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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.
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