 3 pages ahead and then 2 pages back to pick up the story.
Exclusive material, liner notes, upgraded packaging, and improved technologies are the major
selling points for retrospectives, box sets, and revamped editions of classic albums. In the case of THE
PLATINUM COLLECTION, the only rarity is the track "Paperlate" which appeared on the ARCHIVES VOLUME
TWO box set (where its 'sole' inclusion was a selling point) as well as on the first American
pressing of THREE SIDES LIVE. We've already discussed the liner notes. The package features
a slipcase that accommodates a quad-case jewel box (where two doors open from the center of the box) though the white of the
background is a prime candidate for dust (if one isn't careful). The package features new mixes for nearly two-thirds
of the material. I didn't notice much change, though it did pull some of the distortion and hiss
from the Gabriel recordings.
Overall, this is a good collection for casual fans who want a lot of Genesis in a tidy package.
However aside from the remixes, there is little here for longtime fans.
JAKE E. LEE Retraced (Shrapnel) 2005
After a long absence (aside from the FINE
PINK MIST album 8 or so years back), former Ozzy/Badlands guitarist, Jake E. Lee is back with a new project.
The album, RETRACED, features a very talented backing band featuring Chris Logan (MSG), Tim Bogert
(Vanilla Fudge, Beck/Bogert/Appice), and Aynsley Dunbar (Jefferson Starship,Journey).
The album is a collection of cover songs and follows closely to recent albums like the Blues Bureau
releases and the Schenker/Pattison Summit. Blues-based hard rock is what rules the day here; as new takes on songs by
Montrose, Pat Travers, Robin Trower, and Free fill the disc.
The highlight for me is their take on Willie Dixon's "Evil", which I first heard via Bogert's earlier
band, Cactus. The vocalist, Chris Logan, channels David Coverdale and Dan McCaffrey (Nazareth) and creates a bluesy-menace
that matches the song title. The riff is pure Zeppelin (though I should say Cactus, as this was going on alongside the
Zeppelin legend) with some neat drum fills and syncopations along the way. This song is almost worth the price
of admission alone.
This is highly recommended to those of you who are wondering if good old, no-frills hard rock is still
being made in the aught's.
MONTROSE Montrose (Warner Bros.) 1973
I didn't hear about Montrose until the MEAN
album was released in the late '80's. Shortly afterward, I'd get into the instrumental album, THE SPEED
OF SOUND, and follow Ronnie Montrose through several other projects and style-shifts.
"Rock the Nation", "Bad Motorscooter", and "Rock Candy" were classic rock radio staples. Because
of the age of the songs, (15 years or so after their initial release) they never thought to tell the name of the band, after
these would play. (I had a similar problem with Nazareth, as every time "Hair of the Dog" played, the artists'
name seemed to be omitted.) I errantly thought these were solo Hagar tracks at the time.
Knowing I liked those songs, and have followed the band, some may wonder why it took me so long to pick
this one up? The majority of the album (and all highlights minus "I Don't Want It" appear on the 2000 Rhino compilation,
THE VERY BEST OF MONTROSE. Fortunately, I was able to find a very clean used copy for $5 at a local
shop.
This was pretty radical stuff for the early-70's. First off, the record is uptempo the whole way
through. Secondly, some pretty cool guitar techniques (particularly in the "Bad Motorscooter" intro and the shimmery
acoustic bit in "Space Station #5") that were being used 10 or 15 years later [See Motley Crue's "Kickstart My Heart" or Queensryche's
"Neue Regal" for later developments on these blueprints]. Lastly, there really isn't any filler on this record.
Each song has a purpose and its place on the record make perfect sense. [So much so, that the compilation starts
with the same first 3 song order.]
Lyrically, the band runs into the same problems that would dog Sammy Hagar throughout both his tenure
with Van Halen and as a solo artist. 3 different songs have "rock" in their title and as part of their lyrical theme.
There aren't any great truths or meanings hidden here; it is about momentum and energy.
In 2003, Montrose assembled a lineup featuring John Levesque (Wild Horses) on vocals
and Jimmy DeGrasso (Y&T, Megadeth) on drums, and did a small tour. The majority of the set focused on
this record (with "Twenty-Flight Rock" and a couple of tracks from PAPER MONEY). Surprisingly
these songs have held up quite well over 30 years. The lack of "messages" were likely the reason, as songs like
"We Gotta Get Out of This Place" or "For What It's Worth" are so closely tied to Viet Nam, that they are time-stamped.
WEEK OF SEPTEMBER 12 - SEPTEMBER 18
ALLEN/LANDE The Battle (Frontiers) 2005
Perhaps following in the footsteps of excellent multi-vocalist
projects like HTP, Brazen Abbot, and Avantasia, Frontiers unleashes an album combining the vocal talents of Russell Allen
(Symphony X) and Jorn Lande (Masterplan, Jorn, Ark).
On the positive side of the ledger, one has to look at the performances on the record. The vocalists
really make or break these songs. They provide a nice contrast to each other as Lande strikes me as someone who has
the presence of a Ronnie James Dio but possessing his own identity; whereas Allen has a smoother voice and has more of a Timo
Kotipelto/Ray Alder mix happening. Most of the songs feature both vocalists, but each gets a few to stand alone.
To the negative side, this isn't quite the metal summit its purported to be. The music is far
more melodic and less aggressive (or progressive) than would be found in the catalogs of their previous bands. This
is a little closer to Safe Haven than Pyramaze. I enjoyed the songs and the performances, so it didn't affect my
opinion of the record, though a few more aggressive numbers might have helped the record build some momentum. (Like
"Devil's Road" or "Revelation" from HTP for instance.)
ROUGH CUTT Rough Cutt/Rough Cutt Wants You [2 on 1] (Wounded Bird/Warner Bros.)
2005/1984/1985
Rough Cutt were one of several hard rock/heavy
metal bands from the early '80's L.A. club scene to find a major label deal without taking the step into stardom.
Still, there is enough of a cult audience to keep its members working to this day. (This list could safely
include Armored Saint, Black'n'Blue, and Malice) They were managed by Wendy Dio and their debut was a priority release
at Warner Bros.
Until now, these were only available as scratchy vinyl or pricy Japanese imports, but Wounded Bird has
combined the cds for a single release. The list for this is half the cost of one of the Japanese releases.
The band's legacy is guitarist Amir Derakh who found fame in the band Orgy, and bluesy vocalist Paul
Shortino who has sang with Quiet Riot and Heaven & Earth since the band breakup in the mid-80's.
Overall, this is solid, if unspectacular, hard rock leaning in a combination of Judas Priest-styled
guitar work with vocal stylings fitting somewhere between Eric Martin and Joe Lynn Turner. Despite a regrettable cover
of Janis Joplin's "Piece of My Heart", the self-titled portion is strong, particularly "Cutt Your Heart Out" a definite nod
to Judas Priest (and perhaps scene-mates, Malice?). The second album finds the band in more anthemic form. There
isn't a lot of stylistic change so the extended format really works well here.
The only true negative of this reissue is the Wounded Bird treatment. The cover artwork is poorly
reproduced (and shrunk to an inch of its life) as the front and back vinyl covers for both albums appear in "media" size.
Also the recording is presented in relatively flat form. The "booklet" includes minimal information (band lineup, song
listing, release dates). As a cult release that merits reissue, it would've been great to get someone to write about
the band's significance to the L.A. club scene, or the significance of these albums. (Why did someone think this band
would break? What factors prevented them from becoming more than a "cult artist"? et al...) It is nice to have
"official" versions of these, though they could be so much better.
JOSHUA PERAHIA Chapter One (M&K) 2001
A few months ago I received the excellent Joshua
cd, INTENSE DEFENSE. Landing somewhere between Yngwie and T.N.T., it was precisely
the new kind of music I'm always open to hearing (even if it was originally released in 1988). So it was a little unusual
to stumble across a used copy of this in an area shop.
This one features vocals from Michael O'Mara and is very comparable to the new European hard rock being
found on labels like Frontiers, Then&Now, Z, and so forth. Like the Joshua cd, this too has distinct Christian themes
and messages, though they are presented in a less-threatening/non-preaching manner. [As mentioned earlier, I don't
get that scared off by the Christian/Satanist thing...musicians draw their inspiration from whatever they deem relevant, and
I can always choose to listen or ignore at my leisure.]
I do wonder if this record would have gained more attention and renown had it been released in the heyday
of hard rock. The songs are fairly solid (despite a couple of clunky lyrics here and there) and the playing is definitely
top-shelf. It is well-produced, but with a small "sameness of sound" problem about 5 or 6 songs in. (Same tempo,
style, instrumentation)
PAUL CHAMBERS The Whims of Chambers (Blue Note) 1996/1956
Paul Chambers was among the elite bassists of Jazz's
exploratory form. Chambers backed greats like Miles Davis and John Coltrane, and even was tributized by the song "Mr.
P.C." on Coltrane's GIANT STEPS album.
I know Chambers had played with a number of jazz greats, but I didn't know that he had recorded as a
leader. WHIMS OF CHAMBERS is a stellar recording date, though the legends that appear on this
recording were still potential legends rather than realized legends at the time. The band includes Donald Byrd, "Philly"
Joe Jones, John Coltrane, and Kenny Burrell.
The set opens with a Byrd original called "Omicron". It is a nice open number that allows all
of the members to show their talents. Though my personal favorite here was Chambers' own "Tale of the Fingers" where
we see a little role-reversal for the bass.
Not quite as groundbreaking as BIRTH OF THE COOL or BLUE TRAIN,
CHAMBERS OF WHIMS is a great document of the time and the players involved.
WEEK OF SEPTEMBER 5 - SEPTEMBER 11
SUFJAN STEVENS Illinois (Asthmatic Kitty) 2005
In a unique move in regards to songwriting, Sufjan
Stevens is exploring the history, nature, and places of states as a source of his songwriting. On ILLINOIS
(or in regard to its cover title, COME ON FEEL THE ILLINOISE the obvious "furrener" [mis]pronunciation
of my home state) Stevens discusses everything from mass-murderer John Wayne Gacy (in a rather soothing but disturbing ballad)
to Licoln's widow to its place in the world (album highlight, "Chicago") in song.
It is incredibly ambitious, and sounds like the mother of all concept albums. Fortunately, what
would be an unwieldy mess in the hands of an amateur, comes off as a classy study worthy of the adjectives used in reviews
of music by Wilco or Elliott Smith. Stevens' own voice is fairly light and Smith is a good starting point for comparison
(though Eric Matthews appears as another good comparison).
Stevens isn't afraid of taking chances as some rather inspired choices in instrumentation and arrangement
makes this a modern take on the idea of a whole album rather than a song collection. Connecting pieces and reprises
help keep the album flowing, and though there a couple of uses for a skip button.
Though this is not quite as good, I really get the feeling that ILLINOIS
is channeling bits and pieces of Love's FOREVER CHANGES throughout, and imagine that consciously
or subconsciously Arthur Lee was something of an influence as was Elliott Smith.
There is a bit of hype surrounding this release, and much of it is earned. Though I really feel
that the ork-pop genre isn't as widely popular as a lot of critics would like us to believe.
ERIC CLAPTON Back Home (Reprise) 2005
For strictly a point of reference, I'm at an
age where Clapton was an "Unplugged" superstar, not the mega-talented electric blues guitarist who was deified by an unknown
vandal on a noted British wall (the photo of which has been run millions of times in newspapers, magazines, and was even
"mocked" in a later Clapton solo album) after stints in Cream, Blind Faith, and Derek & the Dominoes.
Other British legends like Paul McCartney (I knew more for his vegetarianism than for any great music as a solo artist), and
Rod Stewart (who was becoming a peroxide a/c artist). People called them legends, but they were already 15 years past
their heyday by the time they hit my radar. So I don't feel a rush to beg forgiveness for not owning any Clapton solo
records prior to this one.
BACK HOME is an album with an unusual premise. Can someone who is living a relatively
happy and stable existence still make great music? For his best work, Eric's initial inspiration is the heartbreak,
sadness, and frustration by friends, lovers, and substances that didn't deliver on expectations. In my opinion, Clapton's
best work was the period of Cream through the final stages of Derek & the Dominoes with BLIND FAITH
being my favorite record involving Clapton outright.
Surprisingly, this is an incredibly listenable record of uptown sounds and gentlemanly playing. Rather
than recreating his influences (on albums like BACK TO THE CRADLE, RIDING
WITH THE KING, or ME & MR. JOHNSON) or trying to keep up with the trends (Retail
Therapy?) he has put out a solid MOR record that would fit pretty nicely between his JOURNEYMAN
record and work from artists like Bonnie Raitt or John Hiatt.
Album opener "So Tired" is a little Memphis with soulful backup singers and a nice scat/hum melody.
Clapton also turns in a great r&b feel for "I'm Going Left" with a catchy chorus. (The song is credited to Stevie
Wonder and the late Syreeta Wright, though I hadn't heard the original of this.) However, the highlight is the breakdown
of "Lost and Found" which finds Clapton in a very comfortable blues point with some really cool progressive-sounding changes.
The riff in the middle (and end) has a little "City of Love" feel (a song from Yes's 90125 cd) with
the bass moving across 3 octaves to complete the phrase. The song is well-worn using a common pedal-tone groove heard
in everything from Journey's "Lovin', Touchin', Squeezin'" to Melissa Etheridge's "I'm the Only One" to Alannah Myles "Black
Velvet". Still, Clapton just owns this song, and it has been part of the reason why I find
myself not only having this record, but enjoying it more each time I play it.
Once some of my longtime friends hear about this one, they'll never let me forget about my earlier criticisms
of Clapton's solo work. This is likely going to be a forgotten album at year-end, and critics are looking for "art"
more than "craft". If you go in with low expectations (which is probably not the best way to purchase music), this album
will far exceed. Longtime fans who may have underestimated the aging legend have a reason to cheer. If only more
albums like this were marketable these days.
GASKIN End of the World/No Way Out (British Steel) 1996
I was originally exposed to Gaskin from the Lars
Ulrich selected compilation, NWOBHM, on Metal Blade. The collection included performers like
Def Leppard, Saxon, Raven, Blitzkrieg, and Samson. Despite these heavyweights, there was something I really liked
about the Gaskin track that was included.
Roughly 18 months later, I found the latest Gaskin cd, 2000's STAND OR FALL.
It had a strong connection to the NWOBHM sounds while having more sophisticated touches in terms of arrangements and production.
I really liked it a lot. So it was with great excitement that I located a 2-on-1 package featuring both of Gaskin's
original studio albums (though the singles and b-sides didn't make it to this pressing).
The debut, END OF THE WORLD, is a very good example of NWOBHM in its most
pristine form. The tempos are a bit quicker, the guitars are a little heavier, the production is fairly stripped down,
and the songs are solidly performed. Paul Gaskin is not only the lead guitarist and main songwriter, but is also the lead vocalist
for this album. His voice is classic, sounding like a warmer Brian Ross (Satan, Blitzkrieg) gliding over the types of
progressions of bands like Tokyo Blade and Blind Fury. It is pure and simple, and a neat discovery to anyone who liked
NWOBHM without getting all of the names of its performers.
Sometime prior to the second album, NO WAY OUT, the band decided to take on
an additional vocalist. Unfortunately, what they hoped to gain live with a "stand-alone frontman" they lost in
quality in regards to this recording. Some of the vocals either are or might as well be Paul Gaskin himself, while the
lyrical content doesn't really provide either singer with much interesting to sing about.
Despite this, I really am happy to have these albums in one place (and to finally hear what the band
was doing originally), and you could do far worse than this pressing. There are some liner notes discussing the history
of the band, as well as a discography of the band (current through the mid-90's).
STARCASTLE Starcastle (Epic) 1976
The debut album from U.S. prog-band Starcastle is
trumped up in its own unique story. The band (consisting of 6 members) was a touring covers' band that changed its life
and vision after an accident with the band's bus that left their lead guitarist with a broken back.
The band came back with a "disciplined" life approach that yielded 4 albums of varying success before
the changing trends of the early '80's would place prog. on an endangered species list.
This, their debut, sounds like what would happen if Jon Anderson fronted Kansas. It isn't as sophisticated
as the British progressive bands (like Yes, Gentle Giant, or ELP), but still possessing enough of these elements to be enjoyable.
Still, the Yes-lite tag is fairly merited as the tracks and vocal stylings really fit nowhere else.
RHETT FORRESTER Even the Odds (Rhino/Rampage) 1988
Forrester is best known for his work with Riot, particularly
the albums BORN IN AMERICA and RESTLESS BREED. He was brought in
to the band for his abilities as a frontman, though vocally he was in the same neighborhood as a Blackie Lawless (W.A.S.P.)
or Kevin DuBrow (Quiet Riot). He does have a little more range, but there is something about his voice that just seems
like an ordinary hard-rock voice.
This album was a frequent part of the Z-Rock radio format of the mid-to-late '80's, and the song "Assume
the Position" was for a few months one of its more popular songs. Despite being a solo recording, it sounds like the
stuff he played and recorded with Riot.
While not as unfortunate as his untimely demise in the mid-90's, this album is locked tightly in
the late'80's time capsule, and will forever reek of its time. Perhaps the general public will eventually
get into this; but I'm betting that will be after Johnny Crash mounts a successful comeback album & tour, world
peace, and stability has been achieved, and gas prices sink beneath $2 a gallon to stay. [Don't bet on it...]
WEEK OF AUGUST 29 - SEPTEMBER 4
BARREN CROSS Rock for the King (Medusa/Enigma) 1990/1986
Part of growing up in a small town is the role and
pressures that religion plays on its inhabitants. Maybe it was just me, but everybody thought I needed to be saved,
so I was often approached and involved in discussion with people who wanted to witness to me.
I was always fairly patient, though I had my own beliefs, and didn't let them interfere with my love
of heavy metal. When bands like Iron Maiden, Mercyful Fate, and Venom became a part of my entertainment, a lot of people
(including my parents) felt that maybe this "Satanic" rock was going to morph me into some evil creature. I always said
I wanted some music that could go into the extremes of those three without trafficking in Satanic lyrical matter, but there
wasn't anything in the Christian field at the time that could keep up. (Sorry Stryper fans...)
Low and behold, someone drops this cassette on me. It was like Iron Maiden, but instead challenged
the concepts of being able to be intense and Christian at the same time. It was a great sound, and despite its
subject matter, it was able to keep up with many secular artists. I copied the tape, and it's poorly recorded
hiss-y (tape to tape copies weren't particularly great at any time, though with the primitive stereo I had, they were nearly
inaudible) didn't spoil the Maiden-esque "Dying Day" or the more dramatic "Going Nowhere". Despite trips to Christian
bookstores and secular stores, I never found this in any format except LP. Eventually, I saw that the cd was available
online at collector's prices.
Fast-forward 15 years, and I finally stumble across this on cd. Unfortunately, I later found out
that this was the "remastered" version, and that the original album has been interrupted with live tracks and other "bonus"
cuts that didn't make the record. I'm happy to have finally located a copy, but the interruptions annoy me (and my inner
8th grader who listened to this album hundreds of times).
Copies of this regularly go in the $30 range on eBay, though I lucked out and got it for a little less
than that.
AEROSMITH Get Your Wings (Columbia) 1993/1974
Everyone had to know that the Aerosmith tributes
I recently received would likely lead to additions to my Aerosmith collection. After hearing Davy Vain kick out "S.O.S.
(Too Bad)" on the AEROSMITHSONIAN tribute, I had to get my hands on the original version (as well
as the material composed in the same vein). Unfortunately, this doesn't quite have the same polish or strength
of the next two records, TOYS IN THE ATTIC and ROCKS. Despite this,
"Same Old Song and Dance", "Train Kept a Rollin'", and "Seasons of Wither" have maintained a strong profile throughout
the band's career via setlists and fan's choice tracks.
The power of Aerosmith is that most bands can't make an album that is deep enough to have
3 songs of this quality. In Aerosmith's case, it is a good album (but not a great one), whereas it is a career album
for most bands. Still it is essential, and a sure sign that I'll likely grab the albums individually rather than spring
for the BOX OF FIRE.
STEALTH SOUNDTRACK (Epic/Sony Soundtrax) 2005
This has one item of interest, and that is the return
of Glenn Hughes to Epic Records. Strangely enough, it was 21 years ago when Hughes recorded an album for Boardwalk/Epic
records with guitarist Pat Thrall (called imaginatively enough, HUGHES THRALL). As a true
survivor of the industry, it was this and the low price of this promo copy (less than $5) that made me pick this up.
Glenn shares the track with John Frusciante and Chad Smith of the Red Hot Chili Peppers. It is
a cover of the Moody Blues' "Nights in White Satin". Suprisingly, it is pretty well covered for 3 players. Hughes'
reading of this is a bit more soulful (and less desperate) than Justin Hayward's original interpretation. Still, I imagine
that this is one of the sacred cow songs (like "Purple Haze" which was mangled by Winger, or "American Pie" which was
deranged by Madonna), though I do enjoy this rendition. I've always felt the original was a little stiff and slightly
creepy (in a needy and hopeless way) and it was one of my least favorite Moody songs.
The only real disrespect though is burying this at the end and following it up with a very similar sounding track
by Incubus (who has contributed nearly 40% of the soundtrack). Unfortunately, this may be Hughes real shot at a younger
audience, and this just doesn't do him or his personal talents much justice.
MOTORHEAD Bastards (SPV/Steamhammer) 1993
This album was a real difficult find for me upon
its release because of the fact that it appeared on the German XYZ label. Despite this, it was available in the states
for a short while at regular retail cost ($15 or so) or so I was told by several friends who are fans and collectors of Motorhead
stuff. Eventually, I found it a few years after its release on the original pressing.
I stumbled across an SPV sale at Rolling Stones records in which this edition (which features a bonus
track, a take on the Rolling Stones' "Jumpin' Jack Flash") was $7.99. Despite my thirst for original editions,
I decided that this was enough to upgrade.
Motorhead is one of those bands that will be treated kindly by time. They never overthought things,
and the songs have a spontaneity that comes from being caught in early takes. Nothing sounds labored, though it is a
hard-working machine. BASTARDS was that year's model of the Motorhead sound, and a welcome
return to basics after flirting with WTG/Sony for a couple of records. Aside from incest tale "Don't Let Daddy Kiss
Me" which is slightly disturbing on its own, let alone with Lemmy's vocal weight added to it; the material is energetic, crushing,
and continual. This is a great one for the long rides, especially on open highways where you can build up a little speed.
WEEK OF AUGUST 22 - AUGUST 28
STRYPER Reborn (MTM) 2005
Stryper is not a band that I looked back upon kindly.
When they hit their "metal peak" with SOLDIERS UNDER COMMAND, I liked it, but not as much as stuff
like Iron Maiden, Slayer, or even Yngwie. I wouldn't really like another Stryper record until AGAINST THE
LAW came out in 1990. Despite this, I still bought the records and saw the shows. (Twice at the Odeum
in Villa Park...) Some of my friends who were devout were grateful for any Christian-based hard rock; but I felt the
band only succeeded at the time (or stood out) because of the novelty of being a Christian band; not because they were keeping
up with the secular groups of the time.
Errantly, the Christian music scene at the time thought it was a better idea to make records that matched
the most successful secular artists; rather than allow their own performers the right to be artists. Hence, the majority
of "popular" Christian recordings of the day have an uncanny resemblance to secular artists like John Mellencamp, Mike + the
Mechanics, Scandal, Mr. Mister, and Bob Seger.
Fortunately, time has been very kind to the band. REBORN finds the band in a similar space to
Tesla's INTO THE NOW. I make this comparison as both records have some modern touches but have consistent connections
to their past work. In the case of Stryper, that means the music has more of an edge than at any time of their career.
Gone are the Styx-isms that marred past releases. Michael Sweet has found his own voice, and no longer sounds like Dennis
DeYoung emoting over an unfamiliar soundscape. Unfortunately, the very talented Oz Fox is given very little space to
show his talents as the album seems devoid of guitar solos.
Like past Stryper releases, there are some ballads here, but they are nothing like "Honestly", "First
Love", or "Always There for You". The best song here is the ballad, "Passion" which while obviously devoted to Jesus
Christ, whips up enough energy and conviction to stir many secular listeners to emotion.
Closing the disc is the band's only look back, a newly updated version of their 1988 song, "In
God We Trust". This is a different beast, detuned and forceful. For once, I must credit Stryper for taking an
artistic lead and for no longer depending on Christianity as a novelty to help sell records. If this is any suggestion
that the band will continue after the tour, than I'm daring to say that the Stryper reunion may be one of a very few that
may be as artistically legitimate as the one Aerosmith staged nearly 20 years ago.
--------------
[I wanted to include this in the text, but decided it had little to do with the review of the album,
and more to do with why I wasn't as big a Stryper fan in the first place. This is a rant, read at your own risk.
The first time I saw Stryper, (with Chicago's own Tattoo opening) I was
really appalled by some of the people I ran into while waiting to enter the venue. The show was General Admission, and
I had gone with about 6 other friends. One of the "fire & brimstone" types was part of a church youth group hanging
out in front of us. (He must have been the "youth" pastor, because he was a good 15 years older than anybody in his
group or ours.) One of my friends had made the mistake (again?!) of wearing the Motley Crue t-shirt with the
pentagram on the cover; and it made this preacher go to work on us. [The other mistaken time was when he wore it
to a Venom/Slayer/Exodus show and nearly got the 4 of us pelted with beer bottles while getting to the back
of the entry line. As if the catcalls of being called a p----y or a f----t wasn't bad enough for him?]
Because it was a general admission show, we got there very early, and
a 3 hour wait between our arrival and the opening of the doors became excruciatingly long as a result of this preacher,
who then told us that everything from Ratt to Night Ranger was demonic and that the thought that we could walk with the Lord
and listen to this hell-spawn (I didn't have the heart to mention the copious amounts of Slayer, Venom, and Mercyful
Fate we were listening to around that time) was beyond ridiculous. (Later, this guy was standing at the stage yelling
at Michael Sweet for appearing in a white spotlight, and declaring him a blasphemer for this.)
What struck me most was that when the doors opened, that the force of
being pulled and pushed back were far more violent than in any G-A show I'd ever attended (including Venom, Kreator, or even
Van Halen on the lawn at Alpine Valley). To boot, opening acts were booed mercilessly by the crowd who hooted and put
their thumbs down like they were a team of heels at a pro wrestling event. Some went so far as to chant
"you suck!" which felt particularly Christian. (When I saw them again with labelmates Hurricane, I could only sympathize.
To my ears, Hurricane was barely a step below Stryper in the accomplishment area.) Only Slayer has an audience that
is more demonstrative negatively to opening acts. The stage show consisted of a couple of lit-up signs (one of the band
logo above and behind, another with 666 in the red anti- iconography, and another with devil in the same format on each side
of the stage), the Robert Sweet drum cage, the tossing out of Stryper-embossed New Testaments (which were far more popular
than the green and red freebies given out at college campuses and at sporting events), and the fliers that were tossed like
confetti into the crowd. I didn't get it. The band were talented (particularly, guitarist Oz Fox) and it was really
cool to watch Robert Sweet live up to his nickname of "the Visual Timekeeper" as he waggled his body around his flailing limbs
during the songs. As I saw them from roughly the 3rd row, I was no further than 5 feet from the stage or 20
feet from the back of the set.
Though one thing which was incredibly disturbing (and so ridiculously
distracting that it merited attention) was Michael Sweet's "sock in the spandex" trick, during the SOLDIERS show I saw.
Despite qualifiers of "I'm not gay, but what was up with Michael Sweet?" we discussed this on the ride home and it hasn't
come up since. [Though being in a committed relationship with a loving woman for 6 years has now given me
the security to talk about this here and now.] The bulges of spandex were one of the "latent homosexual" issues at the
core of '80's hard rock; and despite a mostly male audience, some performers embellished their manhood by rolling up
a sock or a towel into a "bulge" and placing it in the front of their spandex pants. 98% of the time it was a victimless
crime because the dudes were either too focused on getting and maintaining their high both chemically and musically to notice,
or we were watching the reactions of the girls to the music (whether it was dancing, shaking, or even flashing the band).
Michael had his own Spinal Tap going on that night as anybody who might have been enticed by the size of it would have been
disturbed by its placement. ("It is not a TOO-MAH") As VH1 has proven, Michael isn't the only person to have done
this, as it was a product of the times, nor should it affect what the band is or stands for. [Though it may compromise
the lyrics to "Not That Kind of Guy" :-)] Michael is definitely a Christian, and even Christians want to look good,
be desired, and have good sex; so I'm not going to pass judgment. Fortunately, spandex has been dead except for
workout clothes for a good 20 years now; so hopefully we'll never have to deal with this type of discussion about anyone ever
again.
CROSBY, STILLS, & NASH Greatest Hits (Rhino/Atlantic) 2005
I had the SO FAR collection
for about 6 years, and was fairly frustrated by the omission of their more recent hits (like "Southern Cross").
Not that I was a particularly huge fan, (I'd take one Neil Young over all three of these guys...) but they have made
several songs that every cover musician should be able to play or approximate.
I saw this new collection came out and I figured,
that it would be decent to get the more modern things that I liked from them. I found it for less than $10 new, and
so I picked it up. Unfortunately, unless I absolutely have to learn something else or brush up on something I haven't
had to play from them in a while; this will likely be like the dictionary that only gets used when there is a debate
or a question over the use of a word.
It is valid, it is accomplished, it is successful...it
is lame.
NEVERMORE This Godless Endeavor (Century Media) 2005
Perhaps it is just me, but I think Nevermore are
to heavy metal music what Oliver Stone is to feature films. First off, both are very intense, graphic, and uncompromising
in their vision of what will ultimately end up in front of the eyes and ears of their fans. Second, both are incredibly
serious. No one goes into an Oliver Stone film with the hope of "enjoying" it. They go because they know that
it is incredibly well-done and thought-provoking. Nevermore, musically is beginning to fall into this camp.
That said, THIS GODLESS ENDEAVOR is an early candidate for my top 5 albums
for this year. Power, melody, and dynamics conspire to create an aural journey into the dark side of human nature.
Whether it is the sheer brutality of the guitars or the willingness of vocalist Warrel Dane to select anything but an obvious
melody; they've earned the nickname that Megadeth claimed in the late '80's... "State of the Art Metal"
"My Acid Words" though is worth the price of admission alone. It is a great track that shows you
don't have to have "Metal" in your band name or have a running character (like Eddie or Vic) to create a legendary sound.
In a just world, this band would be more than "underground" kings; they would've conquered the world.
AEROSMITH Blind Man (Geffen) EP 1994
This is a nice collector single from the GET
A GRIP sessions that I didn't have until snagging the YOUNG LUST ANTHOLOGY a few years
back. Though if memory serves me right, this also appeared on the first Geffen compilation, BIG ONES.
For me, this is cool because of the live take on "Shut Up and Dance". I like the vibe here, and
after being up to my eardrums in Aerosmith tributes, it was nice to let the real thing blast through.
This was a much appreciated gift from a fellow trader.
BLACK MAJESTY Silent Company [Limited Edition] (Limb/LMP/SPV) 2005
Some of my heavy metal friends are going to be incredibly
disappointed in me, as I really didn't understand the hype here. This is one of the more recent signees as well as one
of the more successful bands on the Limb roster; but this is not a record that signals the "arrival" of a band that is seemingly
very talented.
The first problem I had was with the songwriting/arranging. The band spends a lot of time in the
same sonic vicinity. Unlike Mob Rules, who at least have different wrinkles in similar spaces (galloping guitar lines,
sweeping vocals, dramatic choruses); Black Majesty stubbornly goes forward in direct and obvious fashion. The only departures
are their cover version of "Six Ribbons" (which sounds like Helloween taking on Annie Haslam and covering something by Pentangle)
and the acoustic version of "Guardian".
The second problem is with the recording of the vocalist. I really think the singer is quite good,
but the mix prevents us from getting a really clear performance from him. Maybe it is me, but most power metal (prog-metal)
lays a great deal of emphasis on the drums, the guitarist(s)' execution, and the vocal presentation. In this case, a
second strike against a talented band.
This is the special edition digi- that includes 2 bonus tracks, a videoclip, a sticker, and a poster
of the album's cover art. (Very similar to the Domain packaging.) I do hope that maybe repeated listenings will
bring more to the surface of this album.
HOODOO GURUS The Right Time (BMG/RCA) EP 1994
This E.P. came out alongside the band's CRANK album
in 1994. The album had a speed/precision element that had been missing in their previous work; and perhaps the cars
and motorcycles from the cover art had worked their way into the songwriting and arrangements.
The lead-off track for both is "The Right Time" a fiery song crossing Midnight Oil with a John Mellencamp
sort of thing. The remainder of this e.p. features 4 additional songs that did not make the original album. (Though
they have been added to the recent remaster/repackaging of their catalog albums in the last couple of years.) I liked
"Road Hog", but found myself really liking "Wait for the Sun" the best. The chime-y guitars and the croaked vocals throughout
are a comfortable sound for me.
WEEK OF AUGUST 16 - AUGUST 22
FOREIGNER Anthology: Jukebox Heroes (Rhino) 2000
Embarrassingly enough, Foreigner has provided much
of the coincidental music in the soundtrack of my life. Not that I had much of a choice, as they were one of the largest
"hard" rock bands of the late '70's and early '80's. For the longest time, Foreigner were a Loop band. (A Chicago
radio station named after the very popular downtown area had a second meaning... they played the same artists and same songs
over and over again.) To this day, I bought the greatest hits albums by the Doobie Bros., Eagles, Journey, and
Steely Dan despite the fact that you hear all of these bands hits quite frequently on the station. You can add
Foreigner, because for a few years their RECORDS retrospective was a small (and seldom used) part
of my collection. I ended up trading it in for another used cd about 12 years ago when I was still working at the
cd shop.
So after feeling that RECORDS was a waste of space, why did I buy a larger
anthology? Two reasons, the first being that this had all of the Foreigner I wanted (including later stuff like "Heart
Turns to Stone" and "I Don't Want to Live Without You") as well as solo hits from both band principals, Lou Gramm and Mick
Jones. The second reason is that I found it for less than half of its $29.99 list price. It is incredibly thorough,
and the essay in the booklet is almost enough to warrant the purchase if not for two full cds of music.
My deep dark dirty secret is that I was a huge fan of the 1987 record, INSIDE INFORMATION.
I had the cassette and it spent a lot of time in my car and on my walkman (tm). It was here that I developed an appreciation
for the incredible voice of Lou Gramm. He has all of the elements, whether it is a "dirty" rock voice, a soft ballad
voice, or even an overpowering dramatic voice. He could sing the Denny's late night menu, and make it sound like it
was overcoming hard odds or ready for love. Despite it, he was given great material to work with. The songcraft
is pretty amazing, when you realize that this was before writers like Desmond Child, Diane Warren, and Marti Frederiksen were
employed to sharpen the choruses and dull the defenses for bands like Aerosmith, Def Leppard, and Bon Jovi. Few bands
were as easily accessible lyrically and stylistically as Foreigner.
I've already spun these discs a good 5 times or so, and was really pleased at the inclusion of Lou Gramm's
"Midnight Blue" and "Just Between You and Me" as well as Mick Jones' "I Just Wanna Hold". While they were hits, they
were distinct of their times. "Midnight Blue" reeks of the Top Gun era, "Just Between You and Me" has a mixture of later-period
Chicago and the new pop of the time like Glass Tiger and Go West. "I Just Wanna..." is almost J. Geils filtered through
the Stones. It is hard to tell if the group would have had a career had they gotten underway a few years later.
Still between the song selection, and the packaging, this mini-box has almost all you could want or need of the band.
DEEP PURPLE Scandinavian Nights (Spitfire) 2001/1970
While it is nice that this long-bootlegged concert
has officially made it to cd, someone at Spitfire really did a poor job of putting this together.
For starters, the cover reads 'SANDINAVIAN NIGHTS' (missing the 'c'). The other mistake (happens
twice on the back of the tray card and in the liner notes) is that the song order is incredibly messed up. The tray
gives the original running order (when the concert had to be chopped and edited to best-fit vinyl's 40 min. limitations),
and the liners give the actual running order of the concert. The actual cd order is different. . . oh well, I guess
that's what you get with a product that was originally a well-recorded bootleg.
This concert was pre-MACHINE HEAD, so the biggest hits from the band had not
yet materialized. In place of hits, we get a number of extended intros and outros; with long instrumental bits.
The players are highly competent, but it lacks the soulfulness of the Allman Bros. or the experimentation of the Dead.
A classical jam band is probably the best descriptor that I have here, though the band never really get out of the Catholic
hymn books sonically.
The liner notes do tell a bit about the band at the time, and the pressures they were facing.
(Always far more dramatic and silly than real life pressures.) Despite the fact that I don't like this one as much as
later Purple live outings (and legitimate bootlegs like DAYS MAY COME, and LAST TIME
IN JAPAN) I'm happy that this stuff is out there so that people can purchase it legally and that the band doesn't
get screwed by another bootlegger. Whether they'll get their money back from Spitfire is a different question.
DAVE VALENTIN Musical Portraits (GRP) 1992
HOODOO GURUS 1000 Miles (RCA/BMG) EP 1991
This is a nice two song promo disc, featuring the
lead-off single from their KINKY album, and a second track in pictograph form (which would
officially translate into "I Think You Know")
"1000 Miles" is an unusual track, as it plays up some drama without the payoff one would expect from
this. However, it is redeemed by the self-produced stomping second track "I Think You Know". Imagine Midnight
Oil taking a crack at Joe Jackson's "Got the Time", and you have a pretty good estimation of what it sounds like. I
do not have KINKY at this time, so I didn't know (couldn't tell) if this also appears there.
I would think with it being self-produced that it wouldn't, but you never know.
NOT THE SAME OLD SONG AND DANCE (Deadline) 1999
This Aerosmith tribute is also a category #2, but
the star power is a bit greater. Almost every vocalist on here has spent more than one month on Mtv via the videos their
bands made during the hair metal halcyon days of the late '80's and early '90's.
Though I'm in the minority of thinking "Dream On" is just a little melodramatic. (It's my opinion,
others claim this song saved their lives...) The highlight here is the version brought out by Ronnie James Dio and Yngwie
Malmsteen. Predictably, Dio reins the vocal into the dark and mystical vibe he so expertly crafts on his own material;
while Malmsteen overdoes the guitar solo. Credit also goes to Ted Nugent for leading his mates through a full-on
filthy take on "Rag Doll". (Not vulgar, but just as suggestive and as naughty as the original suggests.) These
are the highlights, but amazingly, with the exception of Mickey Thomas on "Last Child" (which isn't so much bad as just not
to my particular taste) there isn't anything that is going to require a thorough navigation of the skip button.
One more thumbs up for the pseudo-Tesla version of "Draw the Line". With two members (singer Jeff
Keith and guitarist Tommy Skeoch) this is the closest this gets to the the performers' original band. (Though to be
technical, Jani Lane's track "No Surprize" has both Chris Holmes and Stephen Riley of W.A.S.P.). Good song selection,
and decent casting makes this a nice step away from the original versions. (Though it will make you want to explore
the original versions as well.)
WEEK OF AUGUST 9 - AUGUST 15
BOB MOULD Body of Song [Limited Edition] (GM/Yep Rock) 2005
Some of the most exciting and most painful moments
of music have come from the records of Bob Mould. When I first heard WORKBOOK, I was really
surprised at its combination of edge and sensitivity. It is an album that still finds its way into my cd player in random
rotation. His music with Sugar (particularly the FILE UNDER EASY LISTENING album) had enough
distorted pop to keep up with the bigger artists of the grunge age, while containing enough venom to think of the last cycle
of Husker Du (which sadly, I just got to too late to really understand what they were going for...). But it has
been a pretty uneven gamble since Mould resumed his solo career following Sugar's demise. His self-titled solo album
had a self-pity/self-anger streak that was far more challenging than the music it contained. The LAST
DOG & PONY SHOW was made as a "going out on top" record for Bob Mould, rock musician; and while a much stronger
effort, still spent more time baring his knuckles than baring his soul. MODULATE was a sonic
experiment that didn't connect at either its dance or its singer/songwriter ends. [Though I really think it is an underrated
album.] Fast-forward a few years, and we have an album that bridges Bob Mould, guitar-slinging singer/songwriter, and
dj/dance music connossieur.
Though there isn't the "cash-in" nature here that one
might suspect at the time of Sugar's COPPER BLUE or FILE UNDER EASY LISTENING,
this is the most accessible Mould's music has been since that time. Rock progressions are accented with the gadgetry
and techno effects of modern dance music. The effect isn't far removed from what you might hear on the backing
tracks (instrumental without vocals) of albums by Caviar (especially their debut), Maroon5, or Avril Lavigne.
However, Mould tends to move his vocal sound and lyrical content into an area less obvious, and more consistent with his past
work. Still, I'm not certain as to whether this is where Mould would like to be sonically.
This package allows Mould another chance to get his American "rawk" fans into the electronica tinges,
as the bonus disc features 3 fully danceable mixes. Still there is an overwhelming air of compromise, as both acoustic
and electric guitars get workouts throughout. The highlight for me was "Surveyors and Cranes" on the bonus disc, though
"High Fidelity" is the track that best shows his artistry. The first is a first class rocker with a slightly bulky
metaphor. It doesn't play nice with the other tracks, and it is no wonder that it appears on the second cd. "High
Fidelity" is a mellower tune that shows far more versatility and expressiveness in Mould's voice then he generally
gets credit for. Like Peter Gabriel, Mould's voice is generally a point of contention when I play his music to people
who aren't familiar with him. If they can hear the emotion in his voice, they generally can get through the fact that
he is not a trained, traditional singer. Others just can't handle music this straightforward.
The nice thing about being an adult is to be able to afford (to choose to afford) the deluxe edition.
For roughly $5 more, the deluxe edition features a bonus disc, additional art, and a large black box to house everything in.
The cd's are packed in black envelopes, while the liner notes, lyrics, song information are placed as individual jewel-box
sized cards. The entire inside is wrapped in a nice canary-colored shroud. Though, I have to say that I personally
prefer a booklet, and that perhaps instead of individual cards, that a nicer booklet (like an eco-book) may have made a nicer
package overall. Still, the $5 is worth it for the bonus disc alone, as without the deluxe version, you are without
6 exclusive tracks and the 2 songs across 3 remixes.
The modern touches may make this a good choice for younger listeners (though some Husker/Sugar touch-ups
every now and again remind kids that "punk pop" didn't start with Green Day and end with Saves the Day. Older listeners
may be put off by these touches initially, repeat listens will definitely open this one up.
AEROSMITHSONIAN A Tribute to Aerosmith (Perris) 2001
Perris is the struggling little label that could,
which is giving solace to '80's bands like Lillian Axe, Enuff Z'nuff, Vain, and Dangerous Toys. Perris must
be a labor of love because these bands didn't sell a whole lot of albums in what would be their prime, so you can only
imagine how much they are moving 15 years after the fact. Which brings us to WELCOME TO THE AEROSMITHSONIAN
- a tribute to Aerosmith.
Tribute albums generally fall into 2 categories. The first category is that a bunch of successful
artists come together to legitimize someone or something that is not so successful, forgotten, or underrated. [Like
the SWEET RELIEF albums, or tributes to ROKY ERICKSON, RICHARD THOMPSON, HARRY NILSSON, or JACK KERUOAUC.]. The album
either brings a little awareness to the subject or a little money to an appropriate charity. The second category is
the tribute by a bunch of unknown artists to someone who is mega-successful so that fans of the artist will buy music they
wouldn't otherwise buy. This doesn't pay tribute to the subject artist, rather the performers on the album are
trying to borrow a little glory from the original.
Even though this is a category #2, it is a pretty solid ride through the underbelly of Aerosmith's original
Columbia catalog. Songs like "Lord of the Thighs", "S.O.S. (Too Bad)", and "Get the Lead Out" are pleasant additions
to the typical GREATEST HITS' warhorses ("Walk This Way", "Sweet Emotion", "Back in the Saddle",
et al). The song selection is fairly strong (with the exception of "Train Kept a Rollin' " all were well chosen with
the artists in mind. Fortunately, this one didn't seek to include "Dream On").
The guest vocalists include Ron Keel, Derek St. Holmes (Ted Nugent), Davy Vain, and Ron Taylor (Lillian
Axe), as well as Jason MacMaster (Dangerous Toys, Broken Teeth) who also adds a majority of the bass to these tracks.
Since the tracks are primarily rock/shuffle, there is little that can't be handled in the main ranges. Unfortunately,
there are some moments, like the "no no" bridge in "Get the Lead Out", and the end of "Last Child" that run into a little
vocal trouble.
For the most part, these songs are fairly faithful with the exception of "Walk This Way" which features
a slight reinterpretation of the rhythm. Though, because none of these songs outshine or challenge the original versions,
this is a disc with limited appeal. Hardcore fans will find themselves going back to the originals, while casual fans
likely wouldn't have picked this up in the first place. Still, it is likely that this will see occasional rotation strictly
for the vocal efforts of Jason MacMaster and Davy Vain.
STRUNZ & FARAH Mosaico (Mesa) 1982
I was very surprised to find this early album from
Strunz & Farah on cd. I had first heard of the guitar duo on 1992's AMERICAS cd and found
them to be a direct influence on Al DiMeola's World Sinfonia project. It is very comfortable acoustic guitar music with
Latin rhythms, world lyrics, and varied instrumentation.
This is a blueprint for what they would accomplish over the next 15 years. Classically influenced
guitars roam and hover over gypsy and samba rhythms,simultaneously quickening at the ears while relaxing the body.
The seven tracks do not differ greatly, and are a very cohesive listen. Whether it is doing paperwork, reading, or doing
computer work, this is an album that is interesting enough in the foreground to hold my attention, yet relaxing enough to
fit in as background to everything else I do in a day.
THE ROOKIE SOUNDTRACK (Hollywood) 2002
I show this video to some of my writing classes
to set up a series of essay/journal prompts. As a result, I've probably seen this movie at least 3 times a semester
for 3 years, plus the times I saw it for enjoyment. I heard "Slow Turning" in the movie and have since dug back into
John Hiatt (as I really only had his collaborations with the group that would be called Little Village) and also really enjoyed
the instrumental bits in the movie.
The soundtrack itself is a good sampler of singer/songwriters who deliver gritty, adult rock'n'roll.
Inclusions of John Hiatt, Steve Earle, John Fogerty, Ryan Adams, and Guy Clark, make this clearly a record for those who appreciate
rock with a debt to country and blues. (While the recent trend for this music has been called Americana, Alt. Country,
or No Depression music; most of these artists have been performing in this style long before there was a catch-all to
describe it.)
Still, the prize here is conclusion, featuring two instrumentals from Carter Burwell.
It is "movie music", but it also flows together really nicely in an American symphonic sort of way. The flutes, (recorders?),
and slide give a distinct American character to a classical promenade style piece. I get a similar reaction to this
music as I did to albums like Charlie Haden's UNDER THE MISSOURI SKY, Marc Johnson's
THE SOUND OF SUMMER RUNNING, and Acoustic Alchemy's BACK ON THE CASE.
These are almost like country jazz; where you can here blues, country, bluegrass, and folk rock into a sterling
jazz conglomeration. While it shines in 8 minutes, you wonder how a whole album might sound. In the summaries
I've read about Burwell, it appears that he does not have an album of his own released. His work appears on
a number of soundtracks, primarily of Coen brothers films (makers of Fargo, Barton Fink, O Brother Where Art Thou?). I
imagine that Burwell probably has plenty of soundtrack offers; so at least he can still be productive and audible
to the general public.
WEEK OF AUGUST 1 - AUGUST 8
HOODOO GURUS Crank (Zoo/BMG) 1994
With a mixture of the awe of discovery and the suprisingly
sturdy time-capsule find; I keep getting more and more impressed with the music I find from this Aussie band. They are
a mixture of all I liked about college rock without the pretense and self-importance of being an "alternative" rock act.
In reality, the Gurus sound like a mixture of Midnight Oil, Smithereens, and maybe a smidge of Soul
Asylum, delivered with a Georgia Satellites' styled confidence. Though I still prefer Midnight Oil, I kind of look
at the Gurus as if they were the "girl-crazy" cousins of the Oils. As the music is similar, but the lyrical content
is far less controversial.
As a whole, this is a fairly consistent listen, but my ears were really perked up by the song "You Open
My Eyes". It is the long-lost classic power pop single that I was looking for. (Too bad it took 11 years to find
it.) The rave up of "Crossed Wires" also sent sparks through my speakers.
I still can't believe that this group wasn't more popular in its time. Still there is a perversity
in the universe that allows these kinds of bands (King's X, Raven, Judybats) to continue without tragic "Behind the Music"
events or the larger shadows of previous successes cast by other bands. I will need to investigate further...
THE FIXX Shuttered Room (Rainman) 2003/1982
THE FIXX Phantoms (One Way/Universal) 2001/1984
I got into the Fixx shortly before the release of
their CALM ANIMALS cd. I was a bit late to the party, but was able to get cheap used cassettes
of SHUTTERED ROOM and PHANTOMS, shortly after getting into the REACH
THE BEACH album.
It's a little surprising that 16 years later, I was able to find these cds for the same price I paid
for those cassettes. ($2.98 each). Both needed new jewel boxes, but the inserts and discs look unused.
SHUTTERED ROOM is the band's debut album, and featured the radio hits "Stand or
Fall" and "Red Skies". (Still staples of a lot of '80's-based formats.) Though the majority of the album features
riddling lyrics like "Lost Planes" and "The Strain", as well as the highly paranoid "Cameras in Paris". Still, my favorite
song here is "I Live". It has a bit of a gallop (albeit more electronic than the typically hard rock gallop most are
accustomed to), a solid chorus, a mid-section that could fit in a variety of places (early Sabbath, Rabin-era Yes, Thompson
Twins) and a very odd vocal harmony that really brings out menace and edge at the last verse. This edition of SHUTTERED
ROOM adds "Sinking Island" and a lengthier mix of "Stand or Fall" to the end of the disc. "Sinking
Island" also appears on the outtakes collection MISSING LINKS.
PHANTOMS is an appropriately named follow-up to the band's vastly popular REACH
THE BEACH album. There are spots where it sounds like the band is looking to vanish. There is
a sonic hypnotism being attempted on "Woman on a Train" or "I Will" (where you lose track of anything but
the repetition of the backing track). The ghastly (but appropriate) unaccompanied vocal harmonies of "Phantom Living"
shows the power of absence. It's an intriguing theme that is spoiled by a few songs that don't fit. Songs
that sonically reference their previous albums like "Question" and "In Suspense" don't function so well here; "Are We Ourselves"
is an intriguing lyric idea, but doesn't really use the music or lyric to match or expand the theme. For this edition, PHANTOMS features two remixes and a live song which are placed at the end of the cd,
as well as a nice essay from ALLMUSIC.com contributor Steven Thomas Erlewine.
Nobody does paranoia like the Fixx, who were surprisingly progressive for a "new wave" act. They
were a "gateway" artist for me; as I got into other stuff like Rabin-led Yes, Peter Gabriel solo, Wang Chung, at this time.
Of course, I got a strange look from the record store clerk for buying CALM ANIMALS and Metallica's
AND JUSTICE FOR ALL on the same trip. But both bands were incredibly important to my growth as
a music listener and as a musician. I do wonder how the band's fortunes would have changed if they had delivered "the"
hit album at the time of PHANTOMS. Would they be at U2, Madonna, and Prince levels of
popularity? Or would they have imploded from the strain of being so successful? Is it for the better that the
Fixx stayed moderately popular rather than hugely successful? Time will tell, I guess.
VIO-LENCE Eternal Nightmare/Torture Tactics (Machine) 2003/1989
Until very recently, Vio-lence had been a very hard-to-find
and rare band to collect. Their albums, ETERNAL NIGHTMARE, OPPRESSING THE
MASSES, and the TORTURE TACTICS ep have topped many thrashers' want lists (including
my own) and have fetched stupid sums of money at collector shows and on eBay. (Stuff that couldn't be sold for nickels
in 1990, now worth anywhere from $20-$50. Or the original ETERNAL NIGHTMARE cd (on Mechanic
Records) which I saw at a record show in 2000 for $125.)
Since the collectors have driven the value of these
titles so high, they have since been given re-release through Megaforce and the slyly-named Machine records
(is this owned by Machine Head founder/Vio-Lence guitarist, Robb Flynn?). This Machine edition has too seen an upgrade
via Megaforce records in which a ton of live tracks have been added to the package, (though TORTURE TACTICS
had been removed and added to their expanded version of OPPRESSING THE MASSES, which was a collaborative
release with Atlantic.)
Vio-Lence was the second act of Robb Flynn's career, who was previously in Forbidden, and left to form
Machine Head shortly after the band had dissolved. Vio-Lence is a fairly brutal thrash band with a serious "blood-n-guts"
jones. While one can sense a Testament/Exodus influence, their music seems closer to Death Angel to me personally (though
not as sophisticated). Somehow it found its way onto a major label (as did other groups like Gothic Slam, Sanctuary,
and Kreator). I can imagine songs like "Bodies on Bodies" and "Serial Killer" being incredibly intense in a live setting.
The band isn't quite as technical or as polished as Exodus, though the band's brute force matches it pound for pound.
Strangely enough, I remember when I bought my second bass at Guitar Center in Chicago (save your
boos) in 1989, they had a Strat-styled guitar with the ETERNAL NIGHTMARE cover art for sale.
(Apparently it might have been a used prototype or some contest winner really needed the cash.) I always thought it would
be funny if the cd actually outpriced the guitar. [It was at the location on Milwaukee Ave. until it closed/moved to
Clark St. downtown or to Arlington Hts. a couple of years later though I never saw it after the close.]
MR. BIG Deep Cuts: The Best of the Ballads (Atlantic International) 2000
This is an import compilation featuring the most
"sensitive" moments of Mr. Big. It is kind of strange that the ballads would get their own compilation, because the
band was originally formed to be a strong hard rock band featuring monster-musicianship. Still, the band had a way with
ballads, primarily because of the versatility of vocalist Eric Martin; though I'm sure that the ability to sidestep the "cowboy
chords" found in songs like Poison's "Every Rose Has It's Thorn", Warrant's "Heaven", and Skid Row's "I Remember You"
didn't hurt either.
The real draw here are the exclusive tracks, "You
Don't Have to Be Strong", "Where Are They Now?", and "I'll Leave it Up to You". The latter two open the record,
and it sets a mood perfect for heartbreak and Ben & Jerry's ice cream. Unfortunately, it is too much of
a sad thing as tunes like a remixed version of "Had Enough" and "Just Take My Heart" show that it makes no difference
being on the giving or receiving end that heartache flat out sucks.
So when a song does step out of the formula it really does shine. One of the overlooked songs
that caught my focus is "Ain't Seen Love Like That". Originally buried on the BUMP AHEAD cd,
this tune jumps out of the sorrow to show why people risk despair (at least sonically).
While it might have benefited from a little editing and a different track order, this is a prime example
of the rise and fall of the power ballad.
ELOY Power and the Passion/Chronicles I Vol. I (Harvest Russia) 1993
This is a Russian cd from German prog-rockers, Eloy.
Like other Russian cd's I have, the disc is filled with part of an additional record (the first 4 tracks of the re-recorded
best of CHRONICLES).
I've read a little on the band, and know that Eloy started as a prog-styled group, and became more of
a straightforward hard rock group during the '80's. Though I had never heard their music prior to this cd. (Though several
childhood friends have claimed to have heard of them via "The Import Show", a prog/hard rock show that aired on
Milwaukee's Q FM from the mid-80's until it became a soft jazz station in the mid-90's.)
POWER AND THE PASSION was originally released in 1975, and has a slight Gentle Giant
quality to it. There isn't a lot of polish here, and it hasn't aged particularly well. It seems to be a song cycle
about a young man who travels back in time to meet a girl. (What was this thing in the '70's/'80's about guys doing
absolutely strange things to find "the one". Whether it is to build a "robot girl" or to score some Spanish Fly or whatever
else; guys are always doing something crazy to get the virginal devoted girl in these kinds of stories. Though Weird
Science wasn't exactly a musical, nor were the princesses-es in Bill and Ted's Excellent Adventure.) Overall, the instrumentation
and musical progressions split the difference between TALES OF TOPOGRAPHICAL OCEANS-era Yes, and
the earliest bits of Renaissance. However, the execution isn't as smooth or as accessible as the work of more popular
prog-rock bands like Yes, ELP, or Gabriel-led Genesis.
CHRONICLES fares a little better due to the updated production. Having not heard
these tracks in their original form, I don't quite have a point of comparison. I'm normally not a big fan of "re-recording"
classic songs unless there is a specific reason to do so. For instance, Blue Oyster Cult's CULT CLASSICS
collection just doesn't match up to the original versions of these hits. The arrangements and instrumentation is slightly
altered, and the engineering has a different type of sophistication (losing some of the "air" heard on the original songs).
The overall sound isn't too far removed from a band like Marillion.
I can't say I'm overly impressed with this as my introduction to Eloy, though I would not be opposed
to hearing more of their stuff. It does seem like music that relies on multiple listens to get its point across.
It is not the type of music you throw in the deck while driving on a gorgeous summer day.
KEITH EMERSON The Emerson Collection (Chord) 1986
I found this in a used shop not too long ago, and
thought it was a bootleg. The cover art features generic "gold writing on black background" style as one might
see on the pre-Genesis album FROM GENESIS TO REVELATION or on the recent DVD issues of THE GODFATHER movies. At first
I thought this was an orphan from a multi-disc set. Price and degree of rarity were enough to make me pick it up.
This is primarily a collection of the soundtrack
work that Emerson did between the breakup of ELP in 1979 and the formation of Emerson, Lake, and Powell in 1985. The
movies were BEST REVENGE, NIGHTHAWKS, INFERNO, and MURDEROCK. There is a small biography of Emerson's music career up
until this release in the booklet.
While this is a mostly instrumental affair, there is some haunting choral work on the later tracks.
It is fairly apparent that these were thriller films, as the tension seems to carry throughout the individual numbers.
Unfortunately, this is likely more of a collection-completer than a frequent player. The tension
of the arrangements makes for a rather uncomfortable listen, (particularly on the NIGHTHAWKS material). Unlike Tangerine
Dream (or Carter Burwell), this music doesn't really survive without the visuals. Perhaps it would be different with
the overall individual movie scores/soundtracks, but here one person's excitement is another person's headache.
BAD COMPANY Dangerous Age (Atco) 1988
I never realized the connections between Bad Company
Mk. II and Foreigner until incredibly recently. Both are "fronted" by British guitarists who are fascinated by American
'race' music, both are stripped down models of a larger band (featuring people involved in some sort of seminal/influential
band). Both are frequently accused of crafting "soulless corporate rock". Both were managed by Bud Prager and
recorded for WEA. Lastly, both featured strong singers that had gritty, high voices. Though the eeriest connection
is the role-reversal both bands took shortly before the release of DANGEROUS AGE.
Foreigner was as popular a rock act as it came until its stock went down with 1987's INSIDE
INFORMATION, as the band was clearly distracted with outside interests (Lou Gramm had had some solo success and
would face more in a couple of years. Mick Jones not only had a solid production career with bands like Van Halen (Hagar)
under his hands, but would also put out a solo record of his own to small success as well). Conversely, Bad Company's
second album with vocalist Brian Howe,(and a lineup rounded out by guitarist Mick Ralphs, and drummer Simon Kirke) would
catch radio attention via the song "No Smoke without a Fire". [Though the cover art may suggest that the song is about
the cigarette-smoking kid pictured and not about a relationship-spark.] As a result, Bad Company Mk. II would have a
run of two more successful albums (HOLY WATER and HERE COMES TROUBLE)
before a combination of too many similarly constructed bands (The Storm, Whitesnake, Bad English, Riverdogs) and the
grunge movement pushed this style of music away from the public taste.
Overall, DANGEROUS AGE is a solid recording, featuring strong vocals and decent
songwriting. Unfortunately, the stench of mid-80's production is all over this record. Whether it is the drum
sound or the melodic choices made by vocalist Brian Howe, it sounds a little "overdone". These days though, recordings
like DANGEROUS AGE are more like time capsules, that when listened to, fill in the gaps and spaces
between all of the important stuff in our memories of the time. Still, I think future sociologists will get a good chuckle
over the peculiarities of the '80's music scene, when "cool" music included older artists like Mike + the Mechanics,
Bad Company Mk. II, Whitesnake, Rod Stewart, Robert Plant, Van Halen (Hagar), Deep Purple, Yes/ABWH, Genesis, Huey Lewis,
and the Moody Blues. These days it would be like finding Slaughter, Firehouse, Debbie Gibson, and Technotronic in Billboard's
Top 10 again.
L.A. BLUES AUTHORITY - CREAM OF THE CROP - A TRIBUTE (Blues Bureau/Shrapnel) 1994
The tribute album has officially replaced the "unplugged"
album, as the most abused re-release recording. Certain labels (Dwell, Dressed to Kill) release nothing but tribute
albums. The best have some slant that works, but many are just reducing novice original bands into cover bands.
The real problem is that many of these groups became "original" artists because they weren't very good at learning or performing
covers.
For the record, this is Volume 5 of the L.A.B.A.,
other volumes include a Glenn Hughes studio album, and other projects. Add L.A. Blues Authority to the list of
"misnomers" of music history. It is akin to calling Yanni a classical musician. The truth is that the L.A. Blues
Authority is a compendium of '80's shred guitarists who needed to hide behind a new gimmick. George Lynch, Jake
E. Lee, Richie Kotzen, Jeff Watson, and others who've appeared on these releases are capable of getting a "bluesy" quality
to their playing, but it is more akin to rock (epecially hard rock) than blues. No matter how hard
these players wish they were blues guys, the sound is still rock. [It is like a duck wishing it were a pelican.
Both are birds, but no amount of wishing, hoping, or approximating is going to change that duck.]
I'm from the Chicago area (halfway-home to the Delta),
and am almost offended by the thought of L.A. blues. When I think of L.A. Blues, I think of a bad fraternity party band,
with Bruce Willis and Glenn Frey (or other hopelessly white people) drunk and playing bad and repetitive I, IV,
V arrangements all night long. Eventually, the pentatonic guitar solos get naggingly similar, and the ham-handed performers
are oblivious to the subtle differences between "Born Under a Bad Sign" and "The Thrill Is Gone". Tragic.
In fairness, I'm not a huge blues fan, (I love seeing live blues music, but it is pretty static in recorded
form) nor a huge Cream fan so I had a difficult time getting through the whole thing. The reason for buying this were
contributions from Glenn Hughes, Joe Lynn Turner, and Eric Gales.
The Hughes take on "Born Under a Bad Sign" is fairly good. Hughes has a very soulful voice, though
until recently, consistency hasn't been his reputation. It is not unlike his take on "See That My Grave Is Kept Clean"
from Stuart Smith's HEAVEN & EARTH project. Both are blues standards, though Cream did an authoritative version
of the former. Jeff Watson adds a little fire to the proceedings, as Tim Bogert (the American answer to Jack Bruce)
and Jeff Martin (the former Badlands drummer) lock it down.
Joe Lynn Turner does a nice version of "Sittin' on Top of the World" because he gets to use the "non-rock"
edges of his voice. Turner has a bluesy voice and fits in well on the track. Underrated guitarist, Neal Schon
of Journey, gets to open up a little here. He still has a great melodic style though I imagine it gets a bit constraining
with all of the balladry his main band performs.
The other highlight was Richie Kotzen's version of "Strange Brew". He is very underrated as a
double-threat. His guitar playing has received a fair amount of attention (and is merited), but his vocals are gritty,
soulful, and a generally good fit for a bluesier approach.
Fans of Cream and stunt guitarists will find plenty to enjoy here. To those who want less wankery
or more originality, I must recommend looking elsewhere. Still collectors of Turner and/or Hughes have found their contributions
in worse places.
SWEET RELIEF II - THE GRAVITY OF THE SITUATION - THE SONGS OF VIC CHESTNUTT (Columbia) 1996
I found this in a budget bin, and was never aware
of this release. I had the first SWEET RELIEF compilation for Victoria Williams, as it had
neat contributions from Pearl Jam ("Crazy Mary") and Soul Asylum ("Summer of Drugs").
Vic Chestnutt is a singer/songwriter from Athens, GA (the Georgia college town was a breeding ground
for a number of my favorite bands including R.E.M. and Guadalcanal Diary as well as the source of the movie ATHENS, GA:INSIDE
AND OUT). I'm not terribly familiar with his work, but I do recall from articles in MUSICIAN and SPIN that he is confined
to a wheelchair. His work has been positively received by critics, but much like the FDR question in politics, the image-conscious
public just never seemed ready for a rock-star that can't stand, dance, or walk on his own.*
The songs here are pretty good, and very dark; though the draw for me was the exclusive R.E.M. track
"Sponge". This is closer to a MONSTER track than any other point in their lengthy career,
but the band executes quite well. Other songs don't hold up for reinterpretation. The Hootie/Nanci Griffith collaboration
just doesn't go past snooze on the interest line.
While I'm not familiar with Chestnutt's solo records, I imagine that they are loaded with solid songs
and his personal conviction. Some songwriters' songs are easily transferable. Take a look at songs by Bob Dylan.
Rarely does someone not outperform the original, but the original is classic for being so easily malleable. Conversely,
take a look at someone like Warren Zevon or Nick Cave. These songwriters have so much of their own public personalities
(image) and indiosyncracies in their songs that it just doesn't translate well in a cover version. (I think the
late Warren Zevon was pretty sharp, and a song like "Lawyers, Guns, and Money" just would lose its edge if it were being sung
by Don Henley or Tal Bachman.) Chestnutt clearly is in the latter camp.
Overall, I really can only recommend this to people who are die-hard fans of any of the bands that appear
here. I have a hard time imagining that anything exceeds its original version though the signatures of the individual
artists may affect one's perception. I do hope that this record helped Vic's cause, and will hope musicians continue
to take care of their own in this fashion. Though 9 years later, and I have yet to see a third volume.
----------------
*The FDR question is a commonly debated
political question as to whether he would've had the same level of success as president if televisions
and news media were as prevalent in his time as they've been since the early '60's? The medium of television
was one of the deciding factors in determining the 1960 election between John F. Kennedy and Richard Nixon. It is believed
that Nixon's experience and capacity were overlooked because his mannerisms, speaking voice, and appearance weren't as
attractive, polished, or as congruent as Kennedy's. One can only imagine how a polio-riddled FDR would fare if
he had to face a charismatic figure such as JFK.
CHARLIE'S ANGELS SOUNDTRACK (Epic Soundtrax) 2000
This has an exclusive Aerosmith track called "Angel
Eyes" which I haven't seen or heard elsewhere. The track is a bit more aggressive than you normally get from Aerosmith
(though tunes like "Eat the Rich", "India", and "Rats in the Cellar" all qualify as pretty aggressive numbers in the Aerosmith
repertoire).
Unfortunately, the rest of this is a typical "random hits" soundtrack, with 70's standards like Heart's
"Barracuda", Leo Sayer's "You Make Me Feel Like Dancin'", and Looking Glass's "Brandy (You're a Fine Girl)" alongside
stuff like Vapor's "Turning Japanese", and Spandau Ballet's "True" (which I believe was also on the WEDDING SINGER
soundtrack) and tail-end '80's rap chestnut, "Baby Got Back". Also included is what is pretty much the theme to both
Barber Shop movies, Marvin Gaye's "Got to Give It Up" which is great, (but duplication is rather frustrating). Further destroying continuity are the additions of newer songs from Fat Boy Slim and Destiny's Child.
This "sampler" styled soundtrack really seems to want to be everything to everyone who watched the movie.
Unfortunately, this is a heavy workout for my cd players' skip button.
BUFFY THE VAMPIRE SLAYER SOUNDTRACK (Columbia) 1992
Various artist soundtracks have rarely been a storehouse
for great music. Even the best ones serve little more than effective NOW!-styled compilations of thematic
material (full-length score soundtracks by single performers/composers excepted). I bought this for the tracks
by Rob Halford, Ozzy Osbourne, and Toad the Wet Sprocket. Though the roster here is plenty diverse...
I wondered how this soundtrack was compiled. Did the film producers, the label, and an accountant
sit down and put this together? Did they actually think anyone would listen to this soundtrack cd, then or now?!
The movie's premise, (which became a far more popular tv show a few years later) involved teenagers (dance music), moody people
(alternative rock), and vampires/monsters (hard rock). So it seems like they went right down the Columbia roster to
stock the album. C&C Music Factory, Toad the Wet Sprocket, Ozzy, Rob Halford (shortly after leaving Judas Priest),
and Susanna Hoffs (shortly after the Bangles break-up) were all Columbia artists. Other artists such as Divinyls and
Matthew Sweet were minor alternative hitmakers ("I Touch Myself" and "Girlfriend" were in the pipeline attracting attention
for these groups) that fit the teen attitude of the time.
Still I imagine that they really wanted Alice Cooper for this originally. However, they had to
"settle" for Rob Halford. It is unfortunate that his track, "Light Comes Out of the Black" is melodramatic to the point
of parody. Ozzy's contribution "Party with the Animals" is a throwaway, and perhaps ranks with his Was?! Not Was compilation
as a lowlight to his solo career. The Cult fare a little better with their track (but even this is nowhere near the
glory of their SONIC TEMPLE cd).
Surprisingly, the track I found most enjoyable was the contribution from Sly & Robbie's Dream
Warriors, "Man Smart, Woman Smarter". This is a classic tune done by everyone from Harry Belafonte to the Grateful Dead.
This one moves away from the Bo Diddley-beat versions performed by most Dead-influenced groups and is recast as an island
shaker. As a rather timid reggae fan (aside from the classics, I hardly ever touch the stuff) this was a pleasant surprise.
While listening to this, I have to say that I'm sad about the state of modern rock music. For
most of today's kids, Hip-Hop has taken the place of rock-n-roll in terms of escapism, danger, and rebellion. The alternative
rock movement not only hatcheted the "hair metal" rock of good times and good crimes, but has "whitewashed" the fun and
the danger out of rock music in general. Bands like Marilyn Manson, Limp Bizkit, and Puddle of Mudd have tried
to bring back the sleaze of the late '80's (however dysfunctionally) but forgot to add fun to the mix. Now it is
anger, isolation, and seeking to escape. A collection like this soundtrack (however ineptly assembled) does remind
me of the potential of rock, before it got divisive (when people actually thought that you couldn't love BOTH Pearl
Jam and Guns'n'Roses at the same time...) I love music, but it has been awhile since anything released by
a major American record company involving a new artist and a new record has moved me. I really hope that this changes
soon.
WEEK OF JULY 26 - AUGUST 1
HEAVEN Knockin' on Heaven's Door (SG) 2005/1985
I remember being part of a church convention at a
hotel near the Woodfield Mall in Schaumburg, IL. Until two malls had opened in the early '90's (in California &
Minneapolis, MN) Woodfield had the largest shopping area of any mall in the United States. While my parents were part
of a chaperone group to take a group of kids 8 and under (most were half my age at the time) to a place called (coincidentally?)
Lords Park in Elgin. So as a responsible member of the consumption generation; I and the only other teenager (who happened
to be a classmate, but not really a friend) were summoned to an afternoon at the mall to keep ourselves busy. On that
trip, I not only bought this album; but was given a nice square poster of the cover art (a nice 20" x 20" single-sided shot,
not the album flat, though it would be cool to have even one of those these days).
Sadly, I lent the album to a friend (and borrowed his copy of Venom's AMERICAN ASSAULT
EP vinyl in exchange). Though we ran into each other on occasion, we never switched back; and 20 years later
I have a polybagged copy of AMERICAN ASSAULT in my vinyl collection instead of this. Somehow,
I never put it in my brain to replace this; even as I saw cassette copies of the Heaven albums being blown out around
$1 in the early 90's. The poster is a greater mystery. My mom said that she had a friend at work who would frame
it for me, so she took it for this purpose; and conveniently lost track of it. I guess that's one way to keep a poster
of an anatomically gifted; provocatively dressed "angel" out of a 14 year old hormone factory's place of rest.
I was happy (though stupid) to buy the Stardust Productions cd-r issue of this several years ago
on eBay. It was another example of how nostalgia dents pocketbooks everywhere. Fortunately, I was flush with gig
money so it made a pleasant (though expensive) addition to my collection. And I again had "Wink of an Eye",
a great half-Helix/half-Def Leppard style song with some guitar trickery by Mitch Perry. (A very underrated L.A. musician.)
Even so, I was happy enough to have this music in my collection again, though it only got a few plays since I got
it.
Several weeks ago, I spotted and picked up the SG edition of WHERE ANGELS FEAR TO TREAD.
I was glad to be rid of one cd-r, and figured (hoped) that eventually I could upgrade the other one. It's to my
surprise that with KNOCKIN' ON HEAVEN'S DOOR, that the sonics are much better than my "officially
manufactured" cd-r copy, and reveal a much better album than I'd ever realized.
You can actually make out the notes in the pulloffs, Mitch Perry is doing behind the chorus of "Wink
of an Eye", and hear the vocal harmonies on the chorus tag of "Last Laugh". It is like a new album to me and I've played
it at least 3 times the day I got it. Also of nice surprise are the bonus tracks (one studio outtake, and a mini-concert
of 6 live songs). The only real gripe I have is that the 4 panel insert features little other than song titles and production
credits. It would've been cool if they could have included some sort of liner notes that could have provided additional
insight to the band, the record, and maybe even some additional photos.
While much of Heaven's sound relies on vocalist Allan Fryer, the band this time around had more
polish and ability than previous lineups. Whereas, BENT & WHERE ANGELS
FEAR TO TREAD had a strong debt to AC/DC; this time out Heaven had a bit of Def Leppard, a little Helix, and even
a little bit of the L.A. hard rock (hair metal) quality in their sound. Though this may be coincidental, future
Savatage/Badlands producer Paul O'Neill is on board, co-producing 5 of the tracks here, and his scope on other projects
(such as Trans-Siberian Orchestra) hint that he was into a full and textured sound.
That said, there are several hints along the lines of the songwriting and execution as to why Heaven
never achieved anything higher than C-List popularity. But the only real hackwork here is their reverb-drenched cover
of the Bob Dylan song, "Knockin' on Heaven's Door". For some odd reason, this sounds like the Cars having a goof (and
allowing an inebriated Rod Stewart a shot at the lead vocal). It is really the only "unrock" moment of the album; just
a tragic shame that they had to name the record after this.
Overall, the improved sonics and additional tracks make this a good value. I'm grateful that SG
has made these "lost records" available again.
ETERNA Epiphany (MV8/Unimar) 2005
Eterna is a Christian heavy metal band from
Brazil, playing music that compares favorably to Iron Maiden, Fates Warning, and Jag Panzer. I was first
turned on to this band a few years ago via their 2002 record THE GATE which was sent to me from an online friend who knows
my weakness for power-prog. The same friend was kind enough to include this in a recent package.
I have to say that I was a little worried when I heard the first 3 songs. All the elements of
potentially great prog metal were in place, but either the songwriting or the arrangement didn't line up to enable this
to happen. Fortunately, the 4th song, "Holy Spirit" emerged from the murk to really hook my attention, and line
my focus for the remainder of the album (which does hold strong). "Holy Spirit" is kind of a neat mixture of Heir Apparent,
Iron Maiden, and Rush. The line "holy spirit" is echoed back 3 times like Rush's "Superconductor" (from the
PRESTO record, where all similarities and comparisons with Canada's rock royalty begin
and end). The movement of the song reminded me a little of a cross between Heir Apparent's "Crossing the Border" (ONE
SMALL VOICE) and Iron Maiden's classic "The Trooper". Despite these comparisons (made to try to describe
the sound), Eterna has its own sonic identity due to their vocalist and their use of vocal harmonies.
As well documented in previous commentary, I'm fairly neutral when it comes to the source of inspiration.
Christian artists have no less valid a message than someone who wants to tell me to recycle, to vote, to protest, or to "wake
up". The only time Christian music offends me is when it is touted as the substitute for a secular artist.
I like Barren Cross, but I prefer Iron Maiden. There is enough room in my life, my cd collection, and hopefully the
outside world for both bands to operate freely as they can.
In this sense, Eterna have enough artistic firepower to keep up with the power metal being generated
at this time by bands like Shaman, Edguy, Magnitude9, Hammerfall, Rhapsody, and Angra. They have a strong conviction
in their beliefs, but do not rely on them as a crutch to justify their existence.
For an example, one can look to this album's cover art. The art features two acolytes
in white robes holding a candle and a cross respectively, following a black-cloaked priest on to administer a sacrament.
It is "metal" enough to fit on a Candlemass record. However, upon listening to the record, the cover art ties up
the concept of people who are "walking dead" without the faith, belief, and love of a benevolent god.
Like the art, a lot of the lyrics fit incredibly well with this music. I don't
feel like I'm being "preached at" or told what to do. I do hear the importance of the subject to the vocalist/band,
and their conviction, but I'm allowed to draw my own conclusions. Regardless of the inspiration, EPIPHANY
is a solid metal album, and one that will make frequent visits to my cd player now and in the near future.
KING CRIMSON In the Wake of Poseidon [30th Anniversary Edition] (Discipline Global
Media) 2004/1970
For the second time in as many visits, I was able
to luck into a used copy of a premium King Crimson remaster title. I haven't seen much of any Crimson in used bins unless
they were older issues or beaten to death, so to snag IN THE COURT OF THE CRIMSON KING, and
IN THE WAKE OF POSEIDON in pristine condition off of the used stacks really is nothing but luck.
IN THE WAKE OF POSEIDON is a strange album in that 3 of the members participating in
the recording were leaving the band to start new projects. (Including vocalist/bassist Greg Lake who would help form
the prog-rock supergroup ELP.) Thus some of the songs have a slight sense of abandon, and the record carries a slight
doomy quality.
However, what is truly frustrating about this recording are the cat & mouse dynamics throughout.
The individual "Peace" tracks as well as "Cadence and Cascade" are sheer whispers that require a little boost in volume to
make out, and louder songs like "Catfood", "The Devil's Triangle" (which reminds me a little of the classical piece, "Mars,
Bringer of War") and the title track jump out like monsters in a horror film, requiring a quick intervention on the listener's
part (to prevent destroying one's speakers, I guess).
Despite this, it has a little of the same sleepiness (and creepiness) of Genesis's THE
LAMB LIES DOWN ON BROADWAY, though this has twice the substance in half the space. It isn't an easy recording
to make it through, as it borrows elements of avant garde jazz (listen to the 'b-side' "Groon" for a hint of this), folk ("Cadence
and Cascade" which really is a pretty song framed by the ugliness of the album, and even bits of heavy metal. Though
I caught a slight KIND OF BLUE (A necessary album for any music collector, made by Miles Davis.)
vibe in the transitions.
This is very challenging music that dares you to adapt to it. Given the vintage (and even remastering
can't "undate" this recording), the instrumentation (saxophone, electric guitar), and the odd songwriting and arrangements,
it is never going to be immensely popular. However, someone who wants a more sophisticated answer to Pink Floyd, Primus,
The Police, The Mars Volta or other "straddle acts" will find plenty of precedents being set here on this album. Though,
it may take a few listens before these connections are formed; this is a record that isn't easily solved. Its contents
are just as cryptic and murky 35 years later.
SCORPIONS Live Bites (Mercury) 1995
Scorpions for me, are a strange band. I kind
of consider them the "Hall and Oates" of the hard rock world. Everybody who I know who likes metal and hard rock; tend
to like the band a lot. However, I've yet to meet someone whose world begins and ends with Scorpions music. (Though
now, I'll probably be meeting them online...) For fans of more aggressive rock, this is a very safe choice. They
have enough guitar to energy to get the guys going; while developing an affinity for the ultimate power ballads ("Still Loving
You", "Winds of Change") that keep women in the mix. [Excepting those that took offense to some of the most "semi-nude
female as object" album covers this side of Spinal Tap.]
LIVE BITES is Scorpions' third live package overall, following the hit-heavy WORLD WIDE LIVE, and the
double-album glory of TOKYO TAPES. Unfortunately, this one sounds very pieced together, and some of the song selections
aren't "ideal" choices for a concert.
There are some herky-jerky dynamics going on here. For instance, "When the Smoke Is Going Down"
is a great song from the BLACKOUT album, (with great movement in the pre-chorus), but as a fairly dramatic ballad it really
cannibalizes the energy that "No Pain, No Gain" brought back prior to one of Scorpions' original dramatic power ballads, "In
Trance". The leading hit from each of the 3 albums between WORLD WIDE LIVE and LIVE BITES HAVE BEEN INCLUDED (Such as
"Alien Nation", "Rhythm of Love", and "Tease Me, Please Me"...have no fear, as "Winds of Change" also shows up here.)
The ballad choices ("In Trance", and "When the Smoke Is Going Down") are kind of odd when compared to
statements attributed to guitarist Rudolph Schenker and vocalist Klaus Meine. In interviews released shortly after WORLD
WIDE LIVE was issued, they mentioned how far their repertoire had come, and that they weren't playing any music that was more
than 5 years old (LOVE DRIVE through LOVE AT FIRST STING for those of you scoring at home) and predicted that the next live
album (and tour setlists) wouldn't have songs from this era. Still, I love both songs in their studio versions,
and to have live versions of these songs is great (just not SO close together).
The record closes with 3 then-new studio tracks. As one can predict there is a solid Scorpions'
sound to them, but the material just isn't memorable enough to qualify for regular studio albums.
Though this is the weakest of the first 3 live albums, this remains a pretty solid document of the close
of the the third era for the band. Unfortunately, this isn't the most immediately memorable, though having their
largest hit in its sole live form is pretty special
BAD COMPANY Here Comes Trouble (Atco) 1992
Add Bad Company to the very small list of bands
that were able to survive a "singer transplant". The original Bad Company (really, Bad Co.) was a band that featured
the amazingly bluesy voice of Paul Rodgers. Everybody has heard something from him, whether it is his ultimate hit with
Free (prior to joining Bad Co.) "All Right Now" which is currently a theme song for all Tweeter co. radio ads; or his
time in Bad Co. with hits like "Shooting Star", "Rock 'n' Roll Fantasy", or the oft-covered (most recently by Kid Rock)
"(Feel Like) Making Love". It was a very timely 70's hard rock act with a nice catalog of songs that sound great while
having a beer or shooting some pool.
Bad Company Mk II, was perfectly constructed for the late '80's/early '90's "rawk" sound. They
were a lot like Foreigner (and then-singer, Brian Howe really bares more than a passing sonic resemblance to Foreigner's Lou
Gramm) but did really well in a "corporate supergroup" landscape of bands like Whitesnake, Bad English, and Damn Yankees.
Unfortunately, Bad Company Mk. II would be another casualty of the grunge movement and by the end of the 90's, Mk. I
would regroup to hawk a 2cd best of package.
What got me interested in the Mk II version of the band was the hangover discussion I was having with
one of my musical colleagues. Brian Howe is playing another solo concert in my neck of the woods (First McHenry,
IL for a Firefighter Benefit in 2003, and now Woodstock, IL opening for Foreigner in 2005) on August 27. My
friend is in the band that will open for Brian, and we were talking about whether or not Brian has "name recognition" among
common folks. We talked a little bit about the "hits" he had with Bad Company, and how they sounded a little like a
mixture between Foreigner, Return to Zero, and Whitesnake. [Well, I really like RTZ (Boston
alums, Barry Gordreau, and Brad Delp) and even bought their demos disc, so I figured that this would really fit the bill.]
The album is well-crafted, but somewhat soulless. I think the songwriting is pretty good, the
performances are sound, and the whole thing is so frustratingly consistent that it fits under product rather than art.
It was built to sound good on radio and fit into a number of formats. The lead single "How About That" is reasonably
close to RTZ's "Face the Music". It was successful here because it was melodic enough to fit in with adult formats
that played slower songs from Foreigner, Michael Bolton, and Bryan Adams; while having enough "rawk" to fit in with Van
Halen (Hagar), Def Leppard, and Damn Yankees on the classic rock/then-modern rock radio formats.
The rest of the album is highly programmed. A couple of midtempo rockers, a few torch-y power
ballads, and a vocal switch on the last song. Still, given the time that has passed since this album was released; this
is a little better than it was given credit for. These sounds aren't being made or played in America these days, and
the band's peers and colleagues are either good enough for European labels like Frontiers and Majestic Rock or are relegated
to doing self-releases online through a fan-club in the hopes that they won't be forgotten.
THE (DIXIE) DREGS Industry Standard (Dregs) 1982
I have included this as a Dixie Dregs record, despite
the fact that this went out as just the Dregs. The band's deal with Arista had ended with a greatest hits package
going out as THE BEST OF THE DREGS and everyone was onto new projects. So it was a bit of a surprise to stumble across this independent release in the used bin of a local shop.
I haven't fully explored the Dixie Dregs (or the Dregs) overall, but I will acknowledge that I am a
huge Steve Morse fan. He used to write a regular column called OPEN EARS in the former GUITAR for the PRACTICING MUSICIAN
magazine. I became a huge fan of his mindset, without having heard a note of his playing. He made so much sense
to me; whether talking about how to work with difficult people, tips for expanding your listening palette, and the overall
difference between being a musician and a pro musician. It is a shame that no one ever approached him about restarting his
column or of publishing a book on his columns. He is also a guitarist with a number of outside interests, so it was
kind of cool to hear how his musical ability rubbed off on his ability in other activities. When I finally found his
STRUCTURAL DAMAGE cd, I was really taken with it, particularly "Smokey Mtn. Drive". But I have
bought whatever Steve Morse fare I can find in shops.
This particular album is like the converse image of Morse's solo album STAND UP.
Guesting on both records is one Alex Ligertwood (of Santana) on vocals. INDUSTRY STANDARD also
has guest shots from guitarist Steve Howe (Yes, Asia, GTR) and Patrick Simmons (Doobie Bros). Despite this, it is a
distinctly '80's fusion record with 2 vocal tracks. Ligertwood was the first male vocalist on a fusion record that I
actually enjoyed (David Sancious's TRUE STORIES). His effort here ("Crank It Up") just doesn't
have the quality he's been accustomed to with Sancious or during his stint with Carlos Santana.
Patrick Simmons takes the band in a very Steely Dan-ish track called "Ridin' High". The
surprising thing is that this track doesn't sound like anything else here, but really does fit in well with the overall framework
of the album.
Steve Howe's contributions are a little less noticeable. The electric guitar that opens "Chips
Ahoy" is quite remniscent of Howe's work on Yes's RELAYER album (without the distortion). This
track makes a nice change, and provides an effective foil for Morse. To Morse's credit he does a great job of maintaining
his identity while trying to keep the track in Howe's comfort zone. Though I'm not certain, a little bit of the
acoustic guitar in "Up in the Air" also falls close to Yes territory.
Overall, this is a neat throwback to the concise instrumental style of the early '80's. This is
a strong step forward for guitarist Steve Morse, and seemingly provides the framework for the first leg of his solo career.
ADDAM'S FAMILY VALUES (Atlas) 1993
I ought to know better, but even stumbling I
tend to find things of interest. So what could be interesting about a stupid soundtrack to a very forgettable movie
except for an exclusive P.M. Dawn track.
Call me strange (or worse, I'm used to it at this juncture), but I often consider P.M. Dawn to be the
real WILD STALLYNS of Bill & Ted movie fame. That the way they slice & dice samples, incorporate both r&b
and hip-hop vocal techniques, and just create a sound that is unlike any other working unit of the last 25 years seems to
have an inherent universal initiative. The fact that a majority of their music embraces peace and spirituality both inside
and out only seems to say that it is Wild Stallyns without the wanky air guitar. We can only hope that someone
can get it through a label executive's head that P.M. Dawn still can be a vital and flourishing enterprise. [It is criminal
that we have to watch them mop up on "Hit Me Baby One More Time" or contribute their artistry to prefabricated boy bands and
other musical charlatans rather than continue to make albums and perhaps change the perception of what rap and hip hop can
ultimately be.]
The track is called "May You Always Drink Bizarre" and it sounds a little like an outtake from the band's
debut album, OF THE HEART, OF THE MIND, and OF THE CROSS. Some of it is remniscent of their
hit "Set Adrift on Memory Bliss" from that record, with a little bit of the flow of "Reality Used to Be a Friend of Mine".
It is one for the archive (and my mp3 player under the P.M. Dawn heading).
The rest of the album is a collection of rap and dance artists ranging from R.Kelly to RuPaul.
I did a scan of each of the tracks, and nothing else really worked for me personally.
MVP The Altar (Mascot) 2003
MVP (short for the Mike Vescera Project) has been
the solo vehicle for the former Loudness/Yngwie/Obsession vocalist over the last 7 years. Surprisingly enough, the band
has averaged an album roughly every 18 months which is much quicker than the usual album/tour/album cycle of major artists (though
Vescera appears on a number of secondary projects like Safe Haven, Reign of Terror, and as the voice on solo albums by guitarists
Roland Grapow and Joe Stump).
Vescera is a man of major vocal talent, sonically similar to Mark Slaughter. His voice
has that higher pitch down, with a unique tremor at the top. He is a little more of a "metal" sounding vocalist
than Slaughter, and really is at his best on more aggressive-sounding fare.
THE ALTAR may be his darkest solo effort yet. The lyrics are full-spread into
the dreary, dark, and hopeless; and the music is razor-sharp and stallion-quick; chaotically bounding to nowhere. The
easiest comparison is to imagine Yngwie trying to pay homage to Black Sabbath/Iron Maiden while not breaking from
his neoclassical, sweep-picking, melodic minor scale terrorizing identity.
While I've listened to the album several times, I find myself really struggling to remember the tracks.
This is in part why it has taken so long for me to write about this record. (This "COMMENTARY PENDING" has been
sitting about for more than 10 days, and I really was hoping to have something more notable to say about this.) There
is a bit of commonality to this, and unintentional references to past work make it a remarkably consistent, yet not altogether
memorable album.
REIGN OF TERROR Sacred Ground (Limb/LMP/SPV) 2001
COMMENTARY PENDING
ENGLISH STEEL II Lucky Streak (Griffin) 1994
I always can sense trouble when the "Guest List"
of an album appears on both the cover art, and all across the rear tray card. It's as if the label and artist are saying
"there is a performer on here for everybody". This might be the only recording in history to line up Motorhead and Paul
McCartney in 3 Degrees [both "Fast" Eddie Clarke and Denny Laine appear here]. It features contributions from members
and former members of Motorhead, Rainbow, Ozzy Osbourne, Saxon, Fastway, U.F.O., Girlschool, Moody Blues, Whitesnake, Iron
Maiden, Uriah Heep, and Tank. (Though I tried to refrain from members with double duty... such as Neil Murray being the bassist
for Whitesnake, Black Sabbath, and Brian May Band; or Paul Di'anno being the former vocalist of Iron Maiden, as well as leader
of his own Battlezone and Killers bands.)
I'm going to guess that this is a "demos" collection from former Fastway vocalist, Lea Hart, who started
of as a manager of several projects (including Di'anno's first round as Killers, and who had worked with the future rhythm
section of Saxon, "Nibbs" Carter and Nigel Glockler). Several of these recordings have appeared elsewhere (like the
2 disc, Deadline retrospective of Paul Di'Anno from a few years back, IRON MEN, and the
NWOBHM ALL-STARS cd.). These songs were also sledgehammered into shape and appeared on the Fastway
records, ON TARGET and BAD BAD GIRLS with Lea Hart on vocals/keyboards and
"Fast" Eddie Clarke on guitar.
The real problem here is that the songs really don't escape the quality of '80's B-Movie Soundtrack
material. "Dead or Alive" has a neat chorus, but it has a fairly static progression where the verses sound like an afterthought.
This time, the vocal is delivered by former Iron Maiden guitarist Dennis Stratton (who appeared on the first Iron Maiden
record and played in the group Praying Mantis from which Dougie White would emerge). I like Lea Hart's vocal from
ON TARGET, and don't mind Paul Di'Anno's version from IRON MEN and his retrospective.
This one is okay, but doesn't demonstrate anything new. Stratton also takes on "Two Hearts" which also
appears on the ON TARGET album, but unless he's providing a template for Lea Hart, it seems
somewhat pointless.
I did like the Fastway albums with Lea Hart (ON TARGET, BAD BAD
GIRLS, and ON TARGET REWORKED), and I do think Hart has a distinct
voice; it just is a shame that these songs were available in so many versions that one can't tell which is the "original"
and which is the "official" version. Enough people have bagged on Lea Hart, but his associations with "Fast" Eddie Clarke
and Paul Di'Anno have led both to have at least "something" of a career after their bands fell apart. KATMANDU
signalled the end of Fastway, and with Killers, it appeared that Di'Anno had officially lost his mind. (Though time
is showing that his "street metal" was quite innovative and should be referenced as a transition from the "pretty" metal bands
of the pre-grunge era to the ugly "scum of the earth" identity bands like Fight, Pantera, and later Korn had undertaken.)
Di'anno revisiting his Iron Maiden days wasn't the worst that could happen (though I really think he had a great sound happening
over the first 2 Battlezone albums).
Enough rambling. Enter at your own risk, knowing that this material has been repackaged several
times. This is for completists of Fastway/Di'anno only.
WEEK OF JULY 18 - JULY 25
MOB RULES Among the Gods (SPV/Steamhammer) 2004
MOB RULES Hallowed Be Thy Name (SPV/Steamhammer) 2002
Finding these discs for the ridiculous price of $3.99
a piece has to be the highlight of my cd collecting this summer. I wasn't so taken with their earlier work, but one
round of AMONG THE GODS featured everything I love about the genre, and made me want to listen to
the whole thing again. From the energy and drama of album opener "Black Rain" to the anthemic closer "Arabia";
there is just an amazing consistency of sound, quality, and performance that doesn't happen often enough in modern recordings.
Even the title track with its murky lyrics (is this a knock against religion or is this a call to embrace it?) rock hard
in a sonic space often used by bands like Angra, Helloween, and to a lesser extent, Yngwie never losing steam
across 7 and a half minutes, with a slight middle-eastern feel with a "Faith Down!" refrain. I will probably need a
little more time before I can really make meaning of this. While seemingly criticizing the distance between
holy vessels such as the pope and the priests to the common person; the endline of the chorus refers to people relying
on prayer to help them with their obstacles, ultimately to assist them in taking their place "Among the Gods". This
is just speculative (and interesting to me) as I'm sure in time a clearer image of this lyric's meaning will emerge (or
I will actually get enough of a life not to really care about this sort of minutae).
While somewhat overshadowed by AMONG
THE GODS, HALLOWED BE THY NAME is a very sturdy record as well. "All Above the
Atmosphere" may be my favorite song from either album, and it really functions as a centerpiece for this album.
Again, comparisons to Helloween, Angra, and Rhapsody would be favorable, ways to shortcut a description to the style
of music that appears here.
These are two very strong albums that serve as exemplars of the power metal genre. Though if Mob
Rules keeps up this level of quality, they won't stay a secret for "in the know" metal fans for much longer.
KEN SNYDER Nevermore (Sore Throat) 2005
I recently received Ken Snyder's debut instrumental
ONE as part of a package that was sent by a fellow trader. While ONE
was a solid effort, there were two things I brought up that kept ONE from joining the ranks of the
best instrumental guitar albums. First, that the songwriting was a little lacking (as it was basically just a progression
for soloing rather than individual musical statements). Second, that some of his techniques were a little gimmicky,
and detracted from his great melodic playing.
NEVERMORE takes large steps forward in both areas. The songwriting gives a solid
framework for soloing, but also gives the listener more than 3 static sections for shredding. Snyder goes comfortably
into areas that big-time soloists like Steve Morse, Rob Johnson, and Uli Jon Roth are known for, where tempos, styles,
and progressions open up for some great playing. The second area of concern is met in that many of the techniques in
Snyder's arsenal are demonstrated here; but this time they are put into context. A song like "Surfcastafari" allows
some picking tricks, tremolo, and other surf touches as it splashes into a variety of directions. However rather
than appearing as guitar "sleight of hand", these techniques skillfully apply to the title and song motif.
Like many instrumentalists, it isn't hard to hear his influences. I was originally thinking that
he listened to a lot of Yngwie, until I really thought about Yngwie's influences. There is a little Blackmore, but far
more Uli Jon Roth here. However, Snyder isn't afraid to play with the genres, and his adaptations (such as using a harmonizer
effect, downtuning, and adjusting his technique) helps him speak fluently in aggressive rock ("Edge of Delirium"), fusion
("Free Form"), and industrial/electronica ("Phantasm") with his guitar.
It is a personal preference, but I really like the slower more melodic pieces here. He makes some
neat note choices, and has developed a vibrato identity that makes me think of a cross between Uli Jon Roth (then Ulrich)
during his Scorpions' tenure [VIRGIN KILLERS, IN TRANCE, TAKEN
BY FORCE, and TOKYO TAPES] and Ronnie Montrose during the OPEN FIRE
or SPEED OF SOUND albums, though Snyder has a little more "swoop" to his touch. While
some critics might discuss the excessive soloing; fans of instrumental guitar expect some fireworks and
thrills.
It is still fairly early in Snyder's recording career, but he has come a long way in a short period
of time. This growth between these two cds is very encouraging, and I look forward to seeing
continued growth and experimentation from this artist.
[PS - For more info about Ken Snyder
or to purchase his NEVERMORE or ONE cd's; go
to www.ken-snyder.com ; or click on my links page to find Ken
Snyder's link in the artists' section.]
WORKING MAN (Magna Carta) 1996
I stumbled across a used copy of the latest Magna
Carta tribute to Rush called SUBDIVISIONS a couple of months ago (it is still in the reviews listing
as of this typing; as well as in the dated list) and was a little underwhelmed. Magna Carta has done a few excellent
tributes in their initial series; including Genesis (SUPPER'S READY), Yes (TALES FROM
YESTERDAY), Jethro Tull (TO CRY YOU A SONG), and ELP (ENCORES, LEGENDS,
& PARADOX). This particular tribute was also released within the same timeframe of these tributes.
WORKING MAN is a much better tribute than SUBDIVISIONS ended
up being, but doesn't quite match up to the other tributes I just listed. WORKING MAN has
a better selection of songs, and the execution is a lot neater than the chops-heavy SUBDIVISIONS.
WORKING MAN also features better vocals, and a better fit for vocalist/song than SUBDIVISIONS.
Though there are common players/voices in the two (Sebastian Bach and Mike Portnoy come to mind), WORKING MAN
just better utilizes its talents.
Though there are strong performances throughout (like Devin Townsend taking on "Natural Science", Steve
Morse opening up "La Villa Strangiato", Jack Russell bringing a hard rock angle to "Analog Kid") the effect here is still
somewhat similar to the emptiness I felt while listening to SUBDIVISIONS, as well as why this
Rush tribute doesn't/can't measure up to the others Magna Carta released. Rush's music doesn't translate well into foreign
hands.
First off, unlike the spaciness of Yes; the pragmatism of Tull; or the varying sonics of Genesis, there
isn't a lot of room for putting one's own "personal stamp" musically on the Rush catalog. Also it is a unique situation
in that party-hearty rockers just don't convey enough credibility to sing the studious lyrics of Neil Peart. It makes
perfect sense to hear Jack Russell sing "Rock Me" or Sebastian Bach sing "Youth Gone Wild" but neither of these guys would
be caught dead reading the books or practicing the philosophies that Peart delves into for subject material. Geddy Lee
is the perfect vocalist for Peart's writing, strictly because it sounds like he's got a message that must get through no matter
how it is delivered. The singers here are able to take their cues from the existing recordings, and adapt them into
their personal style. (Despite my criticisms, Bach, Russell, and Townsend do this incredibly well, and leave good overall
impressions.) However, the end result is that you've heard this done before and done better by the original band.
A quick "tsk-tsk" goes to Fates Warning for their rote version of "Closer to the Heart". It is apparent that they are
huge fans of Rush, but they could've done a version of this that would show the influence of Rush in the signature sound of
Fates Warning. Perhaps part of this is that there isn't a lot of room for someone else to put their own identifying
touches in Rush's music; part of this is just the expectation of producers and fans. Would a radical reworking of this
song really fly?
Overall, it is a nice disc, but I doubt that I'll be choosing these versions over the originals any
time soon.
HOODOO GURUS Magna Cum Louder (RCA/BMG) 1989
I was beginning to get into what was then known as
"college rock" (a few years before the 'a' word was associated with this particular style) in 1987. I was beginning
to develop an interest in bands like R.E.M., XTC, Smithereens, Guadalcanal Diary, Midnight Oil, Dead Milkmen, et al.
The Hoodoo Gurus had a song called "Come Anytime" from a then-brilliant album title, MAGNA CUM LOUDER.
(How collegiate, yet a neat play on the ultimate college honor.) It was a nice song, but I wasn't paying $17 for it;
and this wasn't the type of album that ended up in the used bins. [Though I do remember seeing it in cut-out/promo bins
a few years later at a rather exorbitant $7.99.] It didn't help that I didn't hear anything else from this album while
it was a recent release.
Sixteen years later, and I find a decent used copy of this to declare that it is a pretty solid
record that was far better than a lot of what was being released (and even of what I bought) in that timeframe. Though
it is a bit dated now, there are several really strong guitar-pop concoctions, particularly "Baby Can Dance (Pts. II-IV)"
which features some close vocal harmonies (later popularized in their dramatic glory by Alice in Chains, particularly
on "Would?!") and several sections going from some melancholy CSN-styled acoustic strumming to a Midnight Oil-stomp refrain,
through a few other styles and sounds before calling it a song.
Sonically, the Hoodoo Gurus are pretty close to Midnight Oil, though their lyrics tend to focus more
on personal than social issues. The other Gurus cd I have, MARS NEEDS GUITARS fit
very comfortably into my Smithereens/Replacements taste, but MAGNA CUM LOUDER is a little more dramatic,
and the songwriting isn't quite as tidy. Still, it is a fairly rewarding listen, and a sound that I wish hadn't
been killed off by the retirement of Midnight Oil, and the development of angrier and more aggressive alternative rock in
the wake of the success of grunge.
DAYS OF THUNDER Motion Picture Soundtrack (Geffen) 1990
I bought this for roughly $1 because it had
an exclusive David Coverdale solo track (with movie music maven Hans Zimmer) called "The Last Note of Freedom". For
more than a short while, this Tom Cruise flick was also the exclusive source for the Guns 'n' Roses version of Bob Dylan's
"Knockin' on Heaven's Door".
The real problem with this (and most soundtracks through the mid-90's) is that the music really isn't
thematic or cohesive enough to make a consistent listen. Even I have a hard time navigating this wide a spread as you
go from hard rock acts like Coverdale and Guns 'n' Roses to Adult Contemporary fare like Cher, Tina Turner, and Chicago to
label priority artists like Maria McKee (of Lone Justice and solo fame), and Elton John. Just as you enter the embrace
of one genre the next comes barrelling down at you. (Though most of this is definitely an older and mellower affair.)
The Coverdale track is very confusing. It is definitely a weird mix as the music was written and
performed by Hans Zimmer while the lyrics were originally written by Billy Idol. It isn't really rock, but it isn't
tidy enough to jump genres. Coverdale very likely could've found solo success by playing the same game as artists
like Rod Stewart, Bryan Adams, and Michael Bolton, and this track runs a lot closer to these three than anything you'd
find on a Whitesnake album (including SLIP OF THE TONGUE). I saw the movie when it was in
theatres (but not since) so perhaps there is a greater connection when seeing the song set to film. Here it doesn't
quite meet the quality levels that Coverdale has set previously.
ALPHONSE MOUZON Morning Sun (Tenacious) 1996/1981
For a period of time, I though Tommy Bolin was the
greatest thing since time began. In my quest to accumulate his music, I spent a lot of time in the fusion genre getting
into the records he played on for drummers, Billy Cobham (SPECTRUM) and Alphonse Mouzon (MIND
TRANSPLANT). It was my introduction to the fusion powerhouses of Mahavishnu Orchestra and Eleventh House.
(I got into Chick Corea on my own, hence the omission of Return to Forever here.) Cobham was (and still is) a monster
on the drumkit with the only jazz drummer who really compares to him possibly being the late Tony Williams.
[Though it is like asking who is a better player, Willie Mays or Magic Johnson?! as both have their own approach
and star power; but can't really be compared...] Cobham and Mouzon had a mild competition going in the early '70's,
but Mouzon was smart enough to make his statement by allowing time for his sidemen to shine. MIND TRANSPLANT
may actually be the more listenable album of the two for the average listener. [Though I prefer the looseness of SPECTRUM
vs. the regiment of MIND TRANSPLANT, personally.] Both leaders began to expand to other instruments, and each have maintained
an extended musical career.
I liked Mouzon as a drumming "show-off". I
was a little worried about Mouzon as the multi-instrumentalist/producer/record co. exec. As a result, this is a cd reissue
that I saw multiple times before finally buying it. The first listen confirmed my fears that Mouzon is stretched
a little thin.
This record boasts guest appearances from topline musicians like Herbie Hancock, Lee Ritenour,
Michael Brecker, Freddie Hubbard, and Hubert Laws. Unfortunately, it also harbors some vocals not only by Mouzon, but
by the Waters Sisters. (While talented, backup singers in this vein don't work for me).
The instrumental tracks here are typical examples of late '70's fusion. The keyboards,
flutes, and guitars are channeling a sound appallingly close to disco instrumentals. However, there are some nicer moments,
particularly on the title track, and the bonus track "Do I Have To?" Despite this comparison, the instrumental melodies
ring out clearly and are very hummable.
The missteps (for me) are two vocal tracks, "I'm Glad That You're Here" and "Tell Me" and a gimmicky
drum solo called "Space Invaders" that appears at the end of the record. "I'm Glad That You're Here" is a nice sentiment,
but falls somewhere into vocal Grover Washington, Jr. territory (which falls far short of that Stevie Wonder, Marvin Gaye,
Barry White territory it appears Mouzon was aiming). Part of it is a clunky lyric, the rest falls on the parts given
to the Waters Sisters. "Tell Me" really sounds underdeveloped, as the lyric makes the narrator sound insecure and paranoid...
and would do little to keep the subject from straying. "Space Invaders" uses an effected vocal to introduce and exit
the solo. The effects (sounding like Darth Vader speaking through a flanger and phase shifter) lurk throughout the take,
undermining a neat display of Mouzon's drumming abilities. I respect Mouzon's attempts to grow by singing and playing
keyboards, but it is as a drummer where he gains my ultimate respect.
This isn't a chops album, but more like a "jazz-soul" record for people who dug the fusion of a soul
vocal over a disco instrumental track. Still Mouzon's album provides a number of lessons to musicians, listeners,
and followers of his career in terms of succeeding and failing on your own terms. Had this been a major label release,
there may have been more of an emphasis on the guest players, or a greater push for a vocal jazz album overall. As this
was released via Mouzon's own label (Tenacious Records), he was better able to make a record more consistent to his vision,
even if it wasn't the one a majority of the public might expect.
SPYRO GYRA Dreams Beyond Control (GRP) 1993
Few acts in the smooth jazz arena have the respect
or staying power of Spyro Gyra. With the band averaging a new album each year, it is surprising that they've been such
a successful enterprise artistically as well as financially.
This album is a transitional one as the band would make a few style adjustments on the followup,
LOVE & OTHER OBSESSIONS. This one features guest appearances from vocalist Alex Ligertwood
(who is best-known for being Santana's singer from ZEBOP! until the guest singer merry-go-round
of SUPERNATURAL), as well as harmonica virtuoso Howard Levy (who gives a slight Bela Fleck feel
to "Breakfast at Igor's").
The sound isn't that different from the previous records, as it aims for an instrumental brew with bits
of r&b, island music, latin, and funk with nothing too overpowering and challenging to get in the way of its light melodies
and easy rhythms.
LIVE Four Songs (Radioactive/MCA) EP 1991
Though this EP cd is called FOUR SONGS,
only 2 didn't make it to the band's debut album MENTAL JEWELRY. Unfortunately, none of this
has aged particularly well, and the band has little but innocent energy going for them at this time. The songwriting
chops would improve on their second album, THROWING COPPER, and with the exception of V
(my favorite record by the band outright) would be hit or miss the rest of the way.
The real problem is that Ed Kowalczyk's voice and Patrick Dalheimer's bass playing are the only standout
features of the band; but neither has really developed at this juncture. The vocals are overly emotive and while this
drama would be put to good use on later singles like "I Alone", and "Lakini's Juice" (avoiding an obvious pun for one of their
most successful songs) here it is raging at a message that isn't clear enough to merit this conviction. The bass is
really noisy, and I find the click-y nature (slap/pop) really doesn't sit well in the mix due to the lack of an overall band
groove. Live's music is really moving around... it's the footsteps of a sprinter or the abandon of a Mack truck on an
empty freeway. It doesn't remain consistent, it may pick up speed or lurch at a section change. Part of this is
what made them alternative. (Listen to the difference of verse and chorus in both "Operation Spirit" found here as well
as in "Sh*t Towne" from THROWING COPPER. The rhythms shift and there are stops a plenty to
bring things back to center.)
For the moment, this completes the collection (though Live are set to release a new studio album in
the next year). "Operation Spirit" endures in its third form in my collection.
WEEK OF JULY 11 - JULY 17
IOMMI/HUGHES Fused (Sanctuary) 2005
I had mixed feelings about the previous collaborative
effort between Tony Iommi and Glenn Hughes, the 1996 DEP SESSIONS cd. In fairness, some time
had passed since the sessions were originally recorded and some of the material made it onto later Hughes projects before
resurfacing in original mode on that record. On paper, both are British rock veterans who have a lot in common and should
work well together. Iommi spending most of his life as the sole member of Black Sabbath (in addition to brief stints
in Jethro Tull and a couple of lesser projects). Hughes had been a replacement member for both Sabbath and Deep Purple
(another British hard rock institution) as well as a solid leader in projects like Trapeze and Phenomena. Unfortunately, the
DEP SESSIONS cd was too stiff for my liking. I like it when Hughes gets the opportunity
to use his funkier phrasing (as on his solo albums, SOUL MOVER as well as INCENSE
& PEACHES) and play off of his more soulful influences.
Nearly 18 months after the cleaned up DEP SESSIONS cd drops, we get a new
effort from this collaboration, FUSED. As a whole, FUSED is quite
an album. For two guys who are pushing 50, the music is amazingly modern; yet the music sounds like a natural extension
of what they do rather than a preconceived attempt to be modern. This record sounds like the basis for modern alternative
hard rock music like Staind, Saliva, and Alter Bridge. The guitars sound massive, and the recording is steel tight.
Unfortunately, the record again plays to the strengths of Iommi, and the vocal talents of Glenn Hughes
are wasted here. There is little room for him to show what he can do, as he is stuck in a "screamo" situation where
you only hear him in a "conversational" voice or at the top of his range. The problem with this is that Hughes has such
an identifiable voice (a signature sound) and these arrangements don't take advantage of this. As a result the vocals
are almost anonymous. It could be Hughes, it could be Graham Bonnet (Rainbow/MSG/Impellitteri), it could be one of a
dozen emo vocalists. While it is admirable to "service the song", it is unfortunate that the songs and arrangements
weren't re-examined to prevent the vocals from sounding unique.
That is not to say that FUSED is a bad album. There is some great riffing
and neat musical ideas that make this my favorite Iommi recording since the Sabbath release DEHUMANIZER
in the early 90's. It's just that there is so much life and soul to what Glenn Hughes does. He is all about finding
your soul and making it beautiful and meaningful. Iommi is almost the Grim Reaper of rock, and a lot of his work
as a solo and band performer have focused on how insignificant the soul actually is. In this pairing,
the darkness continues to triumph leaving little light and less soul than the billing would suggest.
FATES WARNING Awaken the Guardian [Expanded Edition] (Metal Blade) 2005/1986
I couldn't wait to get my mitts on this expanded
version of one of my favorite "progressive metal" albums of all time; having seen the release date a month earlier in ICE
magazine.
Despite how alterna-crazy I went when I started working in a record store in the early '90's, when my
boss (the owner) let me pick a cd for a Christmas bonus, I grabbed the blisterpak'ed longbox form of this album, which was
one of the "oddities" that was in the initial order that hadn't sold yet.
I had the vinyl (as I wouldn't enter the cd age for another year and a half), and hadn't replaced
it on cd, because the cd was readily available. I put off buying it for the longest time, but noticed at this point
(7 years later) that I wasn't coming across it all that often. Even so, I really wanted digital versions of "Guardian"
and "Prelude to Ruin", so it made the cut.
The golden rule ignored (everything comes back in and out of print if you wait long enough), here we
are 12 years later, and this remastered, expanded version with a bonus cd and a dvd performance from the time of the album's
release.
The second audio cd features demo versions of 3 of the tracks, as well as audio from the dvd.
The dvd is an entire performance in Long Island, New York in the last days of 1986. It features a quad-sized slipcase
to accommodate the slimline double case housing the album as well as a separate jewel box for the dvd. Unfortunately,
the artwork here is slightly distorted from the Ioannis print used on the LP sleeve as well as on the first cd issue. To
further disappoint the purists, the packaging also does not use the "meditating lady" art on the back cover of LP
and cd tray card nor the futuristic sky/desert design from the original photo/lyric insert on the LP; so I will
be keeping my original copy of this one.
As a whole, the album doesn't change much, it is still a very dramatic and overwhelmingly emotional
affair. Lyrically, the album still discusses some rather bleak sets of circumstances (particularly on "Prelude to Ruin",
"Giant's Lore", and the title track). The sonics are a little clearer, though I have to say that the drum sound isn't
quite as natural here as I remembered it. The booklet here is expanded to include all of the lyrics, the original pictures
of the band from the initial LP & Cassette pressing, as well as some live stills from the performance. Overall,
this is necessary listening for all power metal fans, as well as those who like modern "progressive" rock.
The "bonus" cd is a collection of demos from songs that made the album. Like the demos that
appeared as bonus tracks on the remasters of the first two cds, these sound like they were taken from a well-worn
cassette and were a little phased and flangy. These are pretty true to the versions that made the record. The
live cuts also have a slight sound issue. The source isn't the best, and it really shows up in the overall quality
of this second disc. Of course the "prize" here (the non-album track of tracks) is an energetic cover of Black Sabbath
(w/Dio)'s "Die Young" from their HEAVEN & HELL album. This is cool, but the sound quality takes a little
of the power away, as does the vocal effect that gives an octave under harmony that sounds otherworldly, yet incredibly
cheesy.
Since the website is not called DVD's: My Drug of Choice, I think it is better to just acknowledge
that the video is about as any good as any bootleg source given the technology of the time; as well as the duration
that has passed since this was recorded. The DVD booklet includes a nice essay from Dream Theatre's Mike Portnoy, who
coincidentally was in the audience that night.
Overall, this expanded version does a great job of capturing the band and the time of the recording.
Despite the few downsides (recording quality and art issues) this is a great value with a suggested retail price of a regular
new frontline cd. I do wonder how many Metal Blade "classics" will continue to get the expanded treatment over the next
couple of years.
ROGER GLOVER & THE GUILTY PARTY Snapshot (Eagle/Red Ink) 2002
The hardest part about the solo work of a bassist
is that no one quite knows what they really contribute to the mix. When you hear a vocalist it is fairly apparent to
know if they are rock, jazz, opera, or metal fans by their diction and phrasing. A guitarist also hints at their
influences by what they play (and don't play) and the various techniques they bring to the table. Lots of ebow and delay...
Edge/Andy Summers - Lots of 12 string electric/Rickenbacker fury... Peter Buck/Roger McGuinn... Lots of two handed tapping...
Eddie Van Halen - et al. Glover was (and yet is) the bassist for Deep Purple and Rainbow. Glover also
has issued several previous solo albums, and served as a producer for a number of hard rock bands for a decade (1975-1985).
I've only heard 3 earlier projects from Glover, being BUTTERLY BALL and the GRASSHOPPER FEAST,
MASK, and his collaboration with Ian Gillan (singer of Deep Purple) ACCIDENTALLY ON
PURPOSE. The first appeared to be a hard rock equivalent (attempt) at the Beatles' SGT.
PEPPER LONELY HEARTS CLUB BAND, with a variety of characters and voices based on a cartoon. (Though it
featured some nice vocal turns from David Coverdale, Ronnie James Dio, and Glenn Hughes.) His album MASK
was released in the mid-80's, and featured a very new wave sound fitting in comfortably with artists like Big Country, The
Fixx, and Thompson Twins. The MASK band featured several Rainbow contributors, showing a completely
unexpected change in direction from the STRAIGHT BETWEEN THE EYES album that most of these players
would add to in the next year. ACCIDENTALLY ON PURPOSE was the closest to this album, featuring
a variety of song styles that wouldn't fit on a typical Purple release. Most of the songs were aimed at an older audience,
yet the band released a nice version of Doc Pomus's "Lonely Avenue" which still comes up in an occasional shuffle on my mp3
player.
SNAPSHOT is more of a "roots rock" record that fits in comfortably with bands like
Dire Straits, Allman Bros., BoDeans, and Los Lobos. I think a Purple fan buying into this may be disappointed that there
isn't really a hard rock statement being made here. Most of these are mid-tempo songs that really might sound good in
concert at a neighborhood street festival in a large city. Whether it is the reggae-tinged "Burn Me Up Slowly" or the
dramatic keyboard turn of "The Bargain Basement" the songs maintain a spontaneity that sounds breezy and carefree. The
performances don't sound obsessed over, and it doesn't sound like it was really "worked over", which helps this record's flow
immensely. Vocalist Randall Bramblett turns in some nice vocal performances, sitting somewhere between Mark Knopfler
and Eric Clapton in terms of voice comparison. A guest shot from Warren Haynes (Allman Bros./Gov't Mule) adds a nice
gritty touch to the proceedings as well.
SNAPSHOT sounds as it is titled; music that sounds very "in the moment", not labored,
posed, or sculpted. As a whole this will likely go over well with those who like a rootsier rock sound (a la Dire
Straits, Lyle Lovett, Los Lonely Boys) with solid songwriting. Many may have done a better job in capturing this sound,
but you could do a lot worse than this album..
TANGERINE DREAM - Live - Brighton, UK - March 25, 1986 (TDC/Boatmoon) 2005/1986
TANGERINE DREAM - Live - Cleveland, OH - June 24, 1986 (TDC/Boatmoon) 2005/1986
If Guinness Book were really keeping records on such
things, I think Tangerine Dream may be the most prolific recording outfit of all time. Since their ELECTRONIC
MEDITATIONS album of the late '60's, the band has averaged roughly 2 albums a year. Add to this the
large number of motion picture soundtracks they do, as well as the official live recordings, and you have a
band that is a unique challenge to collect.
Adding to the fun is a new limited-edition series of concerts on compact disc called the BOATMOON
SERIES. So far 7 concerts have been issued to cd in this series. Much like DICK'S PICKS
from the Grateful Dead, these concerts mark important and well-preserved concerts from the band. Each cd is numbered
and is sold in a grouping of 5000. [Guaranteeing collectability, as versions of their soundtrack cd, THE
KEEP, which was released in limited numbers on a tour and is now topping out around $300 on eBay.]
This round of Boatmoon releases (numbers 6 & 7 respectively) chronicle two shows recorded 3 months
apart in 1986. The band at this time featured Edgar Froese (leader, guitarist, keyboardist) with percussion/keyboardist
Christopher Franke, and keyboardist Paul Haslinger.
A lot of material shows up on both cds, and even more surprisingly in similar orders. Though
time has passed and some differences do exist. For a band known for its improvising capabilities, the similar
setlists are a slight shock. Though having heard the earlier Boatmoon titles as well as their privately released ROCKHEAD,
lets one know how seriously they take their ability to replicate the recordings.
However, these recordings are more for die hard fans of the group rather than casual collectors.
Who else is obsessive enough to want two shows from the same tour with 65% repetition? That said, fans will want
to get on with this because the numbered editions will run reasonably quickly and leave people with only eBay as the
means to get this.
COLDPLAY Clocks (Parlaphone) 2003 EP
This is the cd single for my favorite Coldplay song,
"Clocks". While I had done an about face on the band and ended up getting (and enjoying) A RUSH OF BLOOD
TO THE HEAD after really hating "Yellow" and the majority of PARACHUTES.
This cd single features two previously unreleased tracks. Surprisingly, I was really impressed,
and surprised of the quality of these songs. While I have a compulsion when it comes to certain artists (like Robert
Plant, R.E.M., Rush) very few artists actually deliver on the b-sides.
"Crests of Waves" has a nice ealry R.E.M. feel in the guitars and arrangement, though features enough
U2 and the Church in the vocals and overall sonics to keep it on the other side of the pond. "Animal" makes me
think of Sting fronting BENDS-era Radiohead, borrowing a little vocally from the latter's "My Iron
Lung" before going into some nice soft falsetto for a prechorus. Despite these comparisons, Coldplay is able to maintain
a singular identity and these are natural extensions of what they are known for.
Though the fact that I liked these songs may be part of the reason that I'm lukewarm to Coldplay overall.
I liked these songs more than several of the tracks that made the record. Even so, few bands have generated
as much excitement with fans, critics, and the press over the last 5 years; so I'm doubting that there'll be change in
the formula. Still, a few more b-sides of this quality will continue to make me second guess how
the band is choosing to go about it.
DARREN HOUSEHOLDER Darren Householder (Shrapnel) 1993
Knee-deep in the grunge age, music was moving into
its stripped-down, simplified phase as guitarist Darren Householder puts out an overwhelmingly sophisticated self-titled debut.
Timing is everything, and though Householder was able to grab some modest attention from guitar magazines
shortly after its release, one can only imagine what might have happened if this were released a few years earlier.
Would Darren Householder be held in the same breath as Joe Satriani, Vinnie Moore, or Steve Morse?
Hard to tell, but Householder executes good rock, good shred, good jazz, and overall great technique. I sense a great
debt to Morse in his playing, as he covers a lot of ground, and goes to the "show me" riffs when they are called for, but
can fill the scene rhythmically and sonically with a good ear and some well placed chords. Unfortunately, no one was
listening at the time; a shame since playing this strong deserves a better fate than mere obscurity.
WEEK OF JULY 4 - JULY 10
BRAZEN ABBOT My Resurrection (Frontiers) 2005
The first place I'd ever heard of Brazen Abbot was
via the Melodicrock.com website. Most of the talk was about the 10 year anniversary live album and dvd with Joe Lynn
Turner on vocals. I never find anything at regular price until I stumble across the live disc used at a local shop and
take a liking to it.
When MY RESURRECTION was finally available new, I bought it without hesitationi.
I knew that of the singers, I already liked Turner as well as Goran Edman (formerly of Yngwie's band). Here leader Nikolo
Kotsev brings out another ringer, TNT/Westworld/Starbreaker vocalist Tony Harnell. The result is that the only way the
vocals on MY RESURRECTION might improve would be if Glenn Hughes and Jeff Scott Soto were called
in tie up loose vocal ends. (However, the 4 vocalists used already on the recording do an excellent job).
The sonics are still very close to a modern-sounding Rainbow for the most part, excepting one particularly
Styx-ian moment in the back, and a couple of the heavier songs toward the front.
IOMMI Iommi (Divine/Priority) 2000
The first comment I have to make on this record is that it seems
like a copycat of Santana's wildly successful SUPERNATURAL album, but geared towards fans of hard
rock and heavy metal. Get a classic guitarist (Black Sabbath's Tony Iommi) and partner him up with a number of musicians
who play in bands that feature at least something of a Sabbath influence. As a result we get Pantera's Phil Anselmo,
System of a Down's Serj Tankian, Type O Negative's Peter Steele, as well as an appearance from original Sabbath vocalist Ozzy
Osbourne. Some of the other choices are a bit more inspired, particularly Dave Grohl (Foo Fighters, Nirvana), Skin (Skunk
Anansie), and Ian Astbury (the Cult).
The tracks have Iommi's trademarks all over them whether it is in the riff formation or the Sabbath
sonics. The tracks succeed and fail depending on how the vocalist works with these limitations. The 3 winners
(for me) are Dave Grohl, Skin, and Billy Corgan because they are able to fuse their identities into the songs and move them
above traditional metal expectations.
Grohl does the most with his track "Goodbye Lament" as he clearly understands the metal aesthetic without
becoming enslaved to it. He adds a more melodic touch to the verses before tightening up on the refrain.
Skin is an acquired taste. Her band Skunk Anansie bounces between genres of punk, soul, metal,
and pop. She shines when she is able to belt (as on SA's tune "Just Because You Feel Good (Doesn't Make It Right)")
like a cyberpunk edition of Tina Turner. She is fearless and as expressive as they come. Some may cringe at the
thought, but her track "Meat" really connects because of her ability to pull something different vocally than most other performers
would. This may not seem to be a good match on paper, but it really shows how versatile Iommi's riffing really can be.
Billy Corgan's track "Black Oblivion" has a mild case of identity crisis. Due to the vocal as
well as his band history, Corgan makes this sound closer to GISH-era Smashing Pumpkins, than a classic
(or even a modern) Black Sabbath track. The Pumpkins clearly have a debt to Sabbath in terms of tone and intensity,
but have fashioned their own identity from this influence.
One more highlight worth mentioning is Serj Tankian's contribution, "Patterns". Many hail his
main band, System of a Down, as the new metal leader. "Patterns" is the band's coming out party for TOXICITY
as "Drown" was for the Smashing Pumpkins prior to SIAMESE DREAM. The track features all of
the hallmarks that would lead System to its current popularity, whether it is the shifts in mood and time, or the varied vocal
delivery Tankian takes on. I'm not the biggest fan of System, but I do respect the fact that they found something to
separate themselves from other heavy acts, and were able to "gut" the rap-rock/nu metal movement like Nirvana did
to "hair metal".
Before closing, I ought to state (before receiving any hate mail) that the obvious choices were a little
disappointing here. Peter Steele of Type O Negative is one of the more interesting voices of 90's metal, but his lyrical
move here just comes across flat. "Just Say No to Love" is too much of a slogan, and not enough of a message to hold
interest for me. Philip Anselmo delivers a fine performance in "Time Is Mine", but seems a little common here.
I think you could've found Sabbath fans across the country who could've done this track just as well if not better.
I'll acknowledge my ignorance of Pantera, as I think it was the combination of riffing and anger that carried them more than
any real sense of identity.
Surprisingly, the album maintains cohesion due to the consistency of Iommi's backing tracks. Despite
the differing vocalists, it still sounds like the product of a single band, and prevents me from having to ride the skip button
of the cd player while listening to this. Even so, I still feel like IOMMI may have been better
served if it had been a collaboration with a single vocalist rather than a gathering of so many.
KING CRIMSON In the Court of the Crimson King [30th Anniversary Edition] (Caroline
Rec/EG) 1999/1969
Not to substitute for a true review of the record, but IN
THE COURT OF THE CRIMSON KING is an album I meant to buy for nearly 15 years (of it's 36 years of availability).
I would read about King Crimson and see how they were always lumped in with Yes, ELP, and Genesis in terms of challenging
but accessible progressive rock music and this was a milestone. I worked in a cd store while I was in college, and was
face to face with someone who hated progressive rock but liked King Crimson. He even bought the first box set from them
(where I got to hear oddities like "Cat Food" and such). It was in that store when I was about to put in a "special
order" for this cd when my boss told me we took in the COMPACT KING CRIMSON compilation on trade.
Besides only 1 track from the original COURT was missing. Using my "employee discount", I
bought the cd for $1 over our cost and thought I had a pretty good overview of band and album.
The first problem with COMPACT is that it is a mixture of the Lake and Belew
eras. Unfortunately, it was kind of a depressing listen, and the booklet didn't really do a lot to clarify the music
for me. A couple of listens later, it ended up in the stacks only to be pulled out for an occasional round of "Thela
Hun Ginjeet" or "21st Century Schizoid Man". In short, this compilation had made me rethink (somewhat negatively)
my interest in the group and kept me from ponying up for a proper copy of the album.
That is, until I spotted this crisp clean used copy for $5 on a recent excursion. Having the true album of IN THE COURT OF THE CRIMSON KING is a better feeling, as the
tracks appear in album order (which was part of the difficulty with the jumbling on COMPACT).
It really is a lot to digest on its own, and when combined with other Crimson material became somewhat daunting. To
compare, select a nice hardcover version of an older book and look at how easy it is to read and enjoy. Notice how preferable
it is to having a cheaply printed, small lettered, smelly old paperback version. Notice how preferable it is to having
the hardcover version of one novel, vs. a 950 page compendium of an author's work (featuring this novel). It is clean,
uncluttered, high-quality, and presented in the form that it was originally intended for.
The sound here is very good in comparison to the versions on COMPACT, though
the booklet again is a bit cluttered. Rather than hire someone to write a nice synopsis of the music and its importance,
the booklet chooses to load up on pictures and snippets from actual news stories about the band and the album from the start
of the project until the exit of some of the album's key players. Unfortunately, it doesn't really give a whole story,
and the one I drew from the clips (and my own research into the band) hadn't changed from the announcement of the "Double
Trio" lineup for both the VROOM and THRAK projects in the mid-90's.
The music itself is still incredibly moody and not only serves as a precursor to the work of Greg Lake
and Peter Sinfield in ELP, but also seems to indicate the murky directions of mid-70's Pink Floyd and LAMB-era
Genesis. One might also hear a bit of what Iron Maiden would become in the late '80's (dramatic vocals over very exacting
music).
SPYRO GYRA In Modern Times (Head's Up) 2001
Spyro Gyra is known the world over for its smooth instrumental jazz stylings, as well as for its use
of lush instrumentation. With a full time vibe player as well as a percussionist, on top of prolific and sturdy sax
and piano/keyboards all work to make the band one of the most successful jazz enterprises this side of Pat Metheny
Group.
Unfortunately, the very nature of this style of music can be a bit limiting. Spyro Gyra have maintained
an almost annual cycle since their Amherst label days in the late '70's. Hence, there is a bit of sameness to the individual
albums. Working in the band's favor is the fact that all of its members compose (and quite prolifically, as each of
the 5 members has a writing credit on this record). The combined ability of its members also adds a bit to the equation
as well, as lesser groups have one soloist to lean on or can only do the same trick over and over again.
While the themes and forms change, the sonics remain fairly consistent. IN MODERN TIMES doesn't
break ground, as it bounces from some nice Latin touches early to full on keyboard-led instrumental pop. Sonically it
is somewhat interchangeable with the most recent era of SG recording via indie-jazz label, Head's Up.
Still this is an a nice album for groups in which a specific genre will alienate or annoy.
The instrumentation allows for a number of possible soloists so that it can't be pinned down as a "guitar album" or a "drum
album". Though it is hard to outrun the saxophone here. That said, IN MODERN TIMES is a relaxing instrumental
recording recommended for when you have company (particularly older folk).
AXEL RUDI PELL Eternal Prisoner (SPV/Steamhammer) 1992
AXEL RUDI PELL Magic (SPV/Steamhammmer) 1997
Most music critics (about 90% those that normally appear in
newspapers and magazines) cannot resist any opportunity to insult Yngwie Malmsteen. Whether it is his costuming, his
musical "vision", his timing, or his histrionics both on and off of the instrument; rarely does the mention of Yngwie's
name not get some sort of derision by the "hipper" folks who find the neoclassical movement about as culturally significant
as a unibrow.
Knowing this, it surprises me that there are several artists who want to follow in this path to persecution.
Axel Rudi Pell has had a nice recording career of making guitar-led hard rock in the combined mode of
Yngwie, Uli Jon Roth, and Ritchie Blackmore. Drawing a closer comparison to Yngwie, Axel has released 4 records with
Jeff Scott Soto on vocals. Those who go back to the site more than a month recognize what a fan I've become of Soto's
work. Whether it was where I originally heard him on "I'll See the Light Tonight" to his most recent solo project
LOST IN TRANSLATION or the Soul SirkUS project; few singers have his energy and ability, and the fact
that he is to 75% of America an unknown is even more frustrating.
ETERNAL PRISONER is an older record that was definitely written, recorded, and mixed
prior to the grunge/alternative explosion of the early '90's. The production here is similar to most of the hard rock
artists that had to find a new way to make a living after this wave went through. Hints of Jackyl, Firehouse, and Warrant
are all over the record, leaving a time stamp that made it hard for me to listen without prejudice. Despite a few spins,
I know there are a few songs I like, but they are washed away by the two I (really) didn't like ("Eternal Prisoner" and "Sweet
Lil Suzie"). It didn't feel like either Soto or Pell was really pushed to the higher end of their collective talents,
as pedestrian sleazy hard rock is beneath them.
MAGIC is a much better effort, though the album has an unfinished feel about it.
Part of my problem with this record is the inclusion of two songs that are longer than 8 minutes. In the style of music
Pell is performing, there just aren't enough dynamics or changes to make an 8 minute song interesting. Just because
you have 5 verses written, and two different guitar solo ideas for a song doesn't mean they should all be there.
Perhaps a reprise would've made the title track more interesting (especially if split between the first third of the album
and the last third). Very little would have saved "The Clown Is Dead" as this was just wasn't conveying its message
cleanly and clearly. Why they chose to include such a long cut on this melodramatic pap is beyond any logic I can fathom.
Despite these knocks, Pell and Soto make an effective team, as they channel the MARCHING OUT album
through several songs here.
During the time of these recordings, Soto was dividing his time with Eyes, Talisman, and Takara.
Perhaps that is part of the "lack of focus" problem that these albums have. Even so, I do hope future listening will
unlock a little more enjoyment from these cds. It is definitely not a lack of talent here.
ACOUSTIC ALCHEMY The New Edge (GRP) 1993
This is an unfortunately named record. At this time, Acoustic
Alchemy were a classy soft instrumental group led by the guitars of Nick Webb and Greg Carmichael. There is plastic
flatware with more "edge" than this cd.
Still albums like REFERENCE POINT and BACK ON THE CASE
highlighted fine acoustic melodies over real and synthesized backing tracks. Despite the group's British origins, a
lot of the music had a country/western swing feel as well as a slight nod to the guitar styles of rock groups like the Byrds
and R.E.M. Particularly on the latter, where the title track could easily pass for an instrumental R.E.M. outtake.
THE NEW EDGE features some common touches from the previously mentioned albums, but also includes an
orchestral track as well as some more commonly orchestrated songs. The emphasis remains on the melodies played on the
acoustic guitars, though the expansion of stringed instruments like cellos and violins give AA a wider and more
regal sound. My favorite track here though is "Slow Ride Home" which features the guitars as well as a guest dobro shot
from Jerry Douglas, as well as two percussionists. The band is strongest when keeping the emphasis on the acoustic guitars
and percussion.
For many people, an album like THE NEW EDGE is great for home or office activities that require a "pulse",
but not full on distraction. Fortunately, the music stands up as more than "aural wallpaper". This merits close
listening on at least a couple of occasions, just to hear the minutae in such a pretty and inoffensive musical setting.
People forget that artistry isn't just messing with people's expectations, value systems, or desires; unfortunately on such
a recording, it is just too easy to overlook the band's ability.
BONNIE RAITT The Bonnie Raitt Collection (Warner Bros.) 1990
The hardest part about being a music fan is finding yourself
going back against your original tastes. As you get older you find yourself going back for things you didn't get the
first time around, and perhaps that is why I grabbed the original Bonnie Raitt GREATEST HITS package
on Capitol last year.
I felt the switch turn "on" for this bluesy/country/adult rock after hearing the song "Slow Turning"
by John Hiatt in the movie, THE ROOKIE. It wasn't too long afterwards that I grabbed the Hiatt 2 cd retrospective and
each of these Raitt compilations a year a part afterwards.
Unlike the Capitol collection, this one from Warner Bros. features a number of songs I hadn't heard
before. Still, a number of the hallmarks that were part of her later success with Capitol are an equal part of
this package. Notably, good cover song choices, a deep respect for the overlooked legends she idolizes, and solid (if
unremarkable) workman-like performances that show off the song in its most authentic light.
Raitt definitely holds her own as an instrumentalist; particularly with the slide. Despite this
bluesy approach, much of her material defies easy categorization. Is it R&B? Blues? Folk? Country? Reggae?
Like John Lee Hooker said, "if you copy from one it is plagiarism, but if you copy from many then it is research." It
is apparent in songs like "Love Me Like a Man", "Runaway", and "Angel from Montgomery" that Raitt has done her homework and
spent a lot of time exploring each of these genres. (Just a side note, the live version of "Angel..." is nice, but I
really wished they'd have included the studio version somewhere as on the disc as well as the versions differ slightly.)
Despite the "down-home" simplicity of these genres, I do think it is still a little too sophisticated
and varied for most audiences to take in. Her later success came from selecting great songs, and putting them in a simpler,
more consistent setting. Raitt in the early '90's was known for her expressive voice with a soulful blues background.
Here, Raitt was trying to prove that she had all the credentials to be a serious artist. She could bend from gospel
to reggae to a country blues, and while impressive it doesn't have the confidence or the conviction of her later material.
Even so, this is a great starting point for those who want to delve past the obvious material and into
the roots of one of the most successful female musicians of the last half-century.
RAINBOW Difficult to Cure (Polydor) 1997/1981
This full-length recording marked the debut of Rainbow's third
vocalist, Joe Lynn Turner. Acquiring this not too long after purchasing the 30th Anniversary edition of Deep Purple's
BURN, really puts a new spin on this era of Rainbow as well as Ritchie Blackmore's intentions at
the time. [Blackmore was the guitarist for both Rainbow and the first 3 lineups of Deep Purple (1966-1975, 1984-1992)]
In the liners for BURN, it mentions that Ian Gillan was leaving Deep Purple
having felt burnt out by the music business. Meanwhile, Blackmore was considering either leaving Purple to form a new
band or seeking to change the band's signature sound. For a short period of time it looked like Gillan's replacement
would be Paul Rodgers, the vocalist for Free ("All Right Now"), Bad Company, and later the Firm. If Rodgers didn't agree
to join Purple, then Blackmore wanted to start a new project with him. Ultimately, it didn't work out as planned, and
Mk. IV arrived with Glenn Hughes & David Coverdale joining Deep Purple as rotating vocalists while Blackmore stayed on
for two albums before turning Elf into his backing band.
The reason I bring up this Paul Rodgers reference is that Joe Lynn Turner is cut from a very similar
vocal cloth. Both have astoundingly soulful lows with the ability to lock in to higher notes fully and aggressively.
They were very bluesy, but adapt well to riff-based hard rock formulas.
Call me weird, but I prefer Turner's voice. Part of it is that I was a Rainbow fan as a youngster
(while absolutely hating the popular Bad Co. dreck like "Rock'n'Roll Fantasy", "Shooting Star", and "Feel Like Making
Love"). The other part is that I've heard Turner do different styles and adjust his voice accordingly, whereas
every time I hear Paul Rodgers, it seems like the music has to accommodate his voice. In time, I've forgiven Bad
Co. their pop sins, and have found great enjoyment in the 2 disc retrospective of the Rodgers years released some time ago.
Though little has shaken my appreciation for the music of Rainbow.
DIFFICULT TO CURE is yet another step towards the melodic hard rock movement (like
Night Ranger, Boston, REO Speedwagon, et al) with more of a debt to Foreigner than Deep Purple. Despite the
more contemporary production values, the album still took some serious progressive steps with the inclusion of the title track,
a 6 minute homage to Beethoven's 9th. The formula of covering another Russ Ballard song ("I Surrender") as
their last one ("Since You've Been Gone") was a modest hit for the band continues. The band also had a minor video hit
with the track "Can't Happen Here" which slightly alters the diad riffing that fuels earlier Blackmore gems like "Burn" and
"Man on the Silver Mountain". Unfortunately, this remaster excludes the two tracks from the pre-release single,
"Jealous Lover" (a somewhat funky hard rock track) and "Weiss Heim" (a nice melodic instrumental). As they were part
of the period (and the cover art for the JEALOUS LOVER mini-lp featured the same doctors with
different top graphics) they would have fit nicely at the end of this album.
DIFFICULT TO CURE is a middling album for the band, as it doesn't match the intensity
or fire of the Dio-era albums, nor does this compare to the straightforward hard rock that appeared on Graham Bonnet's sole
effort for the band, DOWN TO EARTH. Even Turner goes one better with the breakthrough album
STRAIGHT BETWEEN THE EYES (though even the brilliant "Street of Dreams" doesn't save the lackluster,
BENT OUT OF SHAPE). Despite this designation, DIFFICULT TO CURE still
has plenty to offer those in search of well-performed, highly polished hard rock.
RIOT The Brethren of the Long House (Sony) 1995
It is very peculiar (and perhaps subconscious) for Riot to follow
Rainbow in the commentary this week. Not only here (and alphabetically), but BRETHREN OF THE LONG HOUSE
also features a number of nods to Blackmore's second act. One of the songs quotes the chord progression, tempo, and
playing style directly from Rainbow's "Chase the Rainbow" from their self-titled album. Conversely, their cover
of Gary Moore's "Out in the Fields" is a nice homage to the band's hard rock roots.
Despite these challenges, Mike DiMeo may be the best Riot singer since Guy Speranza, and the band is
more enjoyable than in it's mid-'80's hard rock phase or its later foray into a thrashier sound and rhythm (PRIVILEGE
OF POWER & THUNDERSTEEL). There are some progressive sounds, but the Blackmore
influence shines through most of this album.
This particular version is a Japanese promo from Sony featuring the OBI strip as well as an unusual
laminate with the heading "Voyage to Japan". Unfortunately, it does not include the American bonus track "Sailor
Boy".
NIGHT RANGER Greatest Hits (MCA) 1989
Sometimes you stumble across something you pick up out of amusement
more than anything else. There are some very unusual "Best of's" and "Greatest Hits" in my collection, primarily because
the artist/group in question never really had more than one known song.
You can definitely tell the person who grew up in the '80's versus the people who just look back to
it from time to time by playing this record. My sister (who didn't graduate high school until 1993) knows "Sister Christian"
like most people because it was a huge hit at the time that has gone to live on being featured in 80's compilations
and movie soundtracks. The rest of the album would be a jumble for her. (She'd probably guess some of the
other bands that were plying the same "melodic hard rock image" that seemingly ended with Night Ranger. The dramatic
cover image photos; the logo that required a little practice before being scrawled onto a notebook, folder, or "Trapper
Keeper"; bands that have at least one member in a vest or beret in the group photo... bands like Boston, Journey, REO
Speedwagon, Cheap Trick, and to a lesser degree, Rush). Play it for some of my musician friends, (especially those who
grew up on 80's hard rock), and they could pick out at least 5 or 6 of these songs by title and artist. {For example
- in blue}
"'You Can Still Rock in America', Night Ranger. Isn't this the video where
[guitarist] Brad Gillis is playing, and ends his solo by catching a broken string in his cheek? I remember seeing
the string break and circle around to whap him in the face."
(memo to self - maybe this type of game is too incriminatingly dorky to share with Tripod users. Try
something else).
Anyway, this is a fairly solid collection of mid-tempo rockers and ballads. Whether it is the
DAWN PATROL era rockers like "Don't Tell Me You Love Me" or the aforementioned "(You Can Still) Rock in America" or the strange
middle ground of a sappy "not-quite" ballad like "When You Close Your Eyes", it is apparent that every detail in writing and
performance has been explored to a point where there is zero spontaneity left on the record.
Unfortunately, this may be one reason why Night Ranger was well-respected but never as popular as their
hair metal brethren. Another may be that after the opening track, there isn't a sense of fun here. Every
song has a basis on senses, emotions, and memories you don't experience until you are well into adulthood.
The sense of growing up, or of making a bad decision, or marrying the wrong person are all themes that can be generally referred
to, but in the hands of Night Ranger they become as specific and as clear as the photographs that became their cover
art. And again, these are things most won't come across until they are in their mid-20's or mid-30's, and maybe
that is why I find myself liking this more now than I did then when "party till you puke" was a grand social statement.
The band is still active (and even will be playing a city festival in my old hometown in a few
weeks). Despite the fact that I couldn't name any track that didn't originally appear here, I have to admire the durability
of their talent and their survival instincts.
IRON MAIDEN Virtual XI (Santuary/Metal Is) 1998/1996
I skipped the Blaze Bayley era of Iron Maiden nearly altogether
until a recent jaunt unearthed an incredibly cheap used copy of X FACTOR. It was better than I remembered it, though
as a longtime fan, I didn't care for Bayley's voice. Despite this, I finally uncovered a cheap copy of the other studio
record of the Blaze era, VIRTUAL XI. For $4 and a smile, this updated cd with slipcover became a virtual dust collector
and collection completer for my collection.
Upon giving it a listen, I realize that the music here is as Iron Maiden as it had been since Adrian
Smith had left the band. Guitarists Janick Gers and David Murray finally fit as a tandem, and solo across harmonic minor
thirds as if they were re-examining POWERSLAVE. Gers hadn't fit in as nicely on the FEAR OF THE DARK and NO PRAYER FOR
THE DYING because he brought the same bluesier elements that David Murray is known for. If Gers were soloing against
Adrian Smith then the sound might not have changed so radically.
I think the main problem with VIRTUAL XI is the fact that the songs are too long. "The Angel and
the Gambler" is a neat lyrical theme, but the idea gets flogged so hard in the first 3 minutes that the remaining 6 become
a headache. A similar problem happens in "The Clansman", an unfortunately titled tune seemingly influenced by the Mel
Gibson movie, BRAVEHEART. Lyrically it talks about the reclaiming of heritage and hearth; though in this country anything
with the word "clan" in it might as well (or ought to be) verboten. There are some great atmospherics adding to the
tension of the song, but repetition and length make a standstill idea become stillborn. [Length would remain an issue
with this one, as it does bog down the ROCK IN RIO cd performance, despite some great vocals from Bruce Dickinson.]
A song I might find myself returning to is "Como Estas Amigos", which despite a clunky lyric (and title)
features some of the most inspired playing and arranging on the album. Though even this one loses steam within 3 minutes,
leaving the listener gasping for fresh air during the remainder of this 6+ minute album closer.
For those unfamiliar with Blaze, his voice retains a little of the Paul Di'anno growl, with a darker
but plainer main voice. It is more metal than Di'anno's "punkier" tinge, but lacks the power, technique, and polish
of Dickinson's "air raid siren" vocals. The playing is very typical of Iron Maiden, and with shorter songs and arrangements,
it may have held interest and carried the project safely to the next album. Though it would be 4 years later when Bruce
would return to lead Iron Maiden into a new era as pioneers of the power metal now being made in places like Germany, Italy,
Brazil, Japan, and Scandinavia (all of it).
VIRTUAL XI keeps the vocal chair warm, though it will not make anyone forget the stardom and power Iron
Maiden acquired through the more polished and better developed albums of their youth. Blaze is a talent, but is out
of place here.
MIKE + THE MECHANICS Living Years (Atlantic) 1988
I snagged an '80's comp sometime back that featured the Mike
+ the Mechanics' "All I Need Is a Miracle" and found myself really enjoying it. As a follower of Genesis, I haven't
really thrown myself into collecting the odd solo and side projects (with the exception of Peter Gabriel) so when I stumbled
across this for $2 at a shop in Milwaukee, I figured to pick it up.
LIVING YEARS is odd in that it had 2 instantly recognizable songs, the first single
"Nobody's Perfect" was a song I really liked when it was released (enough to buy the Cassingle if you remember those).
And of course the huge hit from the record, the title track, which I really despised. It is a good vocal and a solid
subject for a song, but I really thought they overdid it to the point of melodrama.
The rest of the album is fairly anonymous, and therein lies the problem with Mike + the Mechanics.
Despite the talent involved (specifically Mike Rutherford of Genesis, and singers Paul Carrack and Paul Young) the band has
very little to separate it from the other bands of the time. Most of this record has spoiled as a result of aging too
long. Even the '80's "comeback" likely won't revive or make this sound new or remotely "hip" again.
TWISTED SISTER Under the Blade (Spitfire) 1999/1982
I really thought I had the jump on Twisted Sister back in the
day because I had known about YOU CAN'T STOP ROCK'N'ROLL in the time of its release. The band
would be for the most part anonymous until a couple of videos for their follow-up STAY HUNGRY would
make them a household name, referenced in a classic movie scene in the movie GUNG HO. ("No more Mtv! No more Twisted
Sister!" as a down-on-his-luck manager tries to turn around an "inefficient" auto plant.)
UNDER THE BLADE was their first effort, rejected by 28 American music labels until
a British label decided to release this, prompting the Atlantic label to take a chance on the band. The end result
is that you have a well-executed demo of what the band was playing at the time. Whether it was the "Rocky Mountain Way"
hints of closer "Day of the Rocker", or the slight Ramones/50's pop of "I'm Never Gonna Grow Up Now!", these are songs that
were intended to be anthemic and somewhat easy to reproduce live. The only "gimmick" the band copping to is the makeup
schtick.
I found this used on a recent trip, and felt somewhat relieved having paid in the neighborhood of 7%
of what I've seen this disc normally go for online. I know that there were 2 editions of the album, the original
1981 mix and the remix in 1985 after the success of STAY HUNGRY, and the desperation to keep saleable
music in the pipeline.
Overall, the album serves a career point for Twisted Sister, that I'd argue would be similar to what
POINT OF ENTRY did for Judas Priest. Both are solid hard rock albums that clear the slate for the
giant step both bands were able to make. Excepting those severe metal heads, I doubt most people could name 2 songs
from either album listed here. But whether it is nostalgia, identity, or the competition, both albums have since faded
and worn into their rightfully obscure place in the hard rock ecosystem.
ELLIS & BRANFORD MARSALIS Loved Ones (Columbia) 1996
Father (Ellis, piano) and son (Branford, sax) team up for an
intimate duo recording covering a number of romantic standards. While one would think that this concept would be an
overdone snoozefest; it is fortunate to be in the agile hands and breath of these musicians.
The first thing about this recording is that the piano is so lush and full. It is the first time
in a while that the thought of a piano taking on all roles of an orchestra can be seriously considered (in terms of the recordings
I have been listening to, as almost 10 years have past since the release of this album). On the opening track, one almost
gets that hypnotic sense that appears very rarely in jazz (in which 15 minutes go by without anyone really realizing it) like
Miles' "All Blues" or Coltrane's "My Favorite Things". Despite the absence of bass and
drums, this is a very full sounding record, and the players have enough touch so that the listener doesn't lose track of the
rhythm.
My early highlight is their version of "Maria" which is classic, yet modern at the same time.
The oddity (and identity) of the opening figure shows both desire and pain in the narrator's voice, and the duo cover it nicely as
a sax and piano instrumental. It is a showstopper in WEST SIDE STORY, and despite a slight reworking reaches the same
effect here.
While Branford and his brother Wynton are considered tops among today's younger jazz players, one cannot
underestimate the ability of dad, Ellis. Whether comping chords to approximate a rhythm section, or taking off on the
melody with some inversions and substitutions, Ellis demonstrates great authority in his playing.
This is a nice one for a Sunday breakfast, or a weeknight cocktail with the significant other.
It is a fairly easy listen as the nature of a duo requires strict adherence to the main melody before including any extraneous
notes. (Particularly wailing, dissonant, or outside tones). I look forward to future collaborations between these
two and do hope to come across some more of Ellis's solo and group material.
MADONNA Madonna (Sire) 1983
The problem with "full-disclosure" is having to cop
to purchases made for business reasons as well as those purchased for fun.
Most people think Madonna can be summed up for casual listeners via her IMMACULATE COLLECTION cd, but
few realize that the songs appear on that collection remixed with new backing tracks. So when the large band
wanted to "learn some Madonna", both the guitarist and I brought in our IMMACULATE COLLECTION cds for review. Unfortunately,
the drummer was sharp enough to catch the differences and so the hunt was on for the original cds. I pulled this
one out of the back of a Milwaukee used shop for $3.99 for no other reason than to let our drummer have a choice
of which version to learn. What good bassist wouldn't follow their drummer?
WEEK OF JUNE 27 - JULY 3
REM Up [CD/DVD-A] (Warner Bros.) 2005/1988
REM In Time [CD/DVD-A] (Warner Bros.) 2005/2003
The record companies have outsmarted me again with the most neanderthal logic: bigger, better, faster,
more. Knowing that most fans have ponied up for the studio albums once all ready, and many have already bought the concert
and music video collections that made it to DVD, these new packages were a little weird. I have to admit that it was
nice to have both formats (CD & DVD-A) in the same package in the event that I elect to upgrade my playback system, while
still having the album in a universal form. However, the "bonuses" have all been put on the DVD which feature "music
videos" (which already appear elsewhere) and the "making of" documentaries.
These two complete my collection of the CD/DVD-A packs, and were the most difficult for me to buy from
the series. I got a big push in that the prices dropped down to match those of the original albums new. (Already
$19.99, Rolling Stones Records took it down to $14.99). Unless I was going used, I wouldn't see a better deal there.
UP was (and still is seen as) a transitional record. The first of the 3-legged
dog chapter of R.E.M., the album relies heavily on mechanized, pre-programming beats and studio drummers using partial kits.
There are plenty of awkward moments here but when the record hits (as it does on "Lotus", "Walk Unafraid", and "Daysleeper")
it is as vital and as impressive as at any time in their career. The main problem here is that UP
just doesn't have the solid album tracks (the glue) to make the entire record hold up. Lyrics referring to surgeries
and reptiles just come off clunky. Other songs have a slight "retread" feel as "At My Most Beautiful" comes across like
a vainglorious recasting of AUTOMATIC FOR THE PEOPLE's "Nightswimming". It was brilliant the
first time, but comes across as a little re-heated here. The booklet includes a new essay, though it seems that the
history of the record was slightly revised for a tidier story. For instance, no mention is made of the fact that
after Berry's announcement, the band reconsiders continuing on. That the remaining members struggle over the work schedule
and nearly break up. That no one agreed on the songs that were being written and developed for the record. That
management called an intervention on the remaining three members to see if anything could be salvaged. It's almost as
if magically, the 3 guys just stepped in immediately and put out a record. There is a neat book by David Buckley called
FICTION which describes R.E.M.'s life story from its beginnings through the REVEAL sessions.
It is a relatively fair account that shows band and associates in a positive light.
IN TIME is a collection of R.E.M.'s highlights for the Warners label. I have
already bought the double disc version with the "rarities" disc. I have the "Bad Day" video on the IN TIME
DVD collection. So I bought this to complete the set and to be ready for the oncoming DVD-A revolution...(yee haw?!)
The original booklet (like for AROUND THE SUN) is used with minimal changes text or credit wise.
To see myself in the mirror, I have to ask "can you say S-u-c-k-e-r?" and identify who and what I really am here.
ALLAN HOLDSWORTH Atavachron (Enigma) 1988
Allan Holdsworth is one of the most underrated musicians
of the last 3 decades, as he has succeeded in not only creating his own playing style, being versatile in a
variety of genres, and developing unique equipment an instruments to express the music of his imagination. A sure
victim of style over substance (as Holdsworth is or never will be the attention-getting/seeking sort in photos or
press), he has been able to make the kind of music he wants to without compromising his principles or condescending
to the popular musical trends.
ATAVACHRON is well-delivered fusion from first stop to last. Aside from the last
track "All Our Yesterdays", this is an instrumental affair. The album is time-stamped due to the production style as
well as the equipment used. (Those '80's keyboards/synths are just as obvious to time period, as Mellotrons, Moogs,
and Hammonds were in earlier decades.) However, the playing sounds fresh and inspired. His guests include keyboard-whiz,
Billy Childs and drummers Gary Husband and Tony Williams. The results here are a little cleaner and tidier than the
fusion of the '70's. (This is closer to Weather Report than to the electric albums by Al DiMeola or John McLaughlin.)
Between the synths are some nice textured player, and solid melodies as well as some ideas that could be advanced and developed
by players of today.
This may not be the ideal introduction to the music of Allan Holdsworth, but for those who aim towards
the music of Joe Satriani and Chick Corea will find little to be disappointed with here.
IAN GILLAN BAND The Rockfield Mixes (Angel Air) 1999
One of my favorite things about collecting in the cd age is
that so many things have fallen out of the woodwork that were never intended for public consumption. Take this archival
release from Angel Air records for instance, an alternate mix of a rather obscure album (except for Deep Purple fans) and
other remnants of the sessions.
The Ian Gillan Band was the first step Gillan took back to music a few years after leaving Deep Purple.
The IGB isn't far removed from Deep Purple stylistically; the main difference being that Deep Purple is somewhat classically
influenced (specifically keyboardist Jon Lord and guitarist Ritchie Blackmore) while IGB was more influenced by jazz.
While it may have been a shock to Purple fans the first couple of listens, I really think it was a novel turn. The band
is out there in its fusion, but complements Gillan's voice very well. (Specifically here on the title cut and "5 Moons
in the Sky").
The released version of CLEAR AIR TURBULENCE was remixed at Kingsway Recorders
before seeing commercial release. This collection features the original mixes as well as a track that didn't make it
on the final album. Guitarist Ray Fenwick (who remains bound to the Purple legacy not only for his work with IGB, but
also for appearances on the Butterfly Ball recording and in Forcefield with ex-Rainbow members Cozy Powell on drums and Graham
Bonnet on vocals) was in possession of these mixdowns. As a result, Fenwick is a bigger part of the story and project,
as he is listed first among the IGB (even ahead of his former boss) on the player credits, and prominently featured in the
photos used in the booklet.
So how does it compare? On two listens, I still have to go with the commercially available
CLEAR AIR TURBULENCE due to the more direct sound. THE ROCKFIELD MIXES
are just a little too bright and upfront in certain areas, which negates a little of the buildup and subtleties within songs
(like the concluding vocal part of the title track where the vocals are insistent but the music builds in intensity around
the repetition). Still, it is a great that fans get the opportunity to hear the album from both Ian's (the issued product)
and the band members' point of view.
SAM COOKE The Best of Sam Cooke (RCA) 2003
There is a saying that can be paraphrased to the very simple
"things come to you only when you're ready for them". Play this for me at 6 years old, and it may make me bounce or
smile. Play it for me anytime between 10-25 and I'm either going to dislike it or pretend to in order to keep my 'indie
cred'. Even recently, I'd listen politely silently wishing I could take over the music selection. But after seeing
Soul SirkUS (an event that has made the Jeff Scott Soto portion of my collection swell to ridiculous levels) Soto showed not
only the level of influence Cooke had on him, but also on the best known Journey vocalist, Steve Perry.
Fast forward a couple of months and I finally locate a true "best of" cd from Cooke only a month after
finding a similar retrospective from Ray Charles. It is not music I learned or really followed, but most of the songs
that appear here have an almost immortal feel to them.
For $6, I got the cd in a nice cardboard slipcase featuring a quick synopsis on Sam Cooke's contribution
to popular music. I also have upbeat "singalong" songs like "Cupid", "What a Wonderful World", "Twisting the Night Away",
and "Everybody Loves to Cha Cha Cha". Are these cool songs? Probably not, but they are well-written and strongly
performed with a vocalist that makes difficult vocal techniques seem easy. (He is so good that duplicate backing
tracks become different songs due to the vocal melody and emphasis.) I don't really remember hearing much about Sam
Cooke, but I seemed to know most of the songs here. The ones I didn't were catchy enough that you could follow the melody
by the second chorus.
I'm sure the other drivers who have "caught" me singing along to this disc while driving my car probably
think I'm od'ing on carbon monoxide through the a/c vents or having an animated conversation with a hidden cell phone.
It's hard for me to accept what a true dork I can be.
LEE RITENOUR Overtime (Peak/Concord) 2005
This is a live recording that reunites the guitarist with a
few of the other players that came from his scene. (Namely Patrice Rushen and Ernie Watts). It is a "celebration"
of the 30 odd years that Ritenour has been performing and recording.
Unfortunately, I really don't like vocals in jazz so much. If I wanted "vocal jazz", I'd listen
to standards' singers like Dean Martin, Perry Como, Rosemary Clooney or to "heartbreak" radio where tons of vulnerable
pop & rock artists sing over a backing track that approximates the new wave of soft jazz. (When Barry Manilow, Michael
Bolton, and Luther Vandross are played on Chicago's jazz station, you can see how blurry the line actually gets.) For
me, it turns this album into one that requires close proximity to the skip track button as it seems like every other
track is a vocal one. I do make an exception for Ritenour's cover of the Temptations' "Papa Was a Rollin' Stone" just
for the fact that I like the original, and while Ritenour's reworking is very respectful to the spirit of the song.
There are some solid performances here. The hard thing to remember is that I'm not a member of
the target demographic of this recording. This is aimed at an older, richer white audience who want "uptown" urban R&B-styled
music without the rap, house, or techno novelty added to today's music.
CAT STEVENS Greatest Hits (Universal/A&M) 2000/1972
I guess if my comments around the Narnia cd didn't offend anyone,
then discussion of the work of a man who turned his back on the American way to become a Muslim and social critic should fly
as well, right?! Fortunately, this is a small enough site so that only 8-10 people will likely read this before it is
removed.
To be fair, this is not even close to my style of music, I like the side categories of rock music from
this time frame. Either the progressive stuff (Yes, ELP, Genesis) or the harder stuff (Deep Purple, Led Zeppelin, Black
Sabbath) or the jazzier stuff (Mahavishnu Orchestra, Return to Forever, Weather Report), plain old unadorned folk rock like
this doesn't come close to moving me.
Despite this, I do try to step outside my "comfort zone" musically from time to time when the product
and price make sense. This had more than I needed from Stevens as I was looking forward to "Peace Train", "Wild World",
and of course "Morning Has Broken" (which is a song I loved in childhood despite its similarity to Billy Joel's "Piano Man"
in terms of orchestration and movement). I wanted to listen to this a little in preparation for some studio work I'm
doing soon for an area singer/songwriter. (How do you get a full sound without full time drums?) Lastly, this is a good disc for company or pre-gig music for events with a wider age mixture.
While there is an ULTIMATE CAT STEVENS cd collection out and about, GREATEST HITS has
the obvious songs and goes for almost half the price. I doubt that I will graduate to the larger collection, but for
the pittance I paid, I got several key tracks to add to the archives.
WEEK OF JUNE 20 - JUNE 26
LAW & ORDER The Glass House (Z) 2004/1993
When I first threw this cd on, I thought about how tragic the
story of Mother Love Bone was. When I first got APPLE from them, (about 2 months after "Hunger
Strike" from Temple of the Dog hit following the Pearl Jam explosion in the early '90's) I found myself feeling really down.
It was a very good album, but it was clear that they were operating at maybe a 40-50% level (tops) of where they could/would
ultimately be. While Pearl Jam hit the commercial end of where Mother Love Bone might never have seen, its legacy is
a bit murky in regards to the level of artistry. All of it was OVER because of the death of its frontperson, how tragic.
...or so I thought, because this record sat in a vault for 11 years before someone thought there might
be at least 6 people outside the band and its family members who still wanted a chance to hear and own this album.
The band had a "hair metal" image, though its music was closer to someone like Saigon Kick, Blind Melon, or to a lesser extent
Love on Ice and Jane's Addiction. THE GLASS HOUSE features most of the elements that made
RITES OF PASSAGE a critically acclaimed (and unfortunately forgotten) diamond in the rough. Solid
songwriting with some unexpected twists in arrangment and execution.
Unlike most "hair metal" bands, Law & Order had somewhat of a '60's influence on top of sturdy hard
rock vocals and riffs. It helps the band stand out, though a song like "The Middle" ends up sounding like it was taken
from Blind Melon, instead of it being a coincidental occurrence.
I really can't put my finger on why I really like this band and album, except that it has a more progressive
quality than most of its peers. There was also that sound of potential (of a band that was moving at maybe 50% of where
it could be artistically and commercially if it was cared for, nurtured, and marketed properly) that is somewhat inspiring
but a little heartbreaking. Unlike Mother Love Bone, this was a dumb action outside of the band that prevented
this recording from being heard, not something within. I'm not sure which is more tragic. There have been
mentions that Law & Order is intending to regroup and resume a career that was cut off way too quickly. Here's
hoping this story finds a happy ending.
KEN SNYDER One (Sore Throat) 2003
This was a pleasant surprise sent in a recent package from a
trading friend out-of-state. It is not a record I would likely have come in contact with, or a player I would have heard
otherwise. It's a shame, as I think Snyder has some very solid playing ability and despite the "whiz-bang, attention
getting techniques", there are some moments like "Slow Burn" where a greater artistry prevails, as Snyder goes for a strong
melody vs. the gimmickry of earlier techniques.
Let's state right here and now that Snyder's album is about 15 years past the expiration date of the
"blowing" guitar albums of the Shrapnel label. Much of the start of ONE has enough of
these hallmarks (two-handed tapping, harmonizer effects, speed, sweep picking, and gobs of technique) to bring
on a flashback of what players like Joe Satriani, Vinnie Moore, Joey Tafolla, and perhaps even Guy Mann Dude were doing around
1988. If you didn't like it then, then this will not change your mind now.
Much of the world has moved on through the grunge/alternative/nu metal movements that many shredders
tried to incorporate (Lynch Mob as a rap-metal outfit??!!, Joe Satriani soloing over pre-programmed techno lines, Dream Theatre
resorting to detuned guitars and breakbeats?!!) albeit painfully, into their skills base. However, it is refreshing
to hear someone just play the heck out of a guitar in a "LOOK MA, NO HANDS!" sort of way. Despite the
fact that several of the "songs" are basically intros and outros to guitar solos, ONE
still shows enough potential in terms of technique, that it isn't difficult imagining Snyder growing into the type of
player like a Ronnie Montrose, Jeff Beck, or Allan Holdsworth. The type of player that can continue
to learn and implement new styles, release albums on their own artistic terms, and find and maintain a steady audience to
purchase the albums and see the shows.
MVP Windows (Z) 1999
MVP is the "band name" given to solo records made by Mike Vescera
(Loudness, Yngwie, Safe Haven, Dr. Sin, Obsession) as the Mike Vescera Project. MVP borrows slightly from Mike's
time in Yngwie, as guitar players seem to line up to play with him. WINDOWS even has an appearance
by Yngwie himself though the recording band is in good form.
Mike Vescera's voice is a little like a cross between Jeff Scott Soto with a definite David Wayne (Metal
Church) edge to it. Wrap it up with a touch of Mark Slaughter's power in the higher registers, and you have a very good
idea of Vescera's voice.
The album overall is a very consistent hard rock effort fitting very comfortably in the vein of his
work with Yngwie (MAGNUM OPUS & SEVENTH SIGN) and Loudness (SOLDIERS
OF FORTUNE & ON THE PROWL). Even a rendition of the Beatles' "Strawberry
Fields Forever" doesn't really change the mood or direction of WINDOWS. For most hard rock
fans, this is a good thing.
DEATH The Sound of Perseverance (Nuclear Blast) 2001
This was a pleasant surprise sent to me from a fellow trader
and friend. I had Death's SCREAM BLOODY GORE on LP, and never really got into it, like I did
the other extreme metal bands of the mid-80's. Despite their longevity, as I got older I found myself liking more melodic
vocals and more intricate playing. Seeing as the band I remembered were extremely Venom-ish in their time, I guess that
the more 'scientific' theme material was a little more accessible than out-and-out Satanism. I
had been reading about Chuck Schuldiner's increasing playing ability during the late 90's, but never came across the music
at a price that I thought was worth the risk of knowing whether it would find time in my cd player or have
a second career as a drink coaster. There are plenty of musical "legends" that I simply can't or don't understand,
and until I heard this, Schuldiner's "Death Metal Originator and Metal Legend" claim really didn't hold up for me.
The first thing about this is that it is a much tighter recording than the 80's recordings I've heard
from Death. This is kind of a cross between Testament, Exodus, Dark Angel, and Annihilator in terms of sonics and tempos.
As an album, it shares a little with Metallica's AND JUSTICE FOR ALL in that each song is packed to the gills with differing
riffs. This is a record that requires attention, and rewards with multiple listens. The playing is very strong,
and the nuances aren't revealed until you've spun the disc more than a few times.
THE SOUND OF PERSERVERANCE makes a strong artistic statement, and qualifies Death as
being a top-line metal band, but there is definitely a greater potential inherent in the sound. Unfortunately, Schuldiner
passed away in 2001 and barring any additional discoveries (aside from the ZERO TOLERANCE demos)
this is likely how he will be best remembered musically. Fortunately for Chuck, this is a strong and durable document
of his talents.
BRAZEN ABBOT A Decade of Brazen Abbot (Frontiers) 2004
Looking through my collection, one can recognize that certain
bands and artists have unquestioned loyalty. Once I really like a band, any of its alumnus projects have an interest.
For instance, Deep Purple, Loudness, and R.E.M. are almost 15% of my collection if you include the secondary bands and side
projects.
I really think you could play a 6 Degrees of Separation game with the members of Deep Purple and their
side projects. (Everything from Whitesnake to Black Sabbath to Paul McCartney has at least one direct connection on
album to Deep Purple)
Brazen Abbot is a one man project started by Bulgarian guitarist/violinist Nikolo Kotsev.
The gentleman hired singers such as Jorn Lande, Glenn Hughes, Goran Edman, and the one who appears for this documented
performance...Joe Lynn Turner. This performance is the end of a full-band minitour recorded near Kotsev's hometown in
Sofia, Bulgaria. There is an additional energy in the audience for this homecoming, as even the stage patter gets great
response.
This is my first exposure to Brazen Abbot, as I've yet to find their/his albums at a non-import price,
so I didn't know what to expect, entirely. What I have to say is to imagine that Rainbow kept going after BENT OUT OF
SHAPE. However you imagine that sounding will give you a good idea of what the Brazen Abbot tunes on this live performance.
Overall, it is very enjoyable, though aside from the keyboard solo (which would have gone into a great
version of Rainbow's "Tarot Woman", I might add) the solos could've easily been cut. Turner is in pretty strong voice
here, and shows why he is one of the most respected hard rock singers in the business. (Hey the guy counts both
Ritchie Blackmore and Yngwie Malmsteen as friends, and still maintains a full recording and performance schedule.) Aside
from a speedy rendition of Russ Ballard's "I Surrender" (which was previously recorded with Blackmore for Rainbow's DIFFICULT
TO CURE allbum), the whole performance unfolds nicely featuring a nice selection of upbeat and melodic songs, good presentation,
and strong vocal harmonies.
It looks like I'll be seeking out the remaining Brazen Abbot cds, next. If the studio albums are
as solid as this performance, I can't imagine being disappointed.
METAL VARIATIONS (Enigma) 1990
Enigma Records (aptly named as the only "literal" mentions of
Enigma revolve around shady figures mentioned in the book OUR BAND COULD BE YOUR LIFE's entry on Sonic Youth) would likely
make for an interesting book, magazine story, or at least fodder for a decent dinner or drinking conversation. The label
(run as an independent in the shadow of Capitol records) carried a wide roster of artists and genres, and even had a hand
in breaking some of their roster to household status (hello Poison, Smithereens, Dead Milkmen). By the time
the label collapsed in the early '90's (when most indies were being snapped up by majors for one or two artists) they
had established Enigma, Restless, and Intima (for rock, indie music, and jazz respectfully) and had distributed
Metal Blade (still the gold standard for the direction of heavy metal), and Death Records (which featured hardcore,
and noise rock). Despite the diversity of genres and the quantity of product, Enigma's crash came quickly
and wiped out a handful of its artists' careers. Restless Records seemingly sidestepped this collapse despite sharing
a product style and address with the former Enigma records; and survives today as a top-tier indie label with a roster featuring
They Might Be Giants, Joe Jackson, as well as much of the back catalog for Enigma and TwinTone records.
Anyway, I have a desire to collect both Enigma and GRP
product. One of my most prized cassettes (which I was finally able to replace with a well-cared for cd only
recently) was a label compilation called the ENIGMA VARIATIONS VOL. 2. It featured mostly
college rock (pre-alternative... the 'a' word wouldn't really become the label until Mtv's 120 Minutes program
became "Must See TV" for those of college age in the early '90's) fare like Wednesday Week, Don Dixon, Mojo Nixon w/Skid
Roper, Dead Milkmen, Plan 9, Wire, and other lesser known (?) artists from the roster circa 1986. I really
took to three artists from this comp (HINT-All 3 are mentioned in the above list) in addition to my burgeoning Dead Milkmen
fandom.
Imagine my surprise when I stumble across its metal
equivalent while looking through eBay. Although this was released in 1990, the spirit of the original VARIATIONS
series continues through with a quick descriptor of band and song. Aside from Motorhead, Death Angel, and
Stryper, it may take a little recollecting session to remember some of the other acts here like XYZ and Laaz Rockit.
Others never really found their way out of this compilation like Aversion, Jailhouse, and Acidhead. But it is a neat
tidy summation of what metal was sounding like that year and why it would need to be sent back underground to retool and regain
the elements that made it dangerous and exciting to listen to. Unlike the ENIGMA VARIATIONS VOL. 2.,
this contains only an exclusive live version of "3rd Floor" from Death Angel, whereas everything else can be found on existing
albums. On first listen, I'd say the real highlights here include the tunes I didn't have elsewhere like the powerful
contribution by Wrath, and the rockin' but accessible number by Julliet, as well as the inclusion of Motorhead's "Iron Fist
(Live)" from a vanished album, THE BIRTHDAY PARTY.
I know it is next to impossible, but somehow I'd like to have seen (and preferably own) all of the listed
catalog titles from Enigma proper. It will take a while as I only have so much time and money to throw at a nostalgic
goal that serves no other purpose. If anyone has an Enigma story, please send it to me in email form.
NARNIA Awakening (Nuclear Blast) 1998
Narnia was a bit of a strange bird for me. I feel that
both "divinely inspired" and secular artists should occupy the same shelf space and compete on a level field. Music as with all art, has a variety of inspirations. You don't see
Michelangelo's art in the "Christian" section of the museum, rather you see the art by its movement or time-period.
Thus when bands like Vengeance Rising, Barren Cross, Rez, and Petra can only be found in the "religious" section of mall stores
(good luck!) or exclusively at Christian book stores, they can never hope to compete with the Iron Maidens, Journeys, or Scorpions
of the secular music world or get their preaching past the choir.
Unfortunately, some feel that all the Christian music scene is, are a bunch of opportunists looking
to make a Christian "replacement" for a popular secular band or sound. Almost as if Christians needed a "diet" version
of a rock band. "All the taste, with none of the guilt or danger of real rock'n'roll." I, myself, find this copycat
game extremely offensive. Realistically, I can count no more than 7 Christian acts that I feel can or were able
to keep with the big boys (Not counting U2, King's X, or Creed).
This record by Narnia almost sounds like someone took Yngwie's FIRE & ICE
album and decided to make one "just like it" for Christians on first listen. But, this wasn't a particularly
popular style or method, especially in the mid-90's. I threw it on for another listen to realize, that there
is a strong motivation on the part of the players and the music to show that you can get the help you need to go beyond your
human limits. The playing is masterful, the vocals are solid, and the lyrics discuss a variety of issues for believers
and non-believers as well.
It doesn't hurt that the band walks it like they talk it, too. In thinking about the recent controversy
involving Stryper and the Christian Music Festival in Mexico, it was really refreshing to read the comments of Narnia's band
members and their hopes of connecting with the audience, and hoping to do some good by their appearance there.
I don't want hate mail from athiests or fundamentalists, but a Christian message is every bit as valid
in my world as a message song from R.E.M. against American aggression and imperialism, or as valid as Peter Gabriel singing
about an apartheid martyr. I have this thing between my ears (well at least some of it at this age) that allows me to
accept, ignore, or decline a message. I'm not going to trash someone in a moshpit because Kid Rock tells me to, or stalk
people because I heard it in a Queensryche song. Every artist and song has a "message" its selling. In some cases
an artist's conviction is that in accepting this message (whether it is to recycle, vote, donate money to the poor, or slow
down to enjoy life) the individuals in that audience will find an improvement in their quality of life. I don't begrudge
Narnia their desire to evangelize, but I prefer to listen to them because they make interesting power metal and feature some
incredibly strong guitar passages.
WEEK OF JUNE 13 - JUNE 19
COLDPLAY X&Y (Capitol) 2005
Let me be the first to say that I don't quite get why this band
has become the unofficial (but overwhelmingly favorite) IT band of the 2000's thus far. For each
successful album, critics have been lining up (and straining themselves) to try and be novel in their rave reviews of the
bands albums and performances.
For me, Coldplay just took over the most popular sound of Radiohead, as both PARACHUTES
and COLD RUSH OF BLOOD TO THE HEAD featured nicely textured songs with a similar influence.
(Radiohead hasn't made music like THE BENDS in almost 10 years, and it isn't likely they're going
back to do so). Before cursing their mimicking abilities, let's just say that this happens to be decently written, performed,
and recorded music.
This album is advertised as Coldplay's big artistic jump, and a new sound. Is Coldplay the next
"NEW" thing? I don't know, the keyboards and outside touches totally seem more like 20 year old recordings (like Roxy
Music, David Bowie, with a small amount of Asia and 90125-era Yes to fill in the margins).
Though new to the band, both this backdrop and the overall sonics sound a bit dated. Whether this was to try to and
make it fit in with the current "new wave" sound that's generating a little steam, or trying to take away the date stamp from
this particular record, how you feel about this will likely shape your opinion of the record. Lyrically, this record
is much improved, with songs like "Fix You" and "Swallowed in the Sea" approaching older ideas with a new voice.
Regardless of what the scribes have said, the band still has room to grow and fill in before becoming
an oldies act. Like Radiohead and U2, the vocals are capable of unifying fairly disparate ideas so a deeper creative
well exists here. I do think we should hold off on saying X&Y is their immortal work,
because the band still hasn't really stepped out of the shadow of its potential yet. Where they have yet to go is far
more interesting and diverse than where 3 strong albums have been.
FOO FIGHTERS In Your Honor (RCA) 2005
COMMENTARY PENDING
BLUE OYSTER CULT Some Enchanted Evening (Columbia) 1986/1978
This was the second of three notable live releases
from Blue Oyster Cult released during their heyday (1974-1983). This is the shortest (and most widely panned of
the three). Admittedly, this is not a world class recording, but since I found the vinyl LP of this as
a geeky 7th grader, I (still) really appreciate the immediacy and rawness of this recording...especially since I found
the then-current live release, E.T.L. EXTRA TERRESTRIAL LIVE to be a bit TOO polished at the
time. This was also a great value, because you got 4 of their best known songs ("Godzilla", "(Don't Fear) the Reaper",
"E.T.I.", and "Astronomy") and two decent cover songs to make things interesting (The MC5's "Kick Out the Jams"
with a self-edit, and the Animals' "We Gotta Get Outta This Place"). Although with the vault cleaning of the last decade
or so, I'm surprised that an expanded version of this hasn't been released, as more of the shows in Atlanta, Little Rock,
and Columbus, GA were likely recorded.
Really the only knock I can make on this cd is that in the opening track, the song is set and primed
and the audience is clearly ready to rock (and being told to be ready to) when the band launches into a ... KEYBOARD
SOLO?!!! How UNROCK can you get? That said, I still like both the song and the album.
The absence of a complete synopsis of the band's highlights (four compilations, and not one has
hit the target yet) makes it almost obligatory for those who want a good sample to have a few different B.O.C.
albums. Especially since the band has some strong material early on in the studio catalog, and with strong singles on
AGENTS OF FORTUNE and FIRE OF UNKNOWN ORIGIN as well as a very strong late-career effort
in THE CURSE OF THE UNKNOWN MIRROR. Few bands have achieved a multi-act career with less
notice or acclaim.
On a closing note (and slightly eerie at the same time, I paid $5.99 for my LP in the early '80's, and
paid $5.99 for the original cd press this week. I guess you have to love technology.
BEN FOLDS Live at Tower Records (Epic) EP 2005
This is a nice 3-song cd single being sold at all TOWER locations
to increase awareness for Folds's latest cd, SONGS FOR SILVERMAN. This particular disc set me back $2.99, though
I imagine after the initial pressing runs through, (and that "having" the actual cd means something) this'll be showing up
on eBay for 3-4x that amount. Still, Folds is in his element here as these three songs featuring his new trio meet and
even exceed the depth of their studio versions.
That being said, I was most taken with "Jesusland" which is also one of my favorites from the recent
album. The other two songs included, "Bastard" and "Trusted" follow a pretty well-developed formula dating back
to Folds's tenure with Ben Folds Five. "Bastard" features a couple of well-placed curse words to surprise the listener
into accepting them as a hook, and "Trusted" discusses the breach of trust in a relationship over similar sonics to "Zak &
Sara" from the previous studio album, ROCKIN' THE SUBURBS. They are performed well, but do
little to showcase Ben Folds's developing talents. He still has a great deal of potential, with his strong playing ability and
a really sharp wit for lyric writing (as songs like "Philosophy", "Battle of Who Could Care Less","Rockin' the Suburbs",
and "The Secret Life of Morgan Davis" have proven).
Even Folds seems to know that his greatest strength is his sense of humor as evidenced on a mic check
here, and in his stage patter. Unfortunately, this strength gets in the way of his more personal and emotional songs.
When he goes into this terrain, the listener half expects it to be a "set up" of someone about to get skewered by sharp words
and inside jokes. Folds often dangerously treads close to Billy Joel territory (and considering they share labels, this
may be an executive's decision and not his), and really may want to take a closer look at the career stories of artists
like Warren Zevon and Tom Waits to see how to keep a sense of humor in their music while maintaining the image of
an artist.
ALPHAVILLE Forever Young (Atlantic) 1984
It is amazing how music can be used in movies, commercials,
and television shows that result not only in making a visual scene "complete" but of also adding to the interest of the music.
Alphaville must have had quite a surprise when the title track from this album of 20 years back found its way onto the concluding
scene of Napoleon Dynamite. I had seen this album countless times in budget bins and cutout displays over the last 10
years, so I have to say I never expected it to be a part of my collection or that I'd have to say a few words about the album.
Though it is better than making vague references to the movie.
To my ears, Alphaville is a blandly produced link between Kraftwerk and the Pet Shop Boys, complete
with synthesizer mayhem. They had a minor hit with the song "Big in Japan" which despite appearances on several different
"BEST OF THE 80's" style compilations registered with a "huh?!" reaction from me. The overall record has all of
the hallmarks of recordings from the '80's. Heavily processed and synthesized, FOREVER YOUNG sounds like it was put
together brick by brick. The songs aren't too special, and despite the "constructed" feel to the music, it still sounds
underdeveloped. It is solid and competent, but there is a reason why this album got a one way ticket to the budget-bins.
JIMMY PAGE Wearing & Tearing (Hideaway) 199?
This was a very strange compilation that I picked up at an area
store. I originally thought it was a bad cd-r bootleg, but when opened, discovered that it was a legitimately pressed
bad bootleg.
The main problem with a recording like this is the fact that Jimmy Page is a guitarist and not a vocalist. Because
of this, his contributions aren't always so obvious as I spent some time headscratching over inclusions of guest stints
with the Beach Boys and Santana. As an album, it is a difficult listen not only because of the artist variety (Robert
Plant, Les Paul, Beach Boys, Jaco Pastorius) but also because the quality of the recordings are not very consistent.
The reason I bought it was for his appearances with Robert Plant's NOW & ZEN touring band.
I had some of this on the KNEBWORTH compilation, but a second sliver includes the "Gambler's Blues" medley taken from a separate
performance in London.
No release date was given, though the most recent of these recordings was 1988, so I'm guessing that
this was released in the early to mid-90's. If anyone has additional info regarding this album, please feel free to
e-mail me.
MOTORHEAD On Parole (EMI Argentina) 1997/1976
As a young 'un (and even as an old 'un) I love Motorhead.
There is something that cannot be replicated about who they are and what they've done in a 30+ year career. Lemmy
is the ultimate outlaw, who has enough stories and debauchery for multiple lifetimes. This is yet another
re-release of the band's original recording sessions for UA in 1976 without guitarist "Fast" Eddie Clarke from the
band's "best-known" (though guitarist Phil Campbell has been with the band for more than 20 years, almost 3x as
long as "Fast" Eddie's stay with the band) lineup.
Only the record FROM GENESIS TO REVELATION from
Genesis has seen more re-releases on more labels than the material found on ON PAROLE.
I had most of this material on an LP called BEER DRINKERS & HELL RAISERS which also
included their recording of the title track, originally written and recorded by ZZ Top. (That album looked like
a Heineken ad, except for the studded leather wristband on the arm of the hand grabbing the beer mug,
and for a small color photo of the Motorhead trio circa OVERKILL in the center of the mug where the writing from
a sponsor would normally appear.) Come to think about it, I guess you could add the first 3 Deep Purple records to this
list of records that have been re-released multiple times because "no one knows who owns the rights to these recordings."
The album itself is really for completists only, as this was a first attempt, and Lemmy had not
yet developed his raspy growl that would become his trademark. Most of these songs would reappear in superior form on
live and studio recordings. Still, such an album gives a look not only to the origins of the band, but also their creative
process. Even so, this will likely only appeal to those who have followed Motorhead's career for a number of years.
If you are looking for a starting point, you may want to look at ACE OF SPADES, NO
SLEEP TILL HAMMERSMITH, (my personal favorite) ANOTHER PERFECT DAY, or BASTARDS.
This was purely an impulse buy, found sealed in the new racks for a whopping $5.99. The album
features alternate versions of 4 songs, and includes a nice booklet featuring a historical essay about the sessions
and several photos.
SHAMAN Reason (Scarecrow) 2005
Shaman (spelled as Shaaman in the production credits) is a band
fronted by former Angra vocalist, Andre Matos and Angra guitarist Rafael Bittencourt. This is supposedly a return to
the more progressive power metal sound of Angra.
Overall it is a rather moody affair with the keyboards just as prominent in the mix with the guitars.
The keyboards frame a nice vocal melody in "Innocence" which isn't quite as sweeping or dynamic as Angra's "Wishing Well",
though seemingly aiming for the same mood or emotion. "Innocence" is one of the mellower tunes here, but also best shows
the abilities of the band. The final 3 songs really made the strongest impression from this record. Particularly
album closer "Born to Be" is also exploring more moods than mere darkness or aggression.
Most of the tracks were solid, but not particularly spectacular. Whereas Angra really made an
effort not only to have different feels and rhythms, but also to utilize guest artists and to make an original statement.
TEMPLE OF SHADOWS plays like an artist(s) who have gained immeasurably in confidence and craft.
In comparison, REASON is a solid record, but lacks the diversity or the clearness of the their former
mates.
WEEK OF JUNE 6 - JUNE 12
TALISMAN Cats & Dogs (Frontiers) 2003
Since hearing both his solo record and the Soul SirkUS album,
I've been on an absolute Jeff Scott Soto tear. This is the latest studio recording of his project with former Yngwie
bassist Marcel Jacob, Talisman. Unlike some of the other Soto-related recordings I've received recently (Humanimal &
Skrapp Mettle), this album really delivers.
The first sign of positivity is the return of Fredrik Akkesson on guitars. There is a return to
accessible aggression that Pontus Norgren just doesn't have. (It is like comparing Adrian Smith to Janick Gers in Iron
Maiden, both are talented and capable, but one made the classics, the other toured them.) The songwriting is very good,
and somewhat comparable to TNT.
The songs have a snap to them, the vocals are strong, the choruses are memorable, and the playing is
watertight. So far, this has been my favorite Talisman release (partially because I've had to digest so much with
each of the 2 disc reissues... partially because the album has such a fighting spirit to be heard.) If you haven't
heard Talisman, you might want to start here and work backwards.
BRUCE DICKINSON Tyranny Of Souls (Sanctuary/BMG) 2005
After rejoining Iron Maiden for 1999's BRAVE NEW
WORLD, it seemed that the solo career of Dickinson would be halted for a great while...especially given the work
ethic of the band, and Dickinson's other interests (including piloting aircraft and fencing). The solo chapter appeared
closed on the special 2 disc retrospective that Bruce released in 2001.
Four years later, Bruce comes roaring back with TYRANNY
OF SOULS, a welcome cross between his ACCIDENT OF BIRTH recording and some of the more melodic
stuff from BRAVE NEW WORLD. With producer/guru, Roy Z., Dickinson hits the target that
Maiden missed entirely on their last studio album, DANCE OF DEATH. This one is dark and
aggressive, featuring grinding and speeding guitar work that complements and counters Bruce's powerful range. Whereas
DANCE OF DEATH promised and delivered dark, but lacked the menace that dark is normally associated
with.
Dickinson still does his best work when he is asked to hold
higher notes over galloping rhythms. The soaring sound is majestic and moving, and now that he has brought this quality
into his own work, I wonder if Harris & Co. may be in trouble. Despite the strong efforts of earlier Dickinson
albums like ACCIDENT OF BIRTH and THE CHEMICAL WEDDING there was nothing
as exciting as hearing a Maiden track like "The Nomad" or "Out of the Silent Planet" that gave Bruce the backing that
played to his strengths.
Not this time, lead single "Abduction" features a slight Megadeth
quality on the verses before opening to a very solid, Maideneque chorus. It is followed by a thrashy segment before
returning on course. It is definitely closer to 1987 than 2005 in terms of sonics, though the track would not sound
out of place on current power metal efforts from Edguy, Angra, or Helloween. Even on a more accessible song like "Navigate the
Seas of the Sun", Dickinson delivers a vocal that fits the majesty of the melody but provides an ominous quality that
keeps the lyrics honest.
This isn't going to make Maiden fans forget past glories, but it does give 'em (and me) hope
that there are still more than a few brilliant moments yet to come from the band and its members. Ultimately, TYRANNY
OF SOULS shows that there are still fresh areas for Dickinson and Maiden to mine, and the band shouldn't need
to retread its classics or become a parody of itself.
THE OUTFIELD Any Time Now (Raintree) 2004
I can't remember the comedian off hand who said that they ought
to make Beauty Pageant winners return until they win or die. (This is Miss Alaska's 23rd pageant in a row...)
I want to say it was George Carlin, but knowing my memory, it as easily been any number of comedians.
The Outfield makes me think of that joke, because of the fact that they're still out there, making records,
touring nightclubs, and haven't really changed their formula since their first hit, "Your Love" made it to radio in the early
'80's. This album (along with 1999's EXTRA INNINGS [UNRELEASED]) continues in their sunny
pop/rock vein and production style. (To get an idea, imagine that 90125-era Yes were
magically turned into teenagers again [regaining their innocence and sense of anything/one's possible], and had traded their
keyboardist for a Roland chorus amp and 2 digital delay pedals. In fact, if I hadn't seen the videos, I really would
think this was a Trevor Rabin and Jon Anderson side project. No, I kid... Tony Lewis may have a high voice, but has
a very unique timbre to it...a fingerprint that can't be exactly replicated)
Despite the fact that their music hasn't been "hip" since 1987, it has been very good. With a
slight exception made for ROCKEYE, I find their albums very listenable. The only missteps
on ANY TIME NOW are in the altered mixes of 3 songs. These missteps only happen because I
have the original versions of these songs on the EXTRA INNINGS cd from 1999.
Despite the length of time that they've been together, the principle voices and sounds haven't
changed, and the songwriting has remained consistent. The fact that they've held on this long suggests that maybe the
band may be resurrected as the music scene continues to devour '80's style pop and new wave acts (like Franz Ferdinand, Killers,
and Elkland). Here's hoping for another successful 20 years, may they continue to sound this good.
KYLE VINCENT Don't You Know (Songtree) 2005
It is never a good story when I'm introduced to an artist's
music via the MUZAK* in a restaurant. The song "Arianne" was playing in a fast food restaurant, and the song was
bright, sunny, and interesting in a 'Raspberries meet XTC at a Material Issue concert' sort of way. Fortunately, the
song title was unique enough that searches via MUZE and ALL MUSIC.com led to a short list. (A big hint
to you young music makers is to avoid a song title like "Loving You" because there is no way to discern accurately among 500
song titles that have those two words.) Sure enough, it is the opening track from his self-titled, debut cd for
Hollywood Records.
I was unable to find new copies of that record, so as I stumbled across used copies, I started
picking them up. I put it in my mp3 player and is usually in a "travel stack" that I bring for incidental music
to gigs. While not particularly groundbreaking or earthshattering, the songs are well-written, smartly arranged,
and strongly performed. I always seem to get somebody asking about it. (I always let 'em know
who, and what they can do to acquire the music legally.) Personally, I've bought at least 11 used copies in various stores,
conditions, and prices (ranging from $.25 to $8) and have gave away most of them to friends and acquaintances who
hear and like it. Since his debut, Vincent has released 2 other albums.
(WOW & FLUTTER and SOLITARY ROAD respectively). These records
are also well-crafted, but seem a little more artistic than accessible.
That is until I stumbled across this on CDBABY.com. The music still resides closer to 70's
AM pop (with slight nods to past songs and sounds made by artitsts like Todd Rundgren, Eric Carmen, Lindsey Buckingham, and
Paul McCartney) than the "Pop Punk" sound prevalent in modern music. A big strength here is his singing voice
which (when employed effectively) would find itself comfortably between Buckingham and Carmen with maybe a small dash
of Harry Nilsson thrown in for good measure, while maintaining a sensitivity and vulnerability all his own. The other
is in his songwriting, that honors both arrangment as well as orchestration. There are still some personal moments here,
but nothing as harsh or inaccessible as some of the "father vs. son" themes that hit across SOLITARY ROAD.
Unfortunately, because of the "sensitive" nature of his singing voice, it adds a lot of melodrama (or worse, whiney-ness)
to certain songs or ideas that lack the accessibility or directness of his best material. One example here is the track
"Red Soul" where he exhausts a very silly stream-of-consciousness going from his girlfriend's revealing "red baby-t" to the
"red leather pants and white headband the guy from Loverboy wears" (Mike Reno for those of you scoring at home). As
you might guess, this type of "wordplay" is a little too delicate for my sensibilities. Bad enough as this is, imagine
that this is being sung in a "desperately lost" voice, and you can sense why I didn't quite get this one.
What I've liked about this album is that it appeals to many groups or people without "pandering".
My mom and sister can listen to this without difficulty as with much "female-oriented" music [Goo Goo Dolls, Matchbox Twenty,
et al]. My friends like the songwriting choices he makes or the hooks in the songs, as Vincent doesn't just try to do
it with vocals or image alone. I found this one at CDBaby.com, and would recommend it for those of you who like that
'70's pop sound.
KAKI KING Legs to Make Us Longer (Red Ink/Epic) 2004
Kudos to Epic for releasing something that is very challenging,
impressive, and uncommercial as this recording.
Produced by David Torn, masterclass weird guitarist, whose album TRIPPING:OVER:GOD
was equal parts unnerving and glorious in much the same way.
The highlight here is "Playing with Pink Noise" which comes across with giddy abandon. King clearly
has a good sense of timing, as well as a great touch on the instrument. I also think that getting this album to a major
label is like running the high school quarterback's underwear up the flagpole at school. A once-in-a- lifetime event
that is forever remembered fondly for its rarity alone.
J.R. MONTEROSE & TOMMY FLANAGAN A Little Pleasure (Reservoir) 1988/1981
This is a nice jazz duo recording of saxophone and piano made
after an impromptu jam at one of Flanagan's solo gigs. The set features 2 of Monterose's original
songs (including the title track) as well as renditions of songs from the books of John Coltrane, Dizzy Gillespie, and Bill
Evans. Despite the duo context, pianist Flanagan really does a great job of giving Monterose a deep and expansive support
for his riffing and soloing, taking on the role of the entire rhythm section for much of this, it is impressive to hear
Flanagan add a few melodic flourishes on top of it all.
The liner notes discuss the "cabaret laws" of New York
City that until the late '80's limited the use of drums and the amount of musicians onstage at smaller clubs. As
a good chunk of my live work involves being part of a guitar/bass duo, this really has some personal interest for me.
Now we 'cheat' by playing rock music and singing, but here the attempts to build convincing jazz out of two instruments are
fairly remarkable.
This cd was transferred in the late '80's by Rudy Van Gelder, a
name one commonly sees on many of the classic Blue Note recordings as well as around some of the largest names in jazz
history. His recording stamp is so large that an RVG edition of some of his better known recordings has become the stamp
of the highest quality sound transfer.
MASTERPLAN Enlighten Me EP (Painful Lust/AFM) 2002
This cd-single from Masterplan's first album features
generous bonus tracks and mixes and sets a similar listing pattern that would be found on the BACK
FOR MY LIFE single from AERONAUTICS. That is, a single edit/remix of the lead
track, an album cut, a couple of bonus tracks, and the album version of the lead track.
There are fewer enticements more effective for me than exclusive
materials. Whether it is new essays for the liner notes, or bonus tracks, I'm usually a (greedy) sucker for extras.
This cd-single provides two exclusive tracks, "Through Thick and Thin" and a cover of Led Zeppelin's "Black
Dog". "Through Thick and Thin" is a solid
track, that would likely be a strong track for other artists in the genre. The cover of "Black Dog" is a little
better than the Loudness tribute but not quite as solid as one would expect from a band like Masterplan. The downtuned
guitars and a few missed lyrics add to the "impromptu" nature but remove any hope for polish. Still, when
I gather up with my Zeppelin-loving friends, it's always fun to whip a few covers like this one, at 'em.
THE MUSIC FROM JIM BABJAK'S BUZZED MEG Part 1 (Tex/Rem) 2001
Many of you would know Jim Babjak from his role as lead guitarist
in the Smithereens. I have had varying degrees of success in getting people to accept them as more than
just an "average" band. There is something remarkable about their consistency. Every band tends to uncork at least
one studio "stinker" before calling it a career, but even at their lowest commercial point (A DATE WITH THE SMITHEREENS or
GOD BLESS THE SMITHEREENS) what they've released is just as concised, polished, and put-together
as their most successful moments.
This "solo" album was originally formulated as a birthday present for Jim Babjak. An assistant
to the band was handed a bunch of cassettes featuring song demos, and she turned the stack of tapes into very concise compilations.
Despite the cassette sources, the recording sounds fairly decent.
Surprisingly, it is a welcome step into Babjak's creative process. The only song that made it
onto a Smithereens record was "Love Is Gone" written for the riots following the Rodney King verdict in L.A. Aside from
the vocals, many wouldn't sound out of place on Smithereens album. (I guess I get the DUH! award for that statement...)
But, I honestly thought Pat DiNizio was the main reason why the band had the throwback sound to 60's pop, as his vocal stylings
are somewhat close to those found on early rock recordings. The rest of the band struck me as being more into blues,
surf instrumentals, and contemporary rock music, especially given their proficiency on earlier albums.
I found this one on CDBaby.com, and would highly recommend this one to anyone who finds themselves spending
an inordinate amount of time viewing new titles on the NOTLAME.com site or seeking the next "living room concert" performer.
JOE PERRY Joe Perry (Roman/Columbia) 2005
Albums like these always are a bit of a challenge. How
do you compare a sideman's solo album to those made by a group greater than the sum of its parts? Aerosmith has worked
very hard to regain ground and maintain popularity, but has been blessed with some great albums in this run (PUMP,
NINE LIVES). Even the worst of this run (DONE WITH MIRRORS, ARMAGEDDON STK) are career albums for most bands.
This is a strong solid, if somewhat unremarkable, bluesy-rock album. If HONKIN' ON BOBO took
you to the bluesier side of Aerosmith, then JOE PERRY asks you to take a few more steps past that album. Vocally, Joe
is a little bland (think of an American version of Richard Butler from the Psychedelic Furs), but nothing he can't make up
with his guitar. From the sliding opener "Shakin' My Cage" (which serves as a "Let the Music Do the Talkin'" for this
set) to the Eastern-tinged "Pray for Me", guitars of all shapes and timbres really dominate the mix.
Realistically, this is "the guy from Aerosmith's solo record" and probably wouldn't get half of the
attention it has if not for that fact. Still, I think anyone with modest expectations of the record will find
much to enjoy here. This album will not make anyone forget his main band, and will likely disappear from the
radar once the next Aerosmith project is announced.
NEVERMORE Dead Heart in a Dead World (Century Media) 2000
I've been picking up Nevermore cd's gradually since hearing
their excellent recording, THE POLITICS OF ECSTASY from 1996, though they aren't particularly
easy to find. (I've found a total of 3 including ECSTASY, to give you a rough idea of the difficulty,
thus far.)
What can I say except that Warrel Dane is one of the most overlooked vocalists in the metal genre of
all time. He has the ability to get up in the higher register with anyone, but his lower end is dark, menacing, and
rates with almost any Alice-in-Chains derivative working the studios and clubs today.
The production is strong, and the performances are exciting. From the crunchy quality of a song
like "We Disintegrate" to the sinister title track that closes the album, the band is masterful at dynamics and hits all the
usual stops of a progressive (and aggressive) metal band. If I were to issue any complaint, it is that the unconventional
songwriting doesn't leave an initial impression.
Three listens in, and I have yet to be able to recall a track by its proper name (excepting the cover
of Simon & Garfunkel's "The Sound of Silence" a trick pulled by another Washington state band, Heir Apparent) without
looking at track number and the back of the jewel box. I really like the album, and imagine that this will haunt my
cd player as ECSTASY did when I got it.
DOKKEN Live from the Sun (CMC Int'l) 2000
This cd is a live recording taken from the ERASE
THE SLATE tour stop at The Sun Theatre in Anaheim, California. For some odd reason, Dokken is
seemingly obligated to release on average a live album for nearly every 2 studio releases. The main thing shown
on the BEAST IN THE EAST and ONE LIVE NIGHT recordings
(as here) is that the high point for the band (creatively) has already happened. For one reason or another, the
band cannot or will not top their Elektra output from the mid-80's, nor will fans give them that opportunity. Don Dokken often speaks about the fact that the band must keep with the times,
right or wrong. A quick cash-in like this one doesn't give his statement much credibility.
8 of 11 songs go back to that Elektra output.
Now that the context has been established, it is time to discuss the album. On a positive note,
the record itself has an honest live feel. So honest, it feels like it was recorded by someone about 8 rows back via
a tape recorder in their inside coat pocket. The whoosh of music coming out of the P.A. makes the recording
a little muddy, and the volume pegs make it seem like it was merely a diode away from digital distortion. The overall
sound is far from perfect, and would really be suited more to completists and collectors than to the new or casual fan.
The song selection here is very good. You get the hits, ("In My Dreams", "Into the Fire", "Alone
Again") the favorites ("Kiss of Death", "It's Not Love", "Tooth and Nail") and even the best of the new material ("The Maddest
Hatter"). Longtime fans suggest that without George Lynch, it isn't Dokken. While not exactly George
Lynch, former Winger guitarist Reb Beach turns in a solid effort and does a respectable job keeping up with the twists and
turns of riffs like those found in "Kiss of Death" and "Tooth and Nail". Jeff Pilson locks the bass down, and provides
the harmonies of the polished studio versions. Don Dokken is in solid voice, though his stage patter is a little
flat in spots. "Wild" Mick Brown does his thing, though he would have benefited from a clearer mix.
Overall, I feel fortunate to have gotten this at a reduced rate (less than $5), and that is part of
the reason why I was able to find good and bad in the recording. If I had paid full price for this, I'm certain I would've
been disappointed with the sonics and the lack of material from DYSFUNCTIONAL. Despite the
strong song selection overall, I have a hard time recommending this live disc to anyone who isn't a completist or
collector. For new or casual fans, I'd recommend picking up the Rhino BEST OF disc before
wading through the individual albums. First off, the creative tension between leader Don Dokken and guitarist George
Lynch really leads to some intriguing and accessible heavy music. (Don and George do NOT get along, even a little...)
Secondly, Lynch's guitar playing is like no other. He is in the team photo for best hard rock guitarists of the '80's
to present. Lastly, the band had the songs and production to stand up to any of their peers. While Dokken was
sent into exile as a result of the grunge movement, there was nothing (aside from the hair and clothing from UNDER LOCK AND
KEY) that says they couldn't have stayed reasonably successful (a la TESLA or VAN HALEN) in the alt. rock era.
TURIN BRAKES Jackinabox (Astralwerks) 2005
First it was the Charlatans UK, then it was Oasis, next it was
Supergrass, most recently it was Feeder. What is it with these British rock bands that make one incredible album
and go to mediocre so darn quickly. The hard part is that they make the brilliance seem so easy, that it is impossible
to imagine that they'd fall so far so fast.
Add Turin Brakes to this list in that their last album,
ETHER SONG, outlasted my cd player (which died with this disc in its jaws). This time out, the lilt and falsetto that
added depth to very dramatic songs in the past now are providing the hook or the novelty of the song. The
crash is closest to Supergrass in which the pieces are still present but they are put in the wrong order. It's
an audio equivalent to a sliding-tile picture puzzle as in the right order, it is a clear picture (and a great album). With
a few bad clicks, one can process the picture might look like though the tiles aren't in order.
I'm hoping that this is just a matter of not getting in enough
listens (only 2 at the time of this writing). But, my instincts tell me that the '70's style production and the
Fleetwood Mac-styled songwriting is moving this band into territory that is beyond where I'm willing to go.
WEEK OF MAY 30 - JUNE 5
MR. BIG Actual Size (EastWest Japan/Atlantic) 2001
In Japan, Mr. Big was as big a band as Def Leppard were
in the U.S. during the mid to late '80's. In the U.S., Mr. Big were about as popular as King's X or Collective
Soul (who might have been a little bigger, but lack the loyal fanbase of KX). Aside from the ballad "To Be With
You", Mr. Big was relegated to the ghetto of shred. Despite two solid hard rock albums being recorded before the
soft, soulful ballad (on the heels of Extreme's "More Than Words") Mr. Big only held the spotlight long enough
to see the grass-roots uprising of bands like Pearl Jam and the "attitude-over-technique" school of the
Seattle movement in the early '90's.
The joke on the general public was that the band COULD
play whatever they wanted, but for the Mr. Big albums they did "serve the song". People still ran screaming from
this music, despite the fact Mr. Big weren't part of the "hair metal" problem. Albums like BUMP
AHEAD and HEY MAN! were commercially stillborn on arrival, though artistically solid.
The cover songs were thoughtful and faithful choices (including Humble Pie's "30 Days in the Hole", and Cat Steven's "Wild
World").
I wasn't a huge fan of the band, but really did respect what
they were trying to do. When they went missing over a 4 year period in the 90's, and bassist Billy Sheehan started
making jazz records, I was a little doubtful that we'd see a return. The band did reform with new guitarist Richie
Kotzen in 1999 for the GET OVER IT album. I was a little underwhelmed by the effort, and lost the thread.
Last year an Italian label put together a Mr. Big tribute
cd. The disc featured vocal performances from Doug Pinnick, Joe Lynn Turner, Glenn Hughes, Nancy Wilson, and Donnie Vie.
Surprisingly, it was a consistent and enjoyable listen, and featured a few songs that I didn't recognize from their American output.
Low and behold, I stumble across ACTUAL SIZE, a studio album that was only available in Japan.
This week I found a used copy with the OBI for around $15.
ACTUAL SIZE also features Richie Kotzen on guitars and is a slight continuation (and
a major improvement on) GET OVER IT. The sound is a little more contemporary as the soulful
influence of Kotzen and the dramatic vocals of Eric Martin are brought into focus. The overall sound is snappier
and closer to artists like the Rembrandts, Goo Goo Dolls, and Train then their previous output. That said, the
album still packs a solid "rawk" punch that none of the above bands feature. The first four songs are sunny, energetic,
and hummable. The album has some dark moments as well, particularly the track "Cheap Little Thrill". I really
dug the album, and feel that this rates with their best work (IMO - LEAN INTO IT).
In fact, as I listen to the album I get the same feeling I got when I'd get new albums from King's X.
The band deserved far more than it got. There is a good connection between these bands strictly because of the
fact that they appealed to musicians more than general audience. Also Billy Sheehan spent several interviews mentioning
how badly King's X got ripped off from grunge and the waves of alternative rock afterwards. Hopefully, both
bands will someday see the credit and acclaim that has been denied them too long. This is a lost gem of an album,
that may not have been a hit, but a solid collection of well-performed, memorable songs.
TALISMAN Truth/Live at Sweden Rock Festival (Rock Treasures/GMR) 2004
A peek through my site gives a great hint to my growing fandom
of one Jeff Scott Soto, vocalist for Soul SirkUS, Yngwie, Human Clay, Humanimal, Takara, Axel Rudi Pell, Skrapp Mettle, and
Eyes. Talisman is one of his longest running ventures as a partnership with his former Yngwie bandmate,
Marcel Jacob. The two were party not only to Talisman, but also Humanimal and Human Clay. This album is closer
in nature to Humanimal because of its use of guitarist Pontus Norgren, who was the guitarist on the mildly uninteresting
HUMANIMAL debut cd.
The band finds itself in dangerous territory covering 3 songs for the album (TRUTH)
and another 3 for the live disc included here. Prince's "Darling Nikki" gets the "Crazy" treatment found on the the
LIFE album, while Madonna's "Frozen" is turned into a hard rock role-reverser, that keeps the danceability
intact but removes the original "vulnerable" vibe by adding distorted guitars and a heavier-hitting performance by Jamie Borger.
The third cover on TRUTH is a version of Queen's "Let Me Entertain You" which is an interesting choice but lacks the over-the-top
quality that only a band like Queen can pull off without sounding melodramatic or schlocky. They do a much better version
on the live version of "Tie Your Mother Down", as Soto delivers the vocal confidently.
I really like this remaster series of the Talisman albums by Rock Treasures/GMR. They are packaged
as slimline 2 disc sets. The price is between $15 & $18 per title (but with 2 full albums worth of music for each
title). The booklet also features an updated essay from Marcel Jacob who tells a little about the original sessions
and the album "impact" in terms of the artistic development of the band.
DOMAIN Last Days of Utopia [Limited Edition] (Limb/LMP/SPV) 2005
I have to admit that I don't know a lot about the band prior
to picking up this disc. I really have to say that I was fairly ignorant, and followed a bad adolescent rule of saying
that a combination of record label and the artwork on the cover suggested that this would be something I liked.
As LMP seems to steer towards power metal and progessive sounds, when I saw a used copy of this for $10, I decided to
give it a try. (Thank god for gig money...)
Let's just say that this limited edition packaging is very
impressive. It is a double digipak that when opened features two cd's and two slots for booklets. The
outside artwork "wraps around" from front to back. Inside, there is a thick booklet that explains the story of
the album, lyrics, notes on each of the tracks, and a band bio. The other "booklet" is an 8 panel poster of the
cover art, a full color sticker of the cover art and a LIMB music catalog. The second disc features an outtake
called "Head Above the Water", an update of a previous song, "Caught in the Flame", different versions of 3 songs from
the album, and some multimedia "goodies" including a video, wallpaper, and a specially made Mediaplayer Skin to
celebrate the record.
Unfortunately, the packaging really seemed to upstage the music
on the first 2 listens. The music seems a little less progressive than one would expect. Vocalist Carsten
'Lizard' Schulz has a strong Sammy Hagar quality to his voice. This isn't bad, but it is suited for more straightforward,
anthemic fare, not progressive music. To my ears, the album doesn't really pick up until "The Great Rebellion" which
is the seventh track on the album. I do hope (and will make note) that the album just requires multiple
listens before "getting" it.
MASTERPLAN Back for My Life (AFM) 2005 EP
Masterplan are a power metal supergroup consisting of widely
known players like Jorn Lande (vocals), Roland Grapow (guitars), and Uli Kursch (drums). This is a cd single
that came with later editions of their AERONAUTICS cd from earlier this year. Unfortunately,
I thought I was being clever by buying the ECOBOOK edition, and missed out on this 'bonus disc' entirely, paying a good $8
to "complete" the record.
The disc features 2 album tracks, exclusive versions (remixes/outtakes/instrumental
takes) of 3 other songs (some repeats), and a computerized media section. The single (and title cut) is a fairly dramatic
power ballad featuring a vocal melody slightly similar to something Tea Party might have released a few
years ago. Still with talent like Jorn's and Grapow's in tow, the song retains its own quality and stands
out among the included songs. For sake of comparison, the album version is included at the end of the disc.
(Which is nice if you have a car player and need to hear the song again, as it goes from end to restart).
AERONAUTICS' opening track "Crimson Rider"
also makes an appearance here, and surprisingly is upstaged by the title cut. (Who says album order doesn't make a difference?)
The exclusive tracks ("Love Is a Rock" and "Killing in Time") didn't register strongly on first listen, and I was a little
put off by the inclusion of an Instrumental version of "Killing in Time".
SHEILA DIVINE Sheila Divine (self-release) 1998 EP
I first heard Sheila Divine via a 2 song promo cassette
that was given to me in a 'gift bag' of other RED (former independent distribution company ran by SONY) titles on
cd and cassette, for a party thrown for area record sellers in 1999. I was lucky enough to be part of
a back-up band for a female vocalist who performed at this private party, and unofficially opened for former (and
current) Urge Overkill vocalist Nash Kato who was brought in to perform songs from the DEBUTANTE
cd. A good memory, overall. The gift bag was a bit of a disappointment for me as
I was really locked in on alternative rock and heavy metal, and the majority of the stuff in my bag was hip-hop related.
(Sadly enough I couldn't even give this stuff away. When I moved, I threw all of these cds out as I couldn't trade
or sell 'em, and even my students wouldn't take 'em.) When said and done, there were
only 3 things I kept: the Glenn Hughes (THE WAY IT IS) cd, an Armored Saint cassette, and the
Sheila Divine promo.
That promo featured the songs "I'm a Believer" (not the Neil Diamond song made famous by the Monkees
and later, Smashmouth) and "Like a Criminal". They were for an "upcoming" release on Roadrunner records called NEW PARADE.
The songs instantly hooked me because of the vocalist's ability to go from a nervous mousy voice to a very powerful voice.
[It was like a doped up David Byrne for the former, and a lot like Dan of Love on Ice for the latter.] The music was
like a buzzsaw version of U2, with a slight nod to the Pixies and Eve's Plum. Though the entire album would go through
many moods (as would the band in its various stages), this is a greatly simplified description of a very complex sound.
This self-titled, self-released EP features the original recordings of 5 songs that would anchor the
NEW PARADE album. Of these, I really liked the re-recorded versions better, but "Like a Criminal"
is the only track that really changed from here to its appearance on the next record. Here the vocals are less hurried
and less manic, and the song comes across a little lighter than the pressurized Roadrunner version.
This type of cd is fairly obscure and generally for completists only. As a fan of the band's other
3 releases, it was pretty cool to stumble across a used copy of this EP. The selling price of $2.98 didn't hurt in my
decision to pick it up either. I might have passed on this at a higher price point, thinking these versions were identical
to those appearing on NEW PARADE.
NITRO O.F.R. (Rampage/Rhino) 1989
As a completist collector, sometimes I personally have to ask
myself why? In this instance, it completes the known-Nitro collection of two cds, and I paid $1.98 for it.
There is a great big sawcut on the spine of the cd, but it plays relatively well, and aside from the sawcut,
the artwork was in reasonable good shape for 16 years.
For those of you who don't know, NITRO was possibly the most extreme of hard rock bands (unless you
want to count GWAR or THE GREAT KAT) in the last hurrah of "hair metal". They were formed by vocalist Jim Gillette and
guitarist Michael Angelo (Batio). Gillette put out a vocal instruction series via Metal Method that "guaranteed" to
add 3 octaves to a typical singing voice. (He starts two octaves below middle C and goes about 3 1/2 over in full head
voice [a.k.a. - falsetto]). Angelo is best known for the 4-headed guitar which he could play by tapping fretboards with
both hands. I don't think Eddie Van Halen popularized two-handed tapping for this particular purpose, but in 13 years,
this is where it ended up.
The album is a virtual attention war between the megavocals and the shredder. Unfortunately, the
audience loses. Technique is only as good as the surroundings you are using it in. Whether it was advanced
guitar techniques displayed in poor songwriting, or the demanding vocals placed on a song that called for something less
pushy and more melodic, the songs are taken to extreme levels, and it just isn't as listenable as something less ornate.
In this instance, More really is too much.
OSAMU Passages (CBS) 1987
Every now and again I think it's a good idea to expand
my listening palate. Whether it is music of a different style, genre, instrumentation, culture, etc. Upon
finding this disc, I felt PASSAGES would likely be a middle ground between Japanese instrumental music (which I've heard
nothing but positive discussion about) and the mid-80's New Jazz Program ran by Columbia in the mid-80's with groups
like Full Circle, Free Flight, and T-Square. Since I wasn't paying a premium for this disc, I decided to take a gamble.
Unfortunately, this gamble didn't pay back as well as I thought it might. The real problem was
the majority of the disc spent most of its running time in the potential area, and aside from the title cut, very little in
the realization area. I thought the instrumentation choices (and guests) were quite inspired. The opening of each
song features a nice delicate melody. Still something didn't quite work for me here.
I put some of the weight on this in the massive amounts of percussion that were used for the recording.
The rhythms drown out the melodies. The melodies never get to drive the point home. When compared to a typical
jazz performance, via solos and riffs, the main melody is emphasized because it is traded between instruments and registers.
Here it drops to the bottom of an ocean of percussion. I would like to have heard later works from Osamu, to see if
this potential gets realized on future records.
Looking online, I couldn't find a lot of information about this cd. All I know is that Osamu is
a Japanese performer who is know living and working in California. While this was marketed as a "jazz" recording, it
was really closer to New Age/World categories. Perhaps future listens will unlock more of this album for me.
GRP Presents the Cool Sound of CD 101.9 Volume III (GRP) 1990
I always found it interesting when radio stations took it upon
themselves to put out compilations. The first one that I remember was an LP with a title like "Chicago Rocks" that was put
together in the early '80's by an area station with sponsorship from a local beer distributor, some area clubs
(like the Thirsty Whale), and businesses (Who was the rockin' insurance agent this year? Oh wait, they have the
same last name as the guitarist in this band...). It featured local favorites like Vengeance, D'artagnan, and The
Griff Band, as well as a song called "R.L.T.S." (Which was the chorus phrase "Red Lights the Sky" which was one of the better
songs on the compilation, if not the most memorable) from a band that sounded like Vixen. (To be fair, since it
was a good 4-5 years before Vixen got an album released, one has to argue Vixen sounded like them.) I'm uncertain
if it was truly a successful enterprise, because most of the people who had the album weren't legally able to get into
the bars and clubs and see these bands. By the time we were, a number of these bands had broken up or gone onto other
things. As one can tell, I was never able to secure my own copy of the LP and unless I can get more specific, I'll be
wading through 1500 chicago entries on eBay to find it. (Despite the efforts put into this page, I like to think I have
a life...)
About 10 years after this compilation, Chicago radio station WXRT (93.1 FM) started an annual series
of live compilations called ON-XRT that featured 10-15 national acts who were part of the playlist, taken from the broadcast
tapes of their concerts, with all proceeds going to area charities. You'd have groups like Cracker, R.E.M., and Matthew
Sweet mixing it up with reggae, blues, and zydeco legends. Of course, I'd like 2 of the acts on the album, and feel
that $18 is too much money for the remainder. (Not realizing that these were yearly editions that would become
STOOPIDLY collectible and reach resale values of $40 and $50 within 5 years of the launch of the series). Of course, now I collect these types of compilations to either get exclusive live songs from bands and artists, or
if I find something "undervalued", I pick it up to sell or trade to others (so that I can get what I want in the first place).
GRP has been one of the few labels to recognize the value of these radio compilations. Our "smooth
jazz" station WNUA (95.5 FM) would issue an annual compilation in partnership with the GRP label that would highlight their
artists and benefit local charities as well. The thing was that GRP had these kinds of partnerships all over the country.
I really liked mid-period GRP (1988-93) albums by Chick Corea, Spyro Gyra, Tom Scott, and Acoustic Alchemy.
It was somewhat embarrassing as a 20-something rocker to cop to music made for people who thought Steely Dan was too heavy
or energetic. Strangely enough, I started finding some of these artists in cutout bins and in the cheap sections
of used cd shops. Well, even more of a challenge (is this the right word?) would be the long list of releases that would run
down one of the booklet panels in microscopic print. As a result, a subconscious goal (a
ridiculous one) was formed to try and collect as many of the listed GRP titles as possible without spending more than
$4 a disc. In further thought, I realize that GRP was a 'totally '80's' creation, specifically in regards to its "ALL
DIGITAL" declaration and the graphic design. In terms of nostalgia, I find that as I get older, I realize I get
creepier...
This compilation kills two birds with one stone, as it is a GRP album, and at $1.98, it was
well under my price limit. This is a radio compilation (albeit of existing studio tracks) with only one song
from pianist Makoto Ozone not being domestically available. It features several really strong instrumental
tracks from artists like Spyro Gyra, Rippingtons, Special EFX, Dave Weckl, David Benoit, Tom Scott, and Acoustic
Alchemy. What ruins the disc for me was the inclusion of two vocal selections by Patti Austin and Carl Anderson.
Despite their obvious talents, I listen to this kind of music to stimulate my own imagination. When I'm hearing
this music, I'm thinking about imagined places, images, activities, and when I hear a vocalist, it takes me out of my
imagination by forcing me to incorporate the lyrical message into my "scene". This is part of the reason why I'm
a huge Tangerine Dream fan, excepting the vocal albums (Tyger, Cyclone) where the "future sound" of modern technology
was interrupted by a HUMAN voice.
It would be nice if they put vocal songs at the very start of the cd, so that you can skip to the instrumental
selections and let it run. I like to listen to these kind of instrumentals while I'm reading or doing paperwork.
Without a "programming feature" on my work boombox, it means having to change tracks. (I know...world's smallest violin)
Still, this is a pretty good collection and is sequenced quite well for a label sampler.
FLIM & THE BB'S New Pants (Warner Bros.) 1990
Flim & the BB's were a jazz group that got its start testing
digital technology for 3M (via the DMP label). In an enduring jazz career of almost 10 years, a major
label release seemed inevitable.
The addition of woodwinds player Dick Oatts to the
original trio gave a deeper sound more akin to Chesky-era Oregon.
On the first two listens, I preferred this to what I have and
have heard of the DMP sessions. The band has grown confident and gained an interplay that comes only with time.
Some of the numbers just had bounce and energy, two descriptors I wouldn't use to describe instrumental jazz.
Unfortunately, the band only put out one more album after this one before moving on to other things.
I think they could've held up to Spyro Gyra and Bela Fleck & the Flecktones in keeping accessible pop jazz melodies without
playing to the lowest common denominator.
VON GROOVE The Seventh Day (Z) 2001
It has been a good five years or so since I had
picked up (and picked up on) Von Groove's self-titled debut for Chrysalis. Somewhere between Stage Dolls and Slaughter,
the band had a minor radio hit with "Once Is Not Enough" and local airplay for "Better Than Ever" but still got lost in their
surroundings.
Fortunately, the band was able to maintain a consistent Canadian draw (a la Helix, Harem Scarem, and The
Pursuit of Happiness) and remain popular enough to issue albums and continue playing.
Surprisingly, THE SEVENTH DAY sounds like it could have very well been the
follow up to their self-titled debut recorded in the early 1990's. The music and vocals are similar to Warrant,
but I'd argue that it is less dramatic and a little catchier. It would also be fair to compare this to the Brian Howe-led
era of Bad Company. Though with only a few exceptions, I tend to like the songs here a little better.
The highlight are the Zeppelin like title cut as well as the unique lyrical ideas in songs like
"Soul Surgery". Not all of it works, as one huge clunker (and de facto hook of the song) is the chorus
line "Heaven knows your name and knows the reasons why you came". While it might be a comforting thought
about losing someone close to you, it really sounds like it was incredibly desperate for a rhyme. It could
have been said more convincingly, I guess.
Despite this, anybody in need of a late '80's hard rock fix will dig the heck out of this recording.
Tons of singalong choruses, and just enough guitar to cause a little trouble, THE SEVENTH DAY is
a nice nostalgic escape.
HEAVEN Where Angels Fear to Tread (SG) 2005/1983
This Aussie group had a rather large promotional push for its
U.S. debut, BENT. The sound mined a Bon Scott-era sound that AC/DC had since abandoned with the addition
of Brian Johnson to the fold. Expectations were high that this album would make or break the band.
WHERE ANGELS FEAR TO TREAD is a pretty
solid hard rock album with the right touches of snarl and tradition. Vocalist Allen Fryer is a bit of an acquired taste,
as his vocal style is close to a cross between Stealer's Wheel era Gerry Rafferty and Bon Scott. The music does
Angus and the boys mid-70's boogie like few others. This isn't as sophisticated or as glossy as rock music was
getting around this time (with hard rock getting closer to Journey, Def Leppard, and Asia, before the LA scene of Quiet
Riot/Motley Crue/Ratt would make their stamp). The album highlights include the driving title track, the anthemic
"Scream for Me", and the riffage of "You" which is built on a classic F# riff (in the spirit of Kiss's "She" and Helix's
"Dirty Dog"). It also features "guest appearances" from Lita Ford and Glenn Hughes, though seeking them out here
is a little like a sonic "Where's Waldo?" puzzle.
The album was originally released on vinyl in the US in 1984 via Brighton Records/CBS. (Though
some online accounts state that this was a Holiday '83 release in other countries and territories). This is
a band has taken a long time to get into the cd age, and wasn't available on the shiny discs until fairly recently. An Australian
company called Stardust Productions put all 3 Heaven titles, BENT, WHERE
ANGELS FEAR TO TREAD, and KNOCKING ON HEAVEN'S DOOR onto individual cd-r's with proper
reproductions of the cover art for each album. These versions were selling for more than $50 a piece on eBay over the last several
years. In 2001, BENT finally saw a proper 'silver disc' reissue via the
Heatsink label in the U.S. This edition of WHERE ANGELS FEAR TO TREAD is manufactured
and produced by SG records, also features six exclusive tracks not found on either the vinyl or Stardust Productions
version. One is a studio outtake, and the other 5 are live versions of songs from both BENT
and WHERE ANGELS FEAR TO TREAD.
The sound quality doesn't really change from the original cd pressing, but the production has a
very strong '70's hard rock feel to it. The lack of sophisticated engineering and studio gimmickry has allowed
this album to age relatively well. The bonus tracks are a nice plus, as is the true 'silver cd' manufacturing
quality. If I have a complaint, it is that the graphics aren't quite as well captured as the Stardust version, with
a dark red/orange tint to both photo and titles, and an overall darker (and harder to see) image. Liner notes
with a history of the band and the significance of the recording would also be a nice addition. Despite their reputation
as a 'B' list act, they still have a pretty good and loyal following among people who remember the early '80's. There
is one more album in the catalog to set the story straight, here's hoping someone does it. My Stardust copy is already
in the mail to a longtime online friend who knows more about '70's hard rock music than I do about all forms of
music put together. For those of you seeking this out, you may want to seek out the highly regarded Impulse Records
on my LINKS page, as they had several copies of this edition available and reasonably priced.
EXCITER Long Live the Loud (Megaforce) 2005/1984
I was really surprised to see this update, as I figured
I'd have to continue on with my "mystery" copy of this album for eternity. Like the "mystery" copy, this edition also
features the FEEL THE KNIFE ep. This edition has been recently remixed and remastered by Jeff Waters,
leader of Annihilator. The disc is restored beyond the sonics of its initial vinyl pressing. The "live" sound
is full, and room is made to accommodate the full sounds of guitar, bass, drums, and voice. It is remarkably full given
the nature of a power trio.
I was told that Old Metal Records put out an unauthorized version of this recording and then had to
do a "blackout" in order to get the album released (Hence the "mystery edition"). I found my original version of this
through eBay, before settling up to this newly remastered version. The additional essays by bandmembers Allan Johnson
and Dan Beehler are a nice touch as well. Considering the mid-line pricing of these remasters, I can't imagine any reason
for an Exciter fan not to get these upgrades.
STRATOVARIUS Elements Pt. 1 (Nuclear Blast) 2003
Leading a charge of rejuvenated "power metal", Stratovarius
has kept consistent quality and execution since their debut in the late '80's. This band makes strong artistic
statements seem as difficult as giving blood. That's why I found it really difficult to review this album. It
is very good, covers very similar ground to the last album, the playing/performances are strong, and I really liked it.
I've listened to it about 8 times (in entirety) and really can't find much to say that hasn't already been said. Solid,
strong, consistent.
It helps when you have the players. Timo Kotipelto is as strong a singer as one could ask for,
able to cover both Tate-like clarity with Halford-like highs. Jens Johanssen (Yngwie, Dio) is a great keyboardist and
is an in demand studio performer for all sorts of rock, jazz, and heavier music idioms. Jorg Michael is as solid a hard
rock/metal drummer as they come having spent time in several AFM/SPV camps. Lastly, Timo Tolkki is a very strong guitarist
and songwriter, despite the feeling this is HIS project, the band is still firing as strongly as ever, here.
Despite the recent difficulty surrounding the band's lineup and reunion, I'm looking forward to
another album just like this one later this summer.
IAN GILLAN No Fire Without Smoke (ReCall) 2000
Most of you know Ian Gillan as the vocalist of the most popular
edition of Deep Purple. Some of you are aware of his work with Black Sabbath and Jesus Christ Superstar. The rest
of you who are familiar with his name are as sick as I am in collecting Purple-related music. As everything from Whitesnake
to Glover's Butterfly Ball & Grasshopper Feast to Graham Bonnet's recent appearance on a
cd by those Japanese metallers, Anthem all qualify as Purple Family and Friends. As you can imagine, only Tangerine
Dream, Miles Davis, or Motown's Funk Bros. have a catalog this vast, and an alumni list this long.
This collection (like several others by ReCall) is a little confusing. The alternate and live
versions prevent this from being a true "best of" album, while the lack of exclusive material prevents anyone except diehards
(sick people like myself) who must have everything Deep Purple related, or people who can't find the proper studio albums,
and settle for this compilation.
The running order was kind of a gaggle as well. I think they went for the harder-edged Gillan
tracks first due to its sonic relations to the Gillan-led Deep Purple. Call me a traditionalist, but I feel that his
first two solo albums (CLEAR AIR TURBULENCE and SCARABUS) were multi-dimensional
recordings that were far more ambitious than anything Purple had done since MACHINE HEAD.
Gillan albums like MAGIC, FUTURE SHOCK and MR. UNIVERSE were
stripped down hard rock that lacked the classics that sparkled each of the Purple records featuring Gillan. Unfortunately,
each of these albums have their own production issues. None of the albums aged particularly well, though I liked the
jazziness found on the first two albums of the original IGB. It was a novel way to reinvent himself, as the original
Purple instrumentalists were all seen as virtuosi. What to make of the extended jams that went beyond white boy blues
and baroque classical forms of his former group? [Depending on guitar solo or keyboard solo].
A bone of contention for many could be the choice to include Ian's solo band renditions of various Purple
tracks, such as "Smoke on the Water". Personally, the inclusion of said tracks was kind of interesting, as the band
adjusted these songs to play to "their" own strengths. Though "Smoke on the Water" kills ample disc space, the fact
that Ian wasn't ashamed or scared to play the Purple classics, surely won him goodwill from the fans. For many, this
would be the best chance to hear these songs sung by a man in his vocal prime (early 30's) despite not having an immediate
formal connection to the band at this point.
Gillan is saved midway through as Rainbow closes shop (putting next Purple vocalist, Joe Lynn Turner,
in the uncomfortable position of having to work with Yngwie) and the Whitesnake rhythm section is brought back to its
original band. The reformation of the band led to PERFECT STRANGERS, a wonderful third act for Deep Purple.
The package includes 2 cds and a bio. Unfortunately, the bio is relatively useless, as anyone
looking to buy this already has most of the pertinent facts. Lastly, any compilation such as this should list
the original album that the song(s) originally appeared on. A novice may now have 2 discs worth of Ian Gillan material, and
not have a clue where to look for particular songs and sounds.
AUDIOSLAVE Out of Exile (Interscope/ Epic) 2005
Supergroups are very chancy propositions. Most
last no more than a single album. For many it is surprising that this combo of Soundgarden vocalist and Rage Against
the Machine backing band made it through the promotion of its first album, let alone stick it out for an extended tour and
recording of a second album. Despite a premature "breakup" at the release point of the first album, a "cooling off"
period led to an extension of product and band.
This time out, the band sounds a little more assured than on its pensive debut. The advantage
here is a rhythm section that has now made 6 albums together, which provides a confidence that is unmatched by most other
"supergroups" which piece together the players as well. The debut fell because of its inevitable comparisons to the
parenting bands (Soundgarden & Rage Against the Machine), OUT OF EXILE only has the debut to
compare to, since this has materialized into an actual band rather than a project.
While the RATM sound is still apparent throughout, the album succeeds because of their ability to include
more melodic content than rhythmic content. When you have a vocalist like Chris Cornell, you need to give him some room
to work. Cornell does his best in channeling 70's hard rock legends like Dio, Plant, and Coverdale while still maintaining
that unique introspective quality found in the anti-rock star climate of Seattle. Songs like "Be Yourself', "Doesn't
Remind Me", and "Dandelion" are signs of both Cornell and co.'s maturation.
Overall OUT OF EXILE is fighting a unique battle as '90's legends battle for
their creative lives the way that the previous generation did after the rise of grunge. With only Pearl Jam remaining
of the Seattle explosion, there is a good chance that this band will never be forced into exile due to saturation. While
still not in line with the best music of their respective bands, OUT OF EXILE is a strong step
forward for the group that is becoming a band.
HEAVY METAL ARMY 1(Hot Metal) 1993/1981
Sometimes you stumble across something that surprises you.
HEAVY METAL ARMY is a surprisingly early contender to the heavy metal sound made by bands of the NWOBHM. I'm reminded
by some bands that featured the sound, but lacked the geography of early metal, such as RIOT, WITCHCROSS, and ACCEPT. Though
they would never reach the worldwide success of contemporaries such as Loudness, Anthem, or Earthshaker, this certainly
ranks as a prime example of the developing Japanese heavy metal at the turn of the decade.
The album, originally recorded in 1981, features a sound that owes a little to DEEP PURPLE's STORMBRINGER
album, and maybe a smidge of TOKYO BLADE's debut. The vocalists makes me think a little of DIAMOND HEAD and a little
of BLITZKRIEG (as both feature lower voices with occasional nods to the top of their respective vocal ranges), while
the music definitely treads a line of amped up DEEP PURPLE and SCORPIONS, with the exception of the final track "Bird
of Destiny". This song, the album's last track, is a jazzier ballad that sounds a little like something
you might find on a mid-70's David Sancious solo album. (The good ones that have Alex Ligertwood on vocals.)
Overall, many longtime metal fans can overlook the fairly dominant new wave keyboard sound as a product
of its times (1981 featured loads of these obnoxious Oberheim-influenced sounds). Newer metal fans may be put off by
the overall dated sound of the album as a result of the bridgework it does between 70's hard rock and the early
80's heavy metal. Still, it is a fairly original album in its genre and has a "go for it" quality of a band looking
to find its own way rather than follow the formulas and roadmaps laid out by more talented contemporaries.
This particular edition includes a nice slipcase and colorful album art that with a different focus
would be remniscient of the first Tsunami (Enigma 1983) or Torch albums. (Especially with the full red sun and white and blue
watery background.) Procured this via eBay, and I'm very happy that it worked out in my favor, as I've seen this particular
cd go for as much as 3x what I paid for it including shipping.
R.E.M. Party of Five (Bootleg CD-R) 1999
It sometimes stuns me what has been recorded and made
'available' by my favorite bands. This particular concert was recorded at a private party for the cast, crew, and
production team of the TV show Party of Five at the Palace Theatre in Los Angeles, CA on February
17, 1999. This particular version has 11 tracks, and is an above-average audience recording featuring a few hits and
a heavy dose of the then-new UP album.
There is a little distortion in certain areas of the recording, and some silence gaps between tracks
which affects the 'continuity effect' of a typical full-show recording. There isn't a lot of dynamic to the recording
either, quieter numbers like the a capella "I'm Not Over You" are virtually inaudible when played at normal volume.
Though sale of this type of product is illegal, my disclaimer in purchasing this cd-r is that I have
purchased all available U.S.-issued albums and singles that I can get my hands on and it isn't enough! I really think
R.E.M. is one of those rare bands (like Aerosmith, Grateful Dead, and to a lesser extent Pearl Jam) that is highly listenable
in the bootleg format. Even potentially embarrassing moments like a past performance of "Mississippi Queen" with
Corky Laing of Mountain (in the audience and then onstage) from an Ottawa bootleg in the mid-80's often amaze with its fearlessness.
There is an excitement in listening to the improvised moments of a band, fully knowing that they are flying by the
seat of their thrift-shop pants can deliver. In this instance, the song comes across as entertaining and refreshing
due to the chance taken, despite the trainwreck that occurs midway through the song.
While I collect these kinds of recordings when possible, I still feel I must state the obvious.
I hate the fact that the band does not get paid for these illicit recordings of their work. It makes me wish that R.E.M.
would join the Pearl Jams and Black Crowes of having their shows available via download or mail order so that they could benefit
in the "found money" their live work could generate. Whether they use it to cover their own operating expenses
or donate it to Greenpeace, at least it would be legit. And the R.E.M. business model is unlike any in the entertainment
world, highly respectful to its employees, its cooperating agents, and its consumer base. I don't like
taking any money away from this particular machine.
Highlights from this show include a strong rendition of "Walk Unafraid" from UP
as well as the warhorse "It's the End of the World as We Know It". Many fans will also give a friendly nod to the inclusion
of the curmudgeonly "Country Feedback" in the first quarter of the set.
I haven't seen this title on trading lists, but wonder if there is a fuller version of the show or if
it is going under a different "trading" name.
EYES Windows of the Soul (Damian Productions) 1993
After a major label debut involving Spencer Proffer and those
boys at Curb records (home of some of country music's finest during the late '80's-early '90's) the band goes after an
indepedent gamble. This would become one of the hardest discs to find in the Jeff Scott Soto catalog (with exceptions
made for Kryst the Conqueror and Kuni).
WINDOWS OF THE SOUL finds the band in a
typical '80's hard rock sound, in the spirit of Europe, Fate, or even Autograph. The production is slightly above demo
quality, but has not aged particularly well. Though if I had this album at a different time or place, more of the songs/sound
might have jumped out at me. Soto has been party to many projects, and I find Eyes to be somewhere between Human Clay
and Humanimal on the chart.
Sadly, the record was released to little but a thud commercially.
Though these days it can be had on eBay in the $30-50 range if you are patient.
LAW & ORDER Guilty of Innocence (MCA) 1989
This is the debut album by Law & Order. The band
occupies a territory that is barely getting defined at this early stage. Bands like Janes' Addiction were ahead of the
curve (and this particular group) and Blind Melon came a few years later. I'd put Law & Order in a genre with bands
like Extreme, Saigon Kick, White Trash, and Love on Ice as bands that really were trying to add something deeper and
more meaningful to their music despite being trapped in the "hair metal ghetto" at the onset of grunge.
The album bounces between Texas hard rock boogie (along the lines of like a Dangerous Toys or to a lesser
extent, Every Mother's Nightmare), and a more moody, melodic '60's sound remniscient of Blind Melon or 4 Non Blondes.
The band doesn't seem confident enough to stand for either its progressive, edgier, or rootsier sides. A cover of Lynyrd
Skynyrd's "The Needle and the Spoon" doesn't help the band overcome a confusing image crisis here. However songs like "Love Reality" and "I Think It's Gonna Rain Today" provide clues to the band Law & Order
would become on their next album RITES OF PASSAGE, one of the most overlooked progressive hard rock
albums of the 1990's.
SKRAPP METTLE Sensitive (Par) 1991
Skrapp Mettle is an anonymous hard-rock supergroup
album devoted almost exclusively to the act of oral sex. (The product of oral sex, the results of oral sex, et
al). And they use the grown-up words, too. (So you definitely don't want Jr. to hear this one until you are certain
he doesn't have misogynistic issues.) While there is definite talent in the performing and recording of these songs,
the novelty of hearing songs with words like "swallow the load", "she's into muffdiving", and "spunk sandwich" gets old really
fast. This is the first musical recording that I've ever heard that used the word "twat". I had to ask my
inner 13 year old what that was again, as I hadn't used "code words" for body parts in a good 18 years or so.
I picked this up due to the involvement of one Jeff Scott Soto who is credited as "Spunk - vocals" in
the liner notes. It is rumored that Gregg Giuffria and David Coverdale also have some sort of involvement with this
recording. Despite the disclaimer in the booklet, the fact that certain song titles were altered ["Diving in the 80's"
leaves out the locale of said-diving, and "That Load" omits the requested (demanded) action made by the singer.] and that
every performer, producer, and studio goes under a pseudonym, makes this more a product of cowardice rather than
one that "breaks the rules". As a white, hard rock recording, it generally was ignored to the point that it didn't even
receive a Parental Advisory sticker. If this recording were a hiphop or R&B recording, I imagine the participants
would face a similar fate to 2 Live Crew in Broward County, Florida or the public outcry that came with it.
Perhaps it isn't fair to review a 15 year old joke, though Dangerfield, Carlin, and Cosby have made
me laugh with older material than this. Despite being somewhat turned off by the joke, as a JSS fan, I intend to hang
on to this one. For the rest of you, proceed with caution, this one splats.
V/A - Subdivisons (Magna Carta) 2005
Tribute albums are an unusual concoction. These
days (many years after the original trend) they are often used to expose lesser known artists via a collection of a popular
band. (Hence the Dwell Records approach to "breaking" a bunch of unknown metal bands by covering slightly
better known metal bands.)
Sometimes, the opposite is true when a collection of top bands
takes on the repertoire of older or more obscure performers (Like the SWEET RELIEF albums honoring Victoria Williams
and Vic Chestnutt, (with artists like Pearl Jam, R.E.M., Soul Asylum) or MORE OAR, a tribute to Skip Spence which features
no less than Robert Plant, Billy Bragg, and Wilco.)
This is Magna Carta's second attempt at a Rush tribute (the first one, WORKING
MAN, was released in the mid 90's also featured Sebastian Bach and Robert Berry). This one
is slightly different, as a core band of Vinnie Moore (rhythm guitar), Stu Hamm (bass), and Mike Mangini (drums) trade out
vocalists and soloists to cover a few classic tunes and some of the lesser known stuff (as songs like "Lakeside Park" and
"Different Strings" didn't exactly make it to the SPIRIT OF RADIO best of) throughout the band's
Mercury period (1974-1988). Unfortunately with the exception of "Limelight", there wasn't enough difference to make
this better than the best Rush tribute act recorded. This is like a photograph of a finished painting.
It captures the image of the original perfectly, but the photographer doesn't match the talent of the painter because they
didn't have the inspiration or innovation to create rather than copy.
Of the vocalists assembled, I was surprised at how well Kip Winger did in his turns at "Limelight" and
"Spirit of Radio". (The only disappointment was hearing him sing the tag line as "thuh underlying theme" instead of
"the underlying theme" in "Limelight"). Randy Jackson does a respectable job in his turns ("Distant Early Warning" and
"Subdivision"). Jani Lane outdoes rather low expectations on his vocal abilities and somehow turns in a credible "Bastille
Day" with assistance from Dave Brooks. (Jani is a talented guy who led Warrant to unbelievable success because of his
"vulnerable" character-styled vocals. Though he is better known for power ballads like "Heaven" and "I Saw
Red", the band was able to serve it up steaming on songs like "Uncle Tom's Cabin" and "32 Pennies". Even in their
"rockingest" moments, unfortunately, Jani's vocals were relatively thin. In a list of people to sing Rush songs, I would
think Jani Lane is under Paul Stanley and slightly ahead of Justin Timberlake in the "progressive" vocal list.)
The disappointment is in Sebastian Bach's turns. The former Skid Row frontman had a menacingly
vicious tone that cleans up nicely at higher pitches. Powerful and energetic, neither quality surfaces much here.
Part of the problem are the tunes he's been given. "Lakeside Park" would have been a great Randy Jackson vocal as it
was the sound of the same influences as Randy's band, Zebra. Here, Bach is forced into his "cleaner" voice,
which lacks the personality and identity associated with his full voice. He is also given a crack at "Tom Sawyer"
which would normally be a fit. Unfortunately, this version fails because he is forced to conform to the original vocal
line vs. a line that would work to his strengths. (Surprisingly, I thought this would be a good choice for Jani
Lane, who seemingly has had no problem murdering classic cover tunes in his Warrant past). If Bach were given a
tune like "Anthem" or "Something for Nothing", then you could hear him gear up into full range and utilize his energy into
the sonic anger that these songs embody.
Of no great significance is Robert Berry's pointless update of "Different Strings". This is a
stiff and uncomfortable listen, where the forced vocal harmony on the refrain sounds gimmicky rather than inspired.
Berry is clearly talented, but never has taken full advantage of his playing situations. (Of course, being part of 3,
the failed ELP update of the late '80's, did the type of damage to Berry's reputation that Trevor Horn got for singing
with Yes by the British fans and press).
The key to a successful tribute album is the flexibility of the material of the artist/writer being
tributed. As much as I love Rush, I think their material can only be presented in the way they do it.
(I can't imagine Billy Joel singing "Fly by Night" and having success with it, or Garth Brooks doing a country version
of "New World Man"). The fact that they had to select such a highly regarded and talented core band, hints at another
inflexibility (not everyone is capable of keeping up in terms of ability and technique). These inflexibilities are the
main problem with a tribute album like SUBDIVISIONS, which lacks the vision to hear
these songs in a different way.
SCORPIONS Eye II Eye (Koch) 1999
I often wondered what it would sound like if Scorpions
were locked in a room and forced to listen to nothing but Matchbox 20, Sister Hazel, Seal, and Goo Goo Dolls. (Actually,
I never have but the material here makes a surprising connection). The result here is Diet Scorpions - some of the flavor
(vocals, guitar riffs) with none of the energy, attitude, or direction that made Scorpions a hard rock legend
worldwide.
Before ultimately coming to a conclusion on the quality of this album, there are two questions to consider.
- Is the new sound of Scorpions a premeditated sell-out or a logical progression (or next step)
in their songwriting and performance?
- Can the album stand up on its own merits, or does it require past catalog successes and failures to analyze
properly?
To answer #1, I think Scorpions found their greatest overall success in the ballad "Winds of Change" from
1990's CRAZY WORLD cd. Though power ballads like "No One Like You" and "Still Loving You"
rotate around a soft verse and an explosive chorus, and were both huge successes. The "sellout" move would be to write
8 different versions of "Winds of Change" and include 2 rockers at fulcrum points of the record. This record desperately
wants to sound "modern", and does compromise certain elements in the classic Scorps' sound to make it happen. (Less
guitar, more gadgetry). As long as Klaus is singing and there are guitars on a record, it still will sound more like
Scorpions and less like their youngest peers. Knowing Scorpions have found so much success in the past from the "soft/loud
formula", another return to this well would have been more "commercial" and less "artistic" of them.
(I want to be careful, because some people may think the true reason for the success of Nirvana's "Smells
Like Teen Spirit" was Scorpions' "Rock You Like a Hurricane", and not some cool, indie-band like the Pixies or the Vaselines)
To answer #2, the band's history requires mention of its past achievements and failures. Once
a band has been in existence for 10 years or more without a radical lineup change (in voice or leading instrumentation),
it is up to the reviewer to determine whether the album merits its own discussion, or could more easily be
put into the short hand of ranking it in the catalog. EYE II EYE is a standout record in terms
of the fact that it really doesn't compare favorably to earlier (and now later) material. The album features several
gimmicky electronic touches, and a song like "To Be No. 1" just sounds out of place in the overall catalog,
let alone on this record. This is a grand experiment, and something of a gamble, which is always neat to hear older
bands do. (Even if they crash and burn in the process.)
I found this album reasonably cheap, and was looking to complete the catalog (as the last ones I need
are BOX OF SCORPIONS, WORLDWIDE LIVE, and LONESOME CROW).
This may likely be the Scorps album for people who normally don't like Scorpions, or the completist album for those who do.
As a starting point, I'd look to the mid to late '80's output before getting here.
WEEK OF MAY 16 - MAY 22
VAN HALEN Right Here Right Now (Japanese 3 cd Edition) (Warner
Bros.) 1993
This is the Japanese version of a very average live album.
The draw for me was the inclusion of a 3" cd with live takes on "Mine All Mine" and Sammy Hagar's "Where Eagles Fly".
(Which was the reason I decided to upgrade. You can't put a price on nostalgia, I guess.) Also was the fact that
I was able to score this for about half of what this version normally fetches on eBay (between $50
and $80).
The band did a 20 date tour to support the live album.
The show at Alpine Valley (East Troy, WI) from this tour was one of the best concerts I ever saw. The goal of the
tour was to raise money and goods for victims of the drought. Originally, the thought of attending a tour for a live
album was a little cheesy. For instance, what would the set list be? (This is a rhetorical question, brainiac!)
The fact that we decided "last minute" to go, makes me a little uneasy these days when I think about the fact that I could
have missed such a great show.
What made it really good was the fact that the band wasn't
needing to "pace" itself. (Versus the need to do so on a typical tour where the band is playing 5 out of 7 nights, and
can't afford to "exhaust" its vocalist or drummer with overly long or energetic performances.) The fans got a loose
but highly energetic 3 hour set that included 2 encores. Unfortunately, this was also the closest I'd ever seen
Van Halen (Van Hagar to the needlessly cruel) to its original hyperactive state. The band played as if it were their
last chance to do so. Fortunately, I was able to see Van Halen tour BALANCE, 3,
and the BEST OF BOTH WORLDS collection, since. Who knows what will become of the band,
now, but this is a good reminder of what they were then.
R.E.M. Around the Sun (CD/DVD) (Warner Bros.) 2005/2004
I'm normally very OPPOSED to 'r&r' albums. This
is where an album released within 2 years is repackaged with an exclusive that wasn't available (ECD, bonus tracks, additional
materials) for the original release.
This R.E.M. series is a nice value at $20, you are insured of
both CD & DVD-A playback. The earlier albums have restored artwork that appeared throughout the packaging and
add essays explaining the significance of the albums. The DVD sound is a nice expansion (though not as large a sonic
jump as the cd from LP or cassette), but I'm not even close to ready to turn the other 3500 discs into frisbees and coasters.
The video content is also nice to have, as it frames the "history" of the record. My only complaint is that the cd booklet
is the same poster that was packaged loose in the original version. An essay like the ones found in GREEN,
MONSTER, or REVEAL might have helped buyers find new things to listen
for in the recording.
As a fan and a collector, I want to have the "best" versions
of R.E.M.'s albums. I burned holes through my wallet to get the albums I love, but now that I've reached the back end
(UP, IN TIME, and AROUND THE SUN)
of the catalog, I've been a little more patient.
Upon hearing AROUND THE SUN the
first time, I was a bit disappointed. My general feeling was that this is a band that has lost touch with its roots.
The album sounded like it could have been made by any band in New York, Los Angeles, Seattle, Manchester, et al... whereas
most of R.E.M.'s early stuff had a universal quality based on a rural Southern perspective and vision that no one else
had (though contemporaries like Pylon, B-52's, Guadalcanal Diary and Let's Active drank from similar wells, they
never quite found a way to build on their hardcore followings).
There are some nice tunes on the record, such as "Leaving New
York" and "High Speed Train", but as a collection the band tries to recreate some of its past masterstrokes (hints of "Radio
Song", "Everybody Hurts", and "Stand" appear as "The Outsiders", "The Ascent of Man", and "Wanderlust" accordingly).
The problem is that these were fresh ideas a decade ago, now they sound like a band trying to take shortcuts to return to
the spot they occupied in 1993.
When reading about REVEAL, the members
of the band stated that they are 'too good at being R.E.M.' Any song ideas for the album that sounded too much
like their established sound were rejected. After listening to AROUND THE SUN, I have
to wonder if these were the tracks that were originally rejected for REVEAL. They are a class
band and organization, and this imitation is a little off-putting.
R.E.M. Should We Talk About the Weather? (Warner Bros.) 1988
R.E.M. Shiny Happy People (cd-single) (Warner Bros.) 1991
Scored at the same location, the former is an interview/music combo cd, the latter is the domestic version
of the single with the 3 live tracks that originally appeared on the previous album GREEN.
SHOULD WE TALK ABOUT THE WEATHER? is quoted from the song "Pop Song '89" from GREEN.
The disc features 4 interview segments interspersed with samples of the songs from this album. This promo went
to radio stations and larger record stores. It is more of a collectible for hardcore fans (of which I am one), as the
only "exclusive" material here is the artwork and the interviews. (Some of which has made it into the new GREEN
cd/dvd combo.)
SHINY HAPPY PEOPLE is the domestic cd-5 of this single from OUT OF TIME.
There are 2 things that set this single aside from the import version. First, the artwork features a black & white
checkboard border around the wooden artwork. Second, this features 3 live tracks taken from one of the shows from the
GREEN tour. This domestic series of cd-5's from OUT OF TIME are supposed to
make a "special live R.E.M. album" when combined. (the others include LOSING MY RELIGION and NEAR
WILD HEAVEN). This is a nice second chance, as I passed on the "singles box" nearly 10 years ago
and haven't seen it since.
WEEK OF MAY 9-15, 2005
DEEP PURPLE The Best & Live: (RCA/BMG Deutch) 2004
This is a 2-disc compilation covering the period from 1990-1996. The first disc (called "BEST")
covers studio material from the albums SLAVES & MASTERS, THE BATTLE RAGES ON, and PURPENDICULAR.
Whether merited or not, 4 songs from each album appear. To be fair, it's a pretty good survey of the time, but none
of these songs were particularly popular in the time they were released, let alone now. The second
disc (called "LIVE") features 9 tracks pulled from THE BATTLE RAGES ON tour, the last to feature the
combination of Ritchie Blackmore & Ian Gillan. Two of their best-known warhorses ("Smoke on the Water"
and "Highway Star") show up here with a mixture of 2 then-new songs, a few secondary hits, and even a curveball
("Anyone's Daughter?") I'm not certain, but would not be surprised if this weren't a repackage of the album that featured
the "supposed" last Blackmore performance, HELL OR HIGH WATER. Being a Deep Purple Completist isn't
all it's cracked up to be, I guess.
ROBERT PLANT Mighty Rearranger (Es Paranza/Sanctuary) 2005
Spring is a great time for Robert Plant solo music, as albums like NOW & ZEN and FATE OF NATIONS
were deep albums, featuring good songs that sound great cranked up in the car. Even MANIC NIRVANA and PRINCIPLE
OF MOMENTS sparkled through the speakers on a promising sunny spring day.
MIGHTY REARRANGER follows DREAMLAND into the vague, shadowy, artsy side of the Plant oeuvre. Upon
the first few listens, I was thrown by the lack of focus in the arrangements. There seemed to be more attention paid
to the mood than the actual songwriting, though there are some truly challenging songwriting moments in songs like "Tin Pan
Valley" or "Let the Four Winds Blow". While organic and somewhat communal, both have some unexpected twists musically.
Live, the songs from this album will really have room to grow.
As twenty-five years pass since the demise of Led Zeppelin, it is apparent that Plant is still
taking stock of his accomplishments and his overall legacy (as he's been a solo performer nearly 3 times as long
as he was a member of Zeppelin). The lyrics to "Tin Pan Valley" appear to mock up the fall of his contemporaries
that VH1 or Mtv are way too willing to call "legends" these days. Speculation suggests that Plant wants the
best of both worlds: to be seen as Rock's Golden God (without the jabs, jealousy, or jokes) while also being seen as
a legitimate artist on a par with people like Arthur Lee (Love), Robert Smith (Cure), or even Ray Charles (whom
gets a nod in the song "Brother Ray").
HUMANIMAL Humanimal (Z) 2002
HUMANIMAL Find My Way Home (Z) 2002 cd-single
Humanimal is another grouping of Jeff Scott Soto and Marcel
Jacob, this time featuring guitarist Pontus Norgren. Soto & Jacob have worked together in Yngwie's backing band,
Rising Force in the mid-80's, and have since teamed up to bring you Humanimal, Talisman (whose album title gave the former
its name), and Human Clay (not to be confused with more than 10 Creed Tribute acts of the same name presently slaving
away in drinking establishments throughout the U.S.).
HUMANIMAL is a little more modern sounding than the albums Soto/Jacob
have worked on in the past. As a result, a number of the songs have a cold, artificial setting and are a little too
slick for the more soulful nature of Soto's voice. The effect is rather jarring in some cases as even a genuinely
expressive vocal cannot muster enough authenticity to get over the clang of the guitars or the strictly
regimented song structure. Soto doesn't help the cause with a number of song titles using numbers or single letters
in place of words. (4 instead of 'for', U instead of "you", et al).
Aside from the sound production, there is little that lets this
stand out from the other albums the Soto/Jacob team have been a part of. The cd-single features an exclusive track
(Love Dominion) that does not appear on the HUMANIMAL disc proper.
As an '80's act, Humanimal might have had more going for
it. In 2005, this 3 year old album isn't likely to reboot hard rock to a modern audience or create enough
authenticity to bring original hard rock fans out of the woodwork to support it.
HUSKER DU New Day Rising (SST) 1985
NEW DAY RISING was the Husker's followup
to their artistic breakthrough, ZEN ARCADE. Unlike its predecessor, NEW DAY RISING
is a solid song collection rather than an expanded concept. Vocalist/Guitarist Bob Mould rings the bell with one of
his best songs "Celebrated Summer". There is a little more effort put into melody, but it still maintains the hard-fast
rules of the SST ethos. [That is, fast, powerful, and cheaply recorded.] The fortunate thing about this ethos
is that it carries less of the "production stink" that many other records of the time carry due to ridiculously dated sounds.
(Like airy snare drums and hyper-processed guitar tones). I've been a fan of Mould since hearing his solo debut, WORKBOOK,
and have gotten into the Husker's Warner's releases. I'm hoping to find (gradually) the rest of the SST/Reflex cd's
including FLIP YOUR WIG and LAND SPEED RECORD.
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