All right, Cincinnati, it is time for this town to get *down*! Now, you got Johnny... Doctor Johnny Fever, and I am burnin' up in here! Whoo! Whoo! We all in critical condition, babies, but you can tell me where it hurts, because I got the healing prescription here from the big 'KRP musical medicine cabinet. Now I am talking about your 50,000 watt intensive care unit, babies! So just sit right down, relax, open your ears real wide and say, "Give it to me straight, Doctor, I can take it!"
1978's debut album from The Cars is one of the most impressive debut albums in 70s rock. This album is pretty much a greatest hits collection because all but three of the nine songs contained herein were released as hit singles. How many albums, let alone debut albums, can claim that? From 1978 to 1980, a two year period in which The Cars dazzled critics and fans alike with songs like "Just What I Needed" and "Let the Good Times Roll". One of the first bands to really utilize the new electro studio instruments in a pop format, every song has great little electronic and keyboards hooks to compliment a strong sense of rock guitar and harmony. This is an album that truly could come only from the 70s, when a musical revolution was in full swing in the back alley clubs of London and NYC, where punk was metamorphosizing into something angry, but increasingly more palatable to the 70s radio listening audiences. The Cars found that perfect balance of musical rebellion and popular acceptance, due in great part to the lyrical equivalent of a punkrock smooch from the underground. This an album that definitely belongs in any classic rock library.
Tracks:
1. "Good Times Roll" 3:44
2. "My Best Friend's Girl" 3:44
3. "Just What I Needed" 3:44
4. "I'm in Touch with Your World" 3:31
5. "Don't Cha Stop" 3:01
6. "You're All I've Got Tonight" 4:13
7. "Bye Bye Love" 4:14
8. "Moving in Stereo" 4:41
9. "All Mixed Up" 4:14
Boston's 1976 debut self-titled hit album did what few albums have even been able to do: at the time of this writing, it has gone platinum and incredible 17 times! What a damn near perfect blend of rock and roll harmonies and ballsy bombast; a great mix of guitar riffs and swirling keyboards, thumping bass and clean drums. It's an album that plays like a Boston's greatest hits because 6 of the 8 songs were released as singles over the course of two years. For many people, it pretty much defined the AOR sound. Legend is that the demos were recorded on a home 8 track recorder, but they sounded so good that the record company released them as is, no studio editing needed. If you're looking to add one of the quintessential 70s rock albums to your collection, BOSTON is it.
Tracks:
1. "More Than a Feeling" 4:45
2. "Peace of Mind" 5:02
3. "Foreplay/Long Time" 7:47
4. "Rock & Roll Band" 3:00
5. "Smokin'" 4:19
6. "Hitch a Ride" 4:11
7. "Something About You" 3:48
8. "Let Me Take You Home Tonight" 4:43
1969's "Let It Bleed", the 8th studio album by The Rolling Stones, is definitely my favorite of their discography to date. With such darkly menacing rock-soul classics as "Gimme Shelter", "Monkey Man" and "Midnight Rambler", this is the Stones when they were still edgy and focused on creating their own brand of rock/soul/blues. There's not a bad song on the album and it all ends with perhaps their greatest 60s songs, a biting salvo at the death of the counterculture movement, "You Can't Always Get What You Want". A lot of people will pick "Exile on Main Street" as the quintessential Stones album, but for my money, "Let It Bleed" still has more power per rpms than "Exile..." in my opinion. It sums up the end of the 60s in a way that few albums did. It's definitely a must own classic album for any great music collection.
Tracks:
1. "Gimme Shelter" 4:30
2. "Love in Vain" 4:19
3. "Country Honk" 3:07
4. "Live with Me" 3:33
5. "Let It Bleed" 5:27
6. "Midnight Rambler" 6:52
7. "You Got the Silver" 2:50
8. "Monkey Man" 4:11
9. "You Can't Always Get What You Want" 7:30
The venue was in Phoenix, AZ., 2010:
compiled and reviewed by Stsven M. Duarte
Iron Maiden has been one of those bands on my list that I have not seen live. I have an all inclusive list of acts I need to see before I perish this wicked Earth and Maiden was high up there. Thus I set out on a 2 hour drive to neighboring Phoenix to see the might Maiden. Our trek was long and sweaty but well worth the pain and anguish that is the Arizona heat. Dream Theater opened up their set with As I am and finished with their classic Pull Me Under. Considering that each Dream Theater song is about 9+min they only played 6 songs. While not a large number of songs they played for about 50 min.
Then it was time for Maiden. They took the stage around 9pm. Their new stage setup had a space vibe and started with a background of glaring stars. Bruce Dickenson popped up along with the rest of the band into a wicked rendition of the Wicker Man. This was my first time seeing Iron Maiden live and I have to say Bruce can really sing. There’s no studio trickery here, the man’s got some lungs on him. They treated the audience with their new song El Dorado, off their soon to be released album The Final Frontier. The song sounded good and I actually was into it considering it was my first time hearing it. They then went into a couple of songs off their Matter of Life and Death album. One of the highlights of the night was Fear of the Dark, which had everyone chanting along with Bruce. They bid farewell to the crowd after singing the track Iron Maiden. Everyone stayed out chanting their name when all the lights dimmed and we heard the beginning spoken voice that begins before The Number of the Beast. The crowd went wild, as the band ran back on stage. They finished their encore set with Hallowed be thy name and Running free.
Overall my first Iron Maiden concert was a very positive one. I do have to say that I was a bit let down that some of my favorite Maiden songs were left off the set lest. Classics such as Run to the Hills, Minutes to Midnight and The Trooper were noticeably absent from their set. They played some of their newer songs within the last 10 years along with a couple older classics. I can’t help but feel that I need to see them again to get the full complete package. Regardless you can be mad when the show that was presented was still kickass, Irons up!!!!
1. The Wicker Man
2. Ghost Of The Navigator
3. Wrathchild
4. El Dorado
5. Dance Of Death
6. The Reincarnation Of Benjamin Breeg
7. These Colours Don't Run
8. Blood Brothers
9. Wildest Dreams
10. No More Lies
11. Brave New World
12. Fear Of The Dark
13. Iron Maiden
14. Encore:
14. The Number of the Beast
15. Hallowed Be Thy Name
16. Running Free
Dream Theater's preceding set was muc different than these titans of old school metal. As an opening act,their stage set was much more subdued, even if their music was NOT.
Anyone who has yet to learn the dark mathematical beauty of Dream Theater, this was a venue in which to do so with ease and comfort.
They took the stage without their much well known and worshipped bandmates' explosive entrance, or even the ear splitting sound levels. They also took the stage with less well known fare, but that did not slow then down as they gave it allfor their allotted time, playing such classics in their repetoire. as well as select few cover tunes from bands which these still consider great musicians and influences on their growing discography. Each song is lovingly crafted into different progressions and soundscapes, giving the listener the sense he hay found the Ox-ian road of golden bricks which will lead to some new unknown place.
Various shared Setlist with Iron Maiden throughout this tout:
(June 9, 2010 - July 20, 2010)
As I Am
A Rite of Passage
Home
Constant Motion
Panic Attack
Pull Me Under
Pull Me Under/Metropolis pt. 1 (added only on July 9, 2010 in Quebec City)
(Setlists without Iron Maiden (June 21, July 2, July 5, and July 10, 2010)
(Setlists on June 21 and July 2, 2010)
A Nightmare to Remember
Constant Motion
Hollow Years
The Mirror
Lie
A Rite of Passage
Home
Panic Attack
As I Am
Pull Me Under/Metropolis pt. 1
Encore: The Count of Tuscany
(Setlists on July 5 and July 10, 2010)
A Nightmare to Remember
Constant Motion
A Rite of Passage
Home
Hollow Years
The Mirror
Lie
Wither
Panic Attack
As I Am
Pull Me Under/Metropolis pt. 1
Encore: The Count of Tuscany
Callisto's is one of Finland's most respected prog metal bands, and, in my opinion, these guys sound like no other metal band out there right now. They don't let the metal label stifle their creativity in the least. In fact, I'd say if Radiohead ever went all dark doom metal and shoegazer, they'd sound like Callisto. Great use of harmony, both vocally and instrumentally, with some rather sophisticated lyrics and timing changes. And unlike most nu-metal vocalists, it's obvious they want you to hear their lyrics. They aren't obfuscating them beneath overdrive and distortion and screamo pretensions of pretended rage. They even go so far as to use trumpet, violin and saxophone in their compositions. I'm pretty impressed with this metalgaze sounding album and can't wait to hear more from these guys.
Oh, and if you really pay attention to the lyrics, it'll become evident pretty quickly that they consider themselves to be hardcore Christians. But, even if you're not in the least religious (like myself), you'll still love this album.
Tracks:
1. "In Session" — 6:34
2. "Rule the Blood" — 6:42
3. "Covenant Colours" — 7:45
4. "Eastern Era" — 5:38
5. "New Canaan" — 6:55
6. "Stasis" — 7:37
7. "Where the Spirits Tread" — 6:27
8. "Dead Weight" — 6:09
9. "Drying Mouths (In a Gasping Land)" — 7:08
10. "Providence" — 7:27
Steve Roach is, for my money, the king of pure ambient soundscaping. This is the first in his famous Immersion series and there's a good reason why they're called the Immersion albums. Listening to them is, quite literally, like being aurally immersed in a sensual soundscape that pulls you under its ethereal waves and pulses.
If this doesn't put you into a state of deep concentration and set your imagination free to roam the swirling depths of your consciousness, then you might be on crack. Highly recommended for shutting out the world for an hour and fifteen minutes. But be sure to use good earbuds for the total aural expreience. It will stretch you wide and far.
(Steve Roach maintains a great website for listening samples and purchasing his entire discography: http://steveroach.com/)
Lush's Spooky is an ear-pleasing mixture of the ethereal and sinister, with gorgeous cascades of shimmering guitar and thumping, driving basslines, from one of the 'shoegazer' school of music's greatest groups--and, God, how I miss that particular musical movement. Quite simply no one could harmonize like these shoegazer angels, Miki Berenyi and Emma Anderson, two of the most beautiful rockers I've ever seen. By the mid-90s, Lush was right on the cusp of huge fame and fortune, and then their longtime drummer, Chris Acland, hanged himself in his parents' home, leaving the band in despair. Their official dissolution was almost immediate.
Spooky remains for me their most impressive work, the culmination of what the 'shoegazers' were all about and a sort of soundtrack for my 20s.
With a running thematic core of revolution, politically and spiritually, they manage to create not only one of the most lyrically relevant albums of 2009, but also musically. These guys clearly are more than just an alt-rock band of the first order. They're on a mission. The sonic soundscaping they achieve is nothing short of amazing, a unique admixture of rock, electronica elements and pure classical phrasing, using piano and full orchestra. They've even managed to write a three-part symphony called 'Exogenesis' that's just beautiful. This is a must own album for music lovers.
Tracks:
1. "Uprising" 5:03
2. "Resistance" 5:46
3. "Undisclosed Desires" 3:56
4. "United States of Eurasia (+Collateral Damage)" 5:47
5. "Guiding Light" 4:13
6. "Unnatural Selection" 6:54
7. "MK Ultra" 4:06
8. "I Belong to You (+Mon cœur s'ouvre à ta voix)" 5:38
9. "Exogenesis: Symphony Part 1 (Overture)" 4:18
10. "Exogenesis: Symphony Part 2 (Cross-Pollination)" 3:56
11. "Exogenesis: Symphony Part 3 (Redemption)" 4:37
By this, his 2nd album, Redding was already considered the most exciting new voice in Southern soul music. With his trademark soulfully rough tone and his ability to make even previously revered classics by such masters as Sam Cooke and Jackie Wilson his own, this soul classic leaves no doubt why he was worshipped in his time as the GREAT! Otis Redding. If you have two good ears and a soul and have never heard this album, shame on you. Get it and play it with the lights turned down low and with someone you love. Then go out and get the rest of his albums and teach others the importance and almost forgotten value of American soul music.
Tracks:
1. "That's How Strong My Love Is" 2:24
2. "Chained and Bound" 2:25
3. "A Woman, a Lover, a Friend" 3:18
4. "Your One and Only Man" 2:48
5. "Nothing Can Change This Love" 2:59
6. "It's Too Late" 3:00
7. "For Your Precious Love" 2:49
8. "I Want to Thank You" 2:35
9. "Come to Me" 2:38
10. "Home in Your Heart" 2:10
11. "Keep Your Arms Around Me" 2:46
12. "Mr. Pitiful" 2:26
(Yes, Otis is dead, but his legacy lives on at this great little website filled with merchandise, music and memories: http://www.otisredding.com/)
Catherine Wheel's 1992 debut album, Ferment, was a magic sounding album! This thing epitomizes for me (along with a handful of other great albums) the damned exciting potential of the 90s alternative music scene. It is a legendary shoegazer classic. At times Ferment's sound is a sonic wall of thick fuzziness and at others, there are moments of crystalline beauty. An album like Ferment comes along very rarely. Not a bad or indifferent track on it. With hit songs like Black Metallic and I Want To Touch You, this should be in the music collection of any serious devotee of the alt-90 sound. It's like a melancholic freeze frame of what could be, before the greed heads decided to place their formidable weight behind the push for what they wanted alt music to sound like. In short, before the douchebags ruined probably the most exciting time in music since the 70s psychedelic movement. All in all, Ferment is a great representation of that time in music history when anything seemed possible and music had the power to create revolutions.
Tracks:
1. "Texture" – 4:19
2. "I Want to Touch You" – 4:40
3. "Black Metallic" – 7:18
4. "Indigo Is Blue" – 5:31
5. "She's My Friend" – 4:16
6. "Shallow" – 3:28
7. "Ferment" – 5:10
8. "Flower to Hide" – 4:43
9. "Tumbledown" – 4:08
10. "Bill and Ben" – 4:09
11. "Salt" – 5:26
12. "Balloon" – 3:56
(Although The Catherine Wheel have disbanded, lead singer Rob Dickinson has a wonderful MySpace page to check out: http://www.myspace.com/robdickinson)
Still one of my favorites by the masters of the ethereal shoegaze movement. Elizabeth Fraser's angelic and rapturous voice just dances like shimmering light through the swirling jangle of Robin Guthrie's guitar. An album full of complexly melancholic beauty. Both soul stirring and ambient, a truly potent combination after midnight in the desert. Music made for full moons and chill wind and the distant call of coyotes out in the ice colored arid wasteland valley. If you want to build a great shoegaze collection, this is one you MUST own.
The Deftones have gone through a lot since they last released Saturday Night Wrist in 2006. They were originally working on a concept album titled Eros. They had a majority of the work done on the album before tragedy struck the band. The bands bassist Chi Cheng was in an automobile accident which left him near death. At the time his status was unknown and the band went on a short hiatus. This occurred in 2008 and while Cheng is still comatose his condition is considered to be stable. The band felt that they could not use what was created with Eros and decided to start on new material. Thus we now have Diamond Eyes with former Quicksand bassist taking over for Cheng.
Diamond Eyes is very much a Deftones album. Much heavier than Saturday Night Wrist Eyes reminds us of the heavy sound they came out with on Around the Fur and Adrenaline. The album is also a departure from the sound that came forth in White Pony which was also very much a concept album. Now don’t get me wrong I loved White Pony and was patiently waiting for Eros but there’s just something about the Deftones and a really heavy sound that makes them who they are today.
From the very start of the album Diamond Eyes starts with the album titled track. Diamond Eyes prepares you for the heaviness that continues through the entire album. You’ve seen the Butcher is a song that is very reminiscent of a track that you might find from the White Pony sessions. The track is a slower paced melodic romp where lead singer Chino Moreno wails along with the guitar. Beauty School has a Lincoln Park vibe going on with the start of a hip hop beat which then goes into a slower paced rock ballad.
There’s no denying that Chino Moreno is a vocalist in his own category. Chino has always had an awesome unique voice that simply cannot be imitated. The only other vocalist in rock who has a better voice would be Maynard of Tool. It was only appropriate that they did a song together on White Pony called. If you’re new to Deftones this would be an excellent album to start off with. For Deftones fans you’re in for a real treat as you reminisce about the good old days when Deftones first started and Korn was still a good band.
My favorite animated band, the Gorillaz is back with a follow up to their multi-platinum Grammy award-winning album Demon Days. It was after the release of Demon Days that lead singer Damon Albarn stated there would not be any new Gorillaz releases. Well fast forward to 2010 and Albarns words were not true as the Gorillaz return with more pop/hip hop goodness.
Demon Days is a very tough act to follow. Pretty much every track on demon days is really good or at least decent which allows for multiple listenings with no track skipping from start to finish. I had very high hopes for Plastic Beach as I expect an album that will either match or surpasses Demon Days.
Well good news is the album matches the greatness that is Demon Days. Bad news is it just barely matches its predecessor. Anytime I review a group that I personally enjoy I always hold them to a higher standard than a group I may only listen to from time to time. So what issues did I have with the album?
For starters one of the guest vocalists that Gorillaz have included on Plastic Beach is none other than the Doggfather himself Snoop Dogg. While I don’t dislike Snoop I do feel that he is a bit out of place for the Gorillaz. The Gorillaz have always had a hip hop vibe and have shown this side over their previous albums. One ongoing theme they have had in the past is featuring either true hip hop or indie rappers. They have never really had any mainstream rappers in the past. De La Soul has worked with them before but I consider them more indie and more true hip hop. Welcome to the World of the Plastic Beach featuring Snoop just doesn’t feel like it should be on a Gorillaz album.
On the plus side they do include the great lyricist Mos Def as well as indie rappers Bash and Kano. De La Soul also makes a return on the funky Superfast Jellyfish. Plastic Beach also makes use of Orchestra’s on White Flag and Sweepstakes. Plastic Beach incorporates a little more electronic sounds than Demon Days which results in a more techno dance sound. Some standouts on the album include Stylo, Empire Ants, Some Kind of Nature, and Rhinestone Eyes. The album begins to lose a bit of steam towards the end.
While Plastic Beach is not exactly Demon Days, it still is a very well made album and a decent effort from the Gorillaz is way better than the best effort from most other acts out right now. There are no real bad songs on the album, I just don’t think the songs are as memorable as the tracks on Demon Days.
Tracks:
1. Orchestral Intro
2. Welcome to the World of the Plastic Beach
3. White Flag
4. Rhinestone Eyes
5. Stylo
6. Superfast Jellyfish
7. Empire Ants
8. Glitter Freeze
9. Some Kind of Nature
10. On Melancholy Hill
11. Broken
12. Sweepstakes
13. Plastic Beach
14. To Binge
15. Cloud of Unknowing
16. Pirate Jet
Harold Budd's The White Arcades is another elegantly melancholic treasure of minimalist ambient music from one of Brian Eno's best collaborators and production studio mates. Their tear inducing work on The Pearl has been a fav of mine years, and led me to explore Budd's solo works. I found his The Room to be one of the best produced albums of ambient. And I fell in love with his music after that and went on to collect all of his albums. The White Arcades is just simply beautiful to listen to and is guaranteed to get you mellowed in short order. But be warned, as with all of Budd's music, there is a dark and forlorn thread within its weave of slow piano and broadly reverb-ed and sustained electronic soundscaping. It is music by which to swim slumber's blissful tides for a while.
Tracks:
1. White Arcades
2. Balthus Bemused by Color
3. Child with a Lion
4. Real Dream of Sails
5. Algebra of Darkness
6. Totems of the Red-Sleeved Warrior
7. Room
8. Coyote
9. Kiss
The newest release from one of music's most exciting and mercurial artist: DJ Spooky-aka That Subliminal Kid is just as exciting as his other releases. With The Secret Song, he swings full force back towards his hiphop roots, constructing a strange combo of hardcore and triphop beats and mishmash, sprinkled liberally with all those awesome ear bending little tweaks and twitters which his diehard fans (myself included) love about his albums. One can never be bored with DJ Spooky's compositions, as he does an instrumental cover of the metal classic Dazed and Confused and then offers a blissful electro dub song and then a song rapped in Mandarin Chinese! Seriously, who else in the Western world would even think to do such? Guests artists this time around include Thurston Moore of Sonic Youth and The Jungle Brothers and more. If you like the eclectic stylings of groups like The Gorillaz, you'll dig on The Secret Song.
Tracks:
1. Intro- The War Of Ideas
2. 5 Million Ways To Kill A CEO- feat. The Coup
3. Multiphonic- feat. Rob Swift
4. Dazed And Confused Dub- feat. The Golden Hornet Project
5. Measure By Measure- feat. George W. Bush
6. The Secret Song- feat. Jing Zhou
7. Myxamatosis
8. Where I'm At- feat. Zimbabwe Legit and Mike G. of The Jungle Brothers
9. L'Autre- feat. The Golden Hornet Project
10. Heliocentric- feat. Peter Gordon
11. Azadi (The New Complexity)- feat. Sussan Deyhim
12. Composite Refraction Drum Solo
13. Pax Per fidem- feat. Post Modern jazz Quartet
14. Iago's Lament- feat. Vijay Iyer
15. Known Unkowns- feat. Thurston Moore of Sonic Youth and Mike Ladd
16. Salt Satyagraha- feat. Abdul Smooth
17. Point- Counterpoint
18. No Quarter- feat The Golden Hornet Project
19. Cognitiva- feat. Emah Fox , The Golden Hornet Project
20. Duality
This is the seminal collection from the single most important band in all of horror.
Yes, all you horrorheads, that's right: I'm talking about Goblin: Collection 1975 to 1989. And if there is a more important horror soundtrack collection in the history of horror, please let me know, cause I gotta have it!
This album is comprised of no less than 27 compositions written and performed by the Goblin boys. Everything from their lesser known works (at least lesser known here in the USA) such as Chi?, to their genre making classics such as the themes for Suspiria, Tenebre, Dawn of the Dead, Deep Red and Phenomena. There are tons of outtakes and demo tracks as well, but for us diehard Goblin lovers, it's finally getting a chance to hear the complete themes for such lesser known horror greats as The Church and Wampyre (known in the US as Martin) that makes this an indispensable album. This goes from rockin' prog tracks to ambient beauties, made up almost entirely of electro beats and keyboards.
Seriously, if you don't own this collection, can you really be that much of a horrorhead? Don't even get me started on Keith Emerson's awesome solo soundtrack work for Argento on Inferno or his weirdly sensual work for 1981's The Burning.
Tracks:
1. Profondo Rosso (Main Title)
2. Death Dies - M32 [Original Film Version]
3. Profondo Rosso - M15
4. Profondo Rosso - M31
5. Wampyr (Finale)
6. Chi, Pt. 1
7. Chi, Pt. 2
8. Patrick - M 32 Bis
9. Patrick - M 1
10. Patrick - M34-34 Bis-35
11. Suspiria (Main Title)
12. Via Della Droga - M 1 IV
13. Via Della Droga - M 2
14. Via Della Droga - M 6
15. Via Della Droga - 31
16. Alba Dei Morti Viventi
17. Buio Omega - M6
18. Buio Omega - M25
19. Buio Omega (Main Title)
20. St. Helen (Love Theme)
21. Contamination - M 3
22. Contamination - M 8
23. Tenebre (Main Title)
24. Bass Theme
25. Phenomena - M 12
26. Phenomena - M 15 [Alternate Version]
27. La Chiesa
Calabrese is band that has steadily gained popularity in the states. I myself am new to their music and was excited to hear their new album “They Call Us Death.” I can happily say that I was left with a good impression of their sound and look forward to not only checking out their back catalogue but waiting for new releases from the trio.
I have always been very clear on not wanting to label how a band sounds, but if someone were to ask I would point out Calabrese’s heavy influence from Misfits, Type O Negative and even the great Ramones. They have a good sound with a touch of Rockabilly thrown in for good measure. The vocals which are handled by Jimmy and Bobby Calabrese are very reminiscent of Evil Elvis himself Glen Danzig.
Calabrese’s lyrics and sound centers on horror themes with the use of B-movie sound bites. During my many listenings of this album, I was often reminded of 70 to late 80’s era Misfits. Calabrese definitely has the sound of an evolved modern Misfits.
Many of the songs found on They Call Us Death are very catchy tunes. Calabrese does a fine job of creating catchy tunes without having each one sound the same. Too often bands come up with hooks that just sound too damn similar. It can sometimes sound like your listening to one long song. Two of my favorite tracks from the album include the title track “They Call Us Death,” and “Black Anathema.”
“They Call Us Death,” is an album that grabbed my attention and appealed to both my horror and metal side. Calabrese is a band to look out for in 2010 so do yourself a favor and buy “They Call Us Death,” to share in the nightmare that is Calabrese.
Track List:
01. They Call Us Death
02. Black Anathema
03. Deep in The Red
04. Near Twilight
05. Blood of the Wolf
06. Within the Abyss
07. Venomwolf
08. Summon the Beyond
09. Violet Hellfire
10. The Machine of Instant Death
11. Endless Night
12. Loveless God
Check out their official YouTube Channel for interviews, videos and other special reports:
The long awaited sequel to the original Hellbilly Deluxe has finally been released. Fresh off directing the not too well received Halloween 2, Zombie felt the need to return to his horror rock roots. And for the most part he succeeded as Hellbilly Deluxe is much more 90’s era Zombie than his previous effort Educated Horses.
Even though not specifically stated in public, I always felt that Educated Horses was somewhat of a concept album. Then Zombie had a new band backing him and he had not released an album in a couple of years. The overall direction of Educated Horses took a much different direction than we had previously heard on Hellbilly Deluxe and Sinister Urge. To my surprise Hellbilly 2 features much of the same feel and direction of his previous albums. The titles of the songs mirror names of 1950 B-movies that were never created. We have titles such as Werewolf, Baby, Mars Needs Women, and Werewolf Women of the SS. Zombie includes samples of dialogue from older movies, much like Hellbilly deluxe contained.
One thing that Zombie incorporates into the new album that was not used too much in previous albums is his use of distortion for his singing. Songs such as What, and Dream Factory contain this filter. While I guess the potential is there for it to sound cool, I just couldn’t get into the sound and felt like it actually took away from the songs. Zombie’s band from Educated Horses is back which includes one of my favorite metal guitarists John 5. His melting riffs never disappoint and Hellbilly 2 is full of face melting solos and haunting complex riffs.
There really are not any bad tracks on the album. Every track is listenable and you really will not find yourself skipping through tracks to get to your favorite. The entire album is decent enough to allow a full play through. One nod that horror fans will easily recognize will be Zombies inclusion of a song for his faux trailer Werewolf Women of the SS. Werewolf Women of the SS was one of the trailers included between the Planet Terror and Death Proof double feature released in 2007. The song is fitting for the trailer and we can only hope that Zombie actually makes a Grindhouse style full feature film for Werewolf Women. Hey if Robert Rodriguez’s Machete does well, it might actually happen.
Track List:
01. Jesus Frankenstein
02. Sick Bubblegum
03. What?
04. Mars Needs Women
05. Werewolf, Baby
06. Virgin Witch
07. Dream Factory
08. Burn
09. Cease to Exist
10. Werewolf Women of the SS
11. The Man Who Laughs
I have often defended HIM’s music. Too often people hear their music and dismiss them for some alt emo band. There is so much more to their music than their radio friendly singles. Their new release “Screamworks,” is perhaps their most emo sounding album yet which makes it tough to defend their music from falling into the emo category.
Screamworks is very much a departure from their previously dark and heavy album “Venus Doom.” Venus doom had heavy down tuned guitar work along with dark lyrics and themes. The songs averaged 6 minutes in length with the exception of Sleepwalking past hope which clocks in at 10 minutes. My enthusiasm for the band was increased tenfold when I first heard Venus Doom. HIM has always had that dark gothic sound and Venus Doom really put that side of them center stage. Venus doom was based off of Dante’s Divine Comedy. The darkness of the album really reflects this.
Screamworks is much more pop and emo than any of their previous work. This album is closer sounding to 1999’s “Razorblade Romance.” Majority of the themes and lyrics included on Screamworks involve heartbreak and love. The radio friendly single “Heartkiller,” is very reminiscent of the Razorblade Romance era. A couple of the songs contain throwbacks to the old casio keyboard sound of the 80’s. “In The Arms of Rain,” starts with an Atari Pong sound effect that plays throughout the entire track. “The foreboding Sense of Impending Happiness,” also contains an 80’s Depeche Mode sounding backing track. A very nice throw back to the 80’s with the use of these effects.
“Ode to Solitude,” and “Like St. Valentine,” are two of the heavier songs on the album. These two mirror the sound found on Love Metal. I always felt that HIM sounded their best when playing heavier and this album could have used more of these heavier songs. Screamworks is not a bad album by any means; it’s just disappointing that they were headed towards a darker sound first with Dark Light then with Venus Doom. Now they have taken the route of a lighter pop sound which can leave HIM fans on divided ends.
Track List:
1. In Venere Veritas
2. Scared To Death
3. Heartkiller
4. Dying Song
5. Disarm Me [With Your Loneliness]
6. Love, The Hardest Way
7. Katherine Wheel
8. In The Arms Of Rain
9. Ode To Solitude
10. Shatter Me With Hope
11. Acoustic Funeral (For Love In Limbo)
12. Like St. Valentine
13. The Foreboding Sense Of Impending Happiness
Like some backwoods black magic ceremony, Dr. John The Night Tripper's (shortened a few years later to just simply Dr. John) 1968 debut album was something American listeners had never heard before. The entire album is imbued with a dark quality that feels as if he were trying to give us the musical embodiment of the religious mélange which makes up the rites and beliefs of Cajun swamp magic. It is at times irreverent, strange, amusing and frightening, but always adventurous. Wails, moans, insane cackles, animal screeches and caws- all these cacophonous sounds are grist for the mill as Dr. John draws us into his mystical world of swamp magic and gris-gris bags, voodoo dolls and red beans and rice. Lyrics are repeated, as if the singers were summoning something from beyond with their voices.
Of course, the standout track on this debut album is the one that made Dr. John famous: “I Walk On Guilded Splinters”, a song about black magic and the Hoodoo’s dark powers to control zombies and raise Hell on Earth. And with Dr. John’s rough tone, it all sounds believable that he could make a zombie or two with the contents of his gris-gris bag.
GRIS GRIS is an album that could only come from The Big Easy, a city as much a dark mélange as this album.
If you have a taste for soulful, dark, strange music that at times feels as if it might actually call forth some demonic swamp entity to do your bidding, then find this album and add it to your collection.
Tracks:
1. "Gris-Gris Gumbo Ya Ya”
2. "Danse Kalinda Ba Doom"
3. "Mama Roux"
4. "Danse Fambeaux"
5. "Croker Courtbullion"
6. "Jump Sturdy"
7. "I Walk On Guilded Splinters"
Mudvayne graces us with another album after releasing “The New Game,” in November of 08. Word is they created the tracks for this album alongside The New Game recording session. While the songs may have been recorded during the same session, “Mudvayne,” is definitely a darker heavier album. While many of the tracks contained on “The New Game are more upbeat, “Mudvayne contains dark eerie intros that play into heavy down tuned riffs.
The first song “Beautiful and Strange,” is an example of the darker sound. The song starts off with very industrial sounding effects that would make even David Lynch envious. The rest of the song is pure mudvayne with lead singer Chad Grays signature growl. One thing that flows throughout this album are catchy hooks which are found in almost every song. Other standouts on the album include “Scream with Me,” and the industrial sounding “Closer,” which is reminiscent of a Rammstein song. When we get to the middle of the album, we are treated to yet another haunting music score which acts as the intro to “Heard it All Before.” I’m not sure if Mudvayne included these intros for the sole purpose of making the album darker or if they had alternative motives for it. Either way I enjoy horror scores and dark sounding music so I found it as a welcome addition.
We get to hear a little bit of bass work from bassist Ryan Martinie on “Beyond the Pale,” which is always a welcome addition in my book. The last song on the album “Dead Inside,” is much more country sounding ballad reminiscent of some of the work Chad Gray did with HellYeah. This album is more L.D 50 than say Lost and Found which is definitely a good thing. One cool thing that Mudvayne did with the packaging of the album is they had world known horror tattoo artists Paul Booth create custom artwork for the album cover. The cover can only be seen under a black light and appears to be a blank white cover to the naked eye. This is a very awesome idea which gives people incentive to purchase the album.
Track List
1. "Beautiful and Strange"
2. "1000 Mile Journey"
3. "Scream With Me"
4. "Closer"
5. "Heard It All Before"
6. "I Can't Wait"
7. "Beyond the Pale"
8. "All Talk"
9. "Out to Pasture"
10. "Burn the Bridge"
11. "Dead Inside"
Some might find it strange to see a review for a soundtrack from a movie made back in 2006—and it wasn’t even a horror film, to boot. But this is one of the most beautifully composed collection of songs I’ve ever had the pleasure to hear, soundtrack or not. This album works even without the melancholic and elegantly shot film by master director Darren Aronofsky (the man responsible for two films that deserve honorary horror status for their darkly disturbing and twisted narratives, π (Pi) and REQUIEM FOR A DREAM).
Clint Mansell was the former lead singer of the legendary Brit alt/pop group Pop Will Eat Itself, until they disbanded and he began working with Aronofsky on his first film TT. His previous works have been heavy on electronica backgrounds, but with The Fountain, we find a more restrained use of such soundscapes, and the overwhelming sadness of the string parts are enough to bring tears to your eyes. Not to say there is no power inherent in these songs, because by the end of Death is the Road to Awe, you should be sitting upright and feeling a sensation of righteous energy and strength. This is an album that deserves some reevaluation by modern classical composers because it does what a lot of modern classical (?) music does not: it emotes and moves you.
Track Listing:
"The Last Man" - 6:09
"Holy Dread!" - 3:51
"Tree of Life" - 3:44
"Stay with Me" - 3:36
"Death Is a Disease" - 2:34
"Xibalba" - 5:22
"First Snow" - 3:08
"Finish It" - 4:25
"Death Is the Road to Awe" - 8:25
"Together We Will Live Forever" - 5:01
Much like most of Clutch’s complete discography, their newest release, STRANGE COUSINS FROM THE WEST, is good time, unadorned rock and roll of the first order. It’s refreshing to hear a band that knows its strengths and doesn’t try to follow transient trends. These guys know you can never go wrong with the simple drum, bass, guitar and some damn strong vocals to back it all up.
The band has moved through some very different styles through their nearly 20 year career. They’ve done the punk thing, the straight up heavy metal thing, and now they’ve moved to where they belong: hard rock rock and roll, with a subversive edge.
With this new album, they keep the recipe boiling with such powerhouse songs as their take on the blues classic Motherless Child, and new songs such as 50,000 Unstoppable Watts, Witchdoctor. With its requisite heavy bass lines and grungy guitar riffs, STRANGE COUSINS FROM THE WEST delivers what rock and roll fans need most, honest music, passionate lyrics and experienced craftsmanship that respects its listener. It’s hard to call the standouts on the tracks list, because there aren’t any weak songs on the album. But if I had to call ‘em, the above mentioned would work for me.
If you haven’t already gotten this one, snatch it up. And keep an eye out for Clutch coming to a town near you, because these guys put on a great live show.
Rammstein has proven to be a well established European act over their 20 year career. While their anti American themes and lyrics can sometimes detract from their music their ability to combine industrial, techno, and heavy metal musical styles into one is one of the best in the business. Plus who the fuck cares what their saying? It’s in German.
Rammstein has always been tongue in cheek and that continues with their newest release “Liebe ist für alle da.” If you haven’t seen their video for their first single “Pussy,” you are in for a shock. The video is basically a porno as they superimposed the bands faces on male porn stars and filmed them having sex. When I say it’s a porno I really mean it as there’s full frontal male and female nudity as well as intercourse. We are even treated to a money shot at the end. The video is a shot at American conservative culture which involves heavy censorship. The song “Pussy,” although very silly, is quite catchy. The songs main hook is a riot. “You have a pussy, I have a dick, so what’s the problem, let’s do it quick.” Believe it or not this is the actual hook for the song. You will easily find yourself singing along with lead singer Till Lindemann regardless of how absurd the song is.
The other songs on the album are more of a return to their older albums including Sehnsucht and Mutter. I was pleased by this as I was not a big fan of their more recent albums. The second track “Ich tu dir weh,” reminds me of their fan favorite song Du Hast. The song starts off with techno sounding synths before the song is ripped to shreds by heavy industrial guitar riffs. “Rammlied,” also reminds me of their previous work as they stay true to their heavy riffs combined with light synths and background female vocals which brought forth memories of the song “Engel,” from their Sehnsucht album.
Other notable songs include Haifisch, Waidmanns Heil, and the techno sounding Mehr. Haifisch does a good job of sounding like a Depeche Mode remix of a Rammstein song. I was never a fan of the slower Rammstein songs so naturally I disliked the slow paced “Roter Sand.”
Overall a good buy for your metal collection. Rammstein isn’t for everyone considering their songs are predominately German. If you were a fan before, this album will cement your confidence in this band. On a final note, here is the link to Rammstein’s uncensored music video “Pussy.” Again this is not safe for work and should be viewed with caution.
Track List
1 “Rammlied"
2. "Ich tu dir weh"
3. "Waidmanns Heil"
4. "Haifisch"
5. "B********"
6. "Frühling in Paris"
7. "Wiener Blut"
8. "Pussy"
9. "Liebe ist für alle da"
10. "Mehr"
11. "Roter Sand"
To say convey what a significant impact this album had on my childhood is almost impossible.I colored how I looked at music for the rest of my life, to say the least.
And one can almost draw a direct line from them to my love for groups like Radiohead.They both treated tradition as a springboard for individualism and testing the waters of experimentalism in mainstream music.
In the 70s, there was no other band that was doing what Jeff Lynne and crew were doing.They had taken the odd orchestral bits from the classic Beatles catalogue and turned it into a new style of rock and roll music. And they were huge.Gold and platinum albums followed one upon the other, as US and UK listeners eagerly awaited the next sci-fi concept album.
But within all this new age, sci-fi, string and electronica experimentation, Lynne was writing songs about loneliness, lost love, and emotional isolationism in that 70s age of free love and disco music.His hooks were catchy, but it was the lyrics that kept people coming back for more.
With ‘A New World Record’, all of those elements seem to gel to create something bigger than the individual parts.
There are no bad songs, and many of them lead logically right into the next one.
The stirring use of classical music as bridge, as hook and as end note are inspired and no band has yet to top what these guys could do with a couple of violins, cellos and a keyboard.It is sublime and beautiful, while remaining uniquely rock and rolla.
Dead Can Dance is legendary for being able to pull together divergent world music influences to create music that sounds as large as the world in which they exist.There is a moody darkness that pervades their collected works that speaks to the human spirit.Up until 1994, most of their fans had to imagine what these strange sounding musicians might look like.Other than a few unrevealing sleeve photos, there wasn’t much to go on.But with the live 1993 show they performed at the Mayfair Theater in Santa Monica being put on VHS and DVD, fans need guess no longer.But besides, this live album finally giving face to a group of extraordinarily talented musicians, it also gave many fans the first taste of live music from these guys.
And what a taste!
‘Towards the Within’ is easily one of the best live albums ever recorded.There must have been magic that night.Every songs was recorded in one perfect take.Lead vocalists Bredan Perry and Lisa Gerrard have never sounded so ethereal and other wordly as they do on ‘Towards the Within’.
But besides being a great live set, this also plays out as a best of album.
With such classic songs as ‘Rakim’, ‘Yulunga’ and ‘Cantara’, you get the a sense of what this band was capable of at the height of their abilities.
If you only get one Dead Can Dance album (and shame on you if that’s true), make it this excellent live album.
The Helsinki Vampires are “Back in Blood,” with their newest release. The once glam rock metal act from Helsinki, Finland delivers a decent album worth giving a listening to. Upon first listen to this album, you will notice that the sound is much more upbeat than previous releases from the band. This would not coincide with the title of the album since The 69 eyes popularity was gained with their older gothic sound. They still retain some of their gothic sound and themes with songs titled “Dead Girls Are Easy,” and “Kiss Me Undead.” The band definitely wanted to evolve their sound with this new album and they made their point with the title track “Back in Blood.” The song begins with a fade in of a rhythm guitar track playing in the background. Lead singer Jyrki 69 comes in with his Jim Morrison like tone, letting everyone know they are back. The band chose to work with Grammy award winning producer Matt Hyde. Their choice was well made as the production values are top notch.
A majority of the album includes upbeat songs including the single “Dead Girls Are Easy.” What I did find surprising is that many of the songs are catchy. The 69 Eyes have not been known for catchy songs. The inclusion of a more mainstream producer could push away some fans of the old gothic sounding 69 Eyes. Back in Blood really does tailor to the mainstream. The argument can be made that the titles of the songs are very gothic sounding but they just don’t have that dark edge that their older work screamed of. The closest sound of the old 69 Eyes would be the slower tracks “Nightwatch, Hunger, and Eternal.”
One point I would like to get across is that I understand completely that over time bands evolve and start to sound different. My only issue with this album is the reason they hooked me in as a fan was their slow gothic sound. Songs such as Brandon Lee, Gothic Girl, and Wasting the Dawn,” made me an instant fan. With “Back in Blood,” the band has taken more of a step towards their older glam metal sound. This can be good or bad depending on your overall outlook towards the band. Almost every band reaches that point of turning mainstream and The 69 Eyes seem to have reached that point. This album would definitely be a good listen for someone looking for new music to discover considering its mainstream appeal. I do recommend also picking up The 69 Eyes best of album “Framed in Blood – The Very Blessed of The 69 Eyes,” to hear their signature gothic sound.
There’s no denying the popularity of the virtual heavy metal band Dethklok. The show Metalocalypse has been renewed for a third season on Adult Swim and the fictional band is currently on tour supporting Mastodon. Series creator Brendon Small brings us the second full length album from Dethklok. This sophomore effort from is definitely an upgrade over the first Dethalbum. While I did enjoy the first Dethalbum I treated it more as a companion to the cartoon show. Dethalbum II breaks from this mold as it truly stands on its own as a heavy metal album. While giving the album repeated listens, I often forgot that I was listening to Dethklok. This album could hold its own against such bands as Arch Enemy and Children of Bodom.
The album starts off strong with tribal drumming on “Bloodlines.” The double pedal drumming done by former Strapping Young Lad drummer Gene Hoglan adds to the great production of the album. Much like the cartoon show, you will find yourself headbanging to the thunderous drumming and guitar solos. Dethalbum II also includes much more keyboard work this time around which is a welcome addition. Other standout songs on the album include “The Gears,” “Burn the Earth,” and “Murmaider II: The Water God,” which is part two of the first albums song Murmaider. The difference in song composition between Murmaider 1 and 2 really shows how much the music has matured with Dethalbum.
Dethalbum II does retain the over the top song names and lyrics that were prevalent on the first album. While this may be considered corny for a band such as Dimmu Borgir or Nile, it works for Dethklok as their show portrays themselves as laughable heavy metal heads. This album has garnered repeated listenings from me as I have accepted Dethklok as a formidable heavy metal band. I still get amazed at the fact that one man plays majority of the instruments in creating this monstrous album. I would definitely recommend this album over their first due to the more mature sound and overall better compositions of the songs.
Track List
1 "Bloodlines"
2 "The Gears"
3 "Burn the Earth"
4 "Laser Cannon Deth Sentence"
5 "Black Fire Upon Us"
6 "Deth Support"
7 "The Cyborg Slayers"
8 "I Tamper with the Evidence at the Murder Site of Odin"
Second albums are notoriously difficult to pull off--especially if you've been successful with the debut album. But Five Finger Death Punch has the fact that they've all been in other bands before joining to create this supergroup of like minded maniacs.
'War Is the Answer' continues the heady, gutteral bass driven sounds from 'The Way of the Fist', and they've kept the melodious rage filled lyrics from their first album as well. And that's what the hell we wanted, so thanks guys!
There are moments when their anger and frustration with the modern American sheep-like culture seems to transcend their musical cage and get inside your head. What are they so angry about? Good question. Pay attention to the lyrics and find out. Even the album's misleading political title makes you wonder if these guys, who seem so hardcore and pissed off, are denouncing the American government's involvement in 'police keeping' ventures that we don't dare call a war. Well, sort of, but there's, like the first album, a deeper human condition concern in their lyrics. Their aggression veils their love for all living things.
Lyrics aside, this is a savage album made by guys who can come off sounding like testosteronic ape men bent on slamming their enemies into the mud, dead or dying. But there are times they can also create some really beautiful melodies that bring a tear to your eye.
But you best not let them see you crying; there's no telling what they'll do to you.
Track Listing (standout tracks are denoted *):
1. "Dying Breed"*
2. "Hard To See"*
3. "Bulletproof"*
4. "No One Gets Left Behind"
5. "Crossing Over"*
6. "Burn It Down"
7. "Far From Home"*
8. "Falling In Hate"
9. "My Own Hell"
10. "Walk Away"*
11. "Canto 34"
12. "Bad Company" (Bad Company cover)*
13. "War Is the Answer"
Following the tragic drug death of iconic lead singer Layne Staley back in 2002, it was pretty much assumed by Alice fans that it was all over. Despite the fact that remaining members said many times it wasn’t, and that they’d been touring off and on for the last few years with new lead singer William DuVall (former member of ‘Comes of the Fall’), someone who can carry the angst ridden vocals we’ve all come to expect from these guys. I didn’t start getting excited about a possible new incarnation of one of the best bands to come out of the 90s until I heard they’d been in the studio back in October of 2008. Studio time ain’t cheap, so if a band is promoting the fact that they’re in the studio, you can usually bet your bottom dollar that something will come of it.
And now, folks, we have probably the strongest Alice In Chains full length album since ‘Dirt’. With ‘Black Gives Way To Blue’, Jerry Cantrell, Mike Inez, Sean Kinney, and, of course, William DuVall breath life back into the grunge sound we all love and miss. This is like the good old days before alternative music became the likes of Lillith Fair bullshit being toted by greedy ass, ignorant record execs as alt music.
We have the trademark Alice dark harmonies and raw lyrics that made them the best of the best back in the 90s. We have the classic Alice power chords that get down into your blood and burn like beautiful black stars. Thankfully, these uber-talented guys did not spend their days pining for the loss of Staley (which still irritates and saddens many) but did what any self respecting band should do: they carried on. And in doing so, they’d proven that nothing is impossible with ‘Black Gives Way To Blue’.
Track Listing (they’re all good, but I’ve marked the standout tracks with *):
1. "All Secrets Known"*
2. "Check My Brain"
3. "Last of My Kind"*
4. "Your Decision"
5. "A Looking in View"*
6. "When the Sun Rose Again"
7. "Acid Bubble"*
8. "Lesson Learned"*
9. "Take Her Out"
10. "Private Hell"
11. "Black Gives Way to Blue"
It’s been 10 years since a then unknown band from Des Moines, Iowa released their self titled album. Of course I'm talking about Slipknot, one of the surviving pioneers of the Nu metal movement. Since 1999 they have released 4 studio albums, 4 DVD’s, and a live album to round out their career. Three of their albums have been certified Platinum, while the remaining two have achieved Gold status. That’s not even mentioning the seven Grammy nominations, along with a win in the “Best Metal Performance,” in 2006.
Slipknot has accomplished a great deal in 10 years and are celebrating the anniversary of their first release with a special edition of their first album. The first part of the album has the same track listing as the original 1999 album. The song "Purity" has been included after previously being removed due to copyright issues. The new release also includes songs that were previously only available with the digipak release of the original album. The songs “Interloper", "Despise", and "Get This,” round up the digipak tracks included on the reissue. Being a self proclaimed Maggot (a true fan of the band) I was most interested in the remix tracks that were to be included on this album. I have to say that I was disapointed with the end product. The included remixes sound too much like the original songs. When I hear that a song is being remixed, I expect a new take on an old track. These remix tracks show very few changes, which are mostly found at the beginning or at the end of each track. Slipknot has too much talent not to deliver fully remixed tracks of their older material. I've heard remixed songs from drummer Joey Jordison and percussionist Clown to know what they can do with a remix. A good example of this is the Bloodstone remix of "Vermillion Pt 2". which was originally included on the "Underworld Evolution" soundtrack. This remix had a completely different tempo and included various sounds and effects not found on the original.
Now that I got that off my chest, I do appreciate the demo version of “Wait and Bleed,” that is included on the album. Hearing how much lead singer Corey Taylor’s vocals have changed over the years really shows how far the band has come. The album comes with a DVD that includes behind the scenes footage taken place between 1999 and 2000. This insight into the band's lives on and off the stage is interesting veiwing. You get to see a montage of DJ Sid puking, followed by the band's early onstage antics of lighting things on fire, then of course peeing on it, all while onstage in front of screaming fans. As an added bonus the DVD includes a full concert from 2000 as well as music videos that were released when the album first came out.
Overall a good package for a classic album that deserved the anniversary treatement. If you are new to the band you definatley want to pick this up. If your not new to the band and already own their first album, pick it up anyways since you get an insightful DVD with it.
If you’re building that classic rock collection, then YESSONGS is a superb double disc live album that could easily be considered a ‘best of’ for Yes’ early works—to some their only relevant work. YESSONGS is also a definitive moment in prog-rock history, the songs structured to maximize the poly-rhythmic interchange between keyboard, bass, and drums- that musical hinterland where groove takes precedence over lyrical meaning and logic. The vocal work isn’t quite as sharp as their studio albums, but what they lack in perfect harmony, they more than make up for with pure musicianship. There are elements of jazz doodling along side classical guitar riffing and they tend to take off and make the feel somehow larger than the studio versions. Unlike most live albums, the audience is barely heard and they aren’t used to make the listener feel as if they’ve missed something big. It may suffer from time to time with the 60s flower power hangover, but don’t let that fool you. There is some true power here to soak up. No one else could pour on the keyboards and classical references with quite the same panache, with the exception of Emerson, Lake, and Palmer. Each track is a standout production and they truly rise when they meander to a conclusion.
This live set is a showcase for the exciting qualities that are missing in their later works, as they moved towards more radio-friendly musical encapsulations (90125 anyone?). This is a moment in time when they could not wished for a tighter sound and solidarity. Later the band went through several personnel changes and had much trouble with lawsuits amongst themselves about rights and money.
So taste the grand buffet of lavish pro-rock that was Yes and add this to the collection of essential albums.
Tracks:
Disc one
1."Opening (excerpt from 'Firebird Suite')" (Igor Stravinsky) – 3:47
2."Siberian Khatru" (Jon Anderson, Steve Howe, Rick Wakeman) – 9:03
3."Heart of the Sunrise" (Anderson, Bill Bruford, Chris Squire) – 11:33
4."Perpetual Change" (Anderson, Squire) – 14:11
5."And You and I" (Anderson, Bruford, Howe, Squire) – 9:33
1."Cord of Life"
2."Eclipse" (Anderson, Bruford, Squire)
3."The Preacher the Teacher"
4."Apocalypse"
6."Mood for a Day" (Howe) – 2:53
7."Excerpts from The Six Wives of Henry VIII" (Wakeman) – 6:37
8.”Roundabout" (Anderson, Howe) – 8:33
Disc two
1."I've Seen All Good People" (Anderson, Squire) – 7:09
1."Your Move" (Anderson)
2."All Good People" (Squire)
2."Long Distance Runaround/The Fish (Schindleria Praematurus)" (Anderson, Squire) – 13:37
3."Close to the Edge" (Anderson, Howe) – 18:13
1."The Solid Time of Change"
2."Total Mass Retain"
3."I Get Up I Get Down" (Anderson, Squire)
4."Seasons of Man"
4."Yours Is No Disgrace" (Anderson, Bruford, Howe, Tony Kaye, Squire) – 14:23
5."Starship Trooper" (Anderson, Squire, Howe) – 10:08
1."Life Seeker" (Anderson)
2."Disillusion" (Squire)
3."Würm" (Howe)
Following a steadfast British musical tradition, members Andy Bell and Mark Gardener met in art school, where they recruited Laurence Colbert and Steve Queralt to form Ride, a band that would go on to create a unique sound in British music and nearly become the biggest sound in alternative music.
With the release of their first EP, they were already honing that sound, and garnering attention from fans and music press alike. Taking most of their material from various EPs over a year’s time, and adding a few original songs to the mix, they released this brilliant album, NOWHERE. From there, it was music history, as they took the British music scene by storm, and finally made their way to the States to catch the eager ear of the critics, and even getting a minor U.S. hit with “Taste” and scoring an MTV hit with “Vapour Trail”.
It seemed clear to everyone that Ride was poised to become the next-big-thing.
Then along came the grunge movement to wipe most aspiring shoe-gazer bands from the U.S. charts, as every label scurried to find the next-big-Nirvana, instead.
NOWHERE is an album of transient beauty. It never finds a dull niche sound and coasts along. There are moments of pure musical genius, as Andy Bell laments love, loss, and life. The ethereal jangle guitar riffs and solid drums weave in and out of the foundational bass work. Some of the best I’ve ever heard; nothing overly ornate; just damned fine playing that fosters the music.
This is an album meant for late night drives and rainy days, broken hearts and lust filled nights.
Stand out tracks…erm…all of them. Seriously. This is the best album they ever produced and most fans agree that they never sounded as tight and wonderful as NOWHERE on subsequent albums. Get this album. Even if you don’t like shoe-gazer music, you’ll love this album for its pure beauty of construction and tonal quality.
Polish Metal heads Behemoth is not for everyone. I honestly did not like them the first time I listened to one of their albums. Their 2007 album “The Apostasy,” is what made me a fan. It was then that I purchased their back catalogue and actually got a chance to see them live when they toured with Dimmu Borgir. Behemoth has now released their newest album titled Evanelion. So how does it fare to their previous albums? Well it really is a mixed bag. This is one of their shortest albums with 9 tracks coming in at 41.9 minutes long. In the many listening that I have given to this album, I was often surprised at how quickly I had listened to the entire album in one sitting. Behemoth has not been known for creating Dream Theater length songs but I would have liked to see additional tracks included on this album. Different retailers offered an additional bonus track with purchase of the digital version of the album. Even with the additional track the album is still short.
All complaints aside the album is classic Behemoth. This album, along with “The Apostasy,” is a good one to start out with if you are new to the band. The cookie monster vocals of lead singer Nergal has been toned down a bit from their previous releases. This makes them a little easier on the ears. The brutal assault of drummer Inferno is really something to hear as he has been called one of the fastest drummers in metal. His mastery of the double bass pedal puts up notes that leave other drummers in the dust. The track “Ov Fire and The Void,” gives you a taste of what he can do. This track is my favorite off the album with its haunting guitar riffs and solos.
Overall they have enough variety within this album to avoid having every song sound the same. Behemoth continues their anti Christian lyrics and themes with songs such as “Lucifer,” and “Defining Morality OV Black God.” Regardless of your stance on religion you don’t have to worry when listening to a Behemoth album as the lyrics are hard to understand. The last track of the album is an appropriate send off with its slowed down tempo and ghostly hymns.
Tracks:
1. "Daimonos" 5:15
2. "Shemhamforash" 3:56
3. "Ov Fire and the Void" 4:27
4. "Transmigrating Beyond Realms ov Amenti" 3:27
5. "He Who Breeds Pestilence" 5:41
6. "The Seed ov I" 4:58
7. "Alas, Lord Is Upon Me" 3:15
8. "Defiling Morality ov Black God" 2:49
9. "Lucifer" 8:06
10. "Total Invasion (Japanese Bonus Track)" 7:20
