Why?: My wife is a fan, but now I am too.
Tell me more!:
I listened to this and the follow up album "Eight Arms To Hold You" a number of times recently as we were going to see Veruca Salt play at The Corner Hotel in Melbourne and I wanted to be familiar with the songs.
I have to say I was pleasantly surprised at just how good this album is. I get a strong 90s Smashing Pumpkins vibe in a lot of the guitar work, especially on songs like "25" (from which BillyC might well have stolen a guitar riff for "Aeroplane Flies High"). Love the downtuned and palm muted heaviness of many of the riffs, covered with melodic echoing guitar solos, and of course those amazing harmonies throughout.
Lyrically there is a lot of interesting stuff going on. That's not usually my thing, but here it's all so heartfelt and real, I'm not surprised this album is so loved by those that were teenagers when it arrived. I wish I'd been there. My wife was, her favourite song being the epic "25", and I'd have to agree, it's pretty incredible. There isn't a song on this album I don't like though.
Veruca Salt were fantastic live too. A little rough at times, but in an authentic grunge way, and they made up for it with some really solid performances of longer songs like "25". Great stuff. The most authentically 90s thing I've seen since the 90s. Looking forward to their new album.
8/10
Saturday 4 October 2014
[2004] The Prodigy, "Always Outnumbered, Never Outgunned"
Why?: A whim. Who didn't like Prodigy? Thought we'd give their new one a try...
Tell me more!:
This album doesn't get much love from the world. It's a bit unfair as I think it has everything that makes The Prodigy great in the package... just not the usual vocalists.
Blippy intros, huge beats, grungy guitar-list keyboards, vocals-used-as-an-instrument. It's all Prodigy. What's your problem?
OK, arguably the songs are mostly way too long, mostly due to a lack of vocal variety. And there is nothing of the quality of "Omen" (one of the best songs from next album "Invaders Must Die"). But that doesn't mean it isn't any fun.
I'm a big fan of all of the first seven tracks, I only start losing interest on the instrumental "Medusa's Path", and "Phoenix" (a sort-of-cover of Love Buzz) which I actively dislike. "You'll Be Under My Wheels" and "The Way It Is" probably sound more like "old" Prodigy but I think they're less interesting for it, and I hate the vocals on album ender "Shoot Down".
I think it's at least half a great album.
6/10
Tell me more!:
This album doesn't get much love from the world. It's a bit unfair as I think it has everything that makes The Prodigy great in the package... just not the usual vocalists.
Blippy intros, huge beats, grungy guitar-list keyboards, vocals-used-as-an-instrument. It's all Prodigy. What's your problem?
OK, arguably the songs are mostly way too long, mostly due to a lack of vocal variety. And there is nothing of the quality of "Omen" (one of the best songs from next album "Invaders Must Die"). But that doesn't mean it isn't any fun.
I'm a big fan of all of the first seven tracks, I only start losing interest on the instrumental "Medusa's Path", and "Phoenix" (a sort-of-cover of Love Buzz) which I actively dislike. "You'll Be Under My Wheels" and "The Way It Is" probably sound more like "old" Prodigy but I think they're less interesting for it, and I hate the vocals on album ender "Shoot Down".
I think it's at least half a great album.
6/10
[2004] R.E.M., "Around The Sun"
Why?: I finally became a fan of R.E.M. through "Reveal", so it was only natural I'd get their next album.
Tell me more!:
Unfortunately it's pretty uninspiring. At the time it even made me question my enjoyment of "Reveal".
On re-listen, nothing is terrible, but nothing is great either.
It's a very flat album.
Perhaps if some of these songs were buried amongst others on a better album it would improve them?
"Leaving New York" has a nice melodic chorus, but it's so plodding and shy. "Electron Blue" starts to soar, but the low-fi electronics ruin it. "The Outsiders" is better, but the rap is misplaced.
"Final Straw" is a nice left-step into politically charged folk... but after that I tune out. It's all so... dull. I like the bad chord start of "Worst Joke Ever" but not the song. "The Ascent Of Man" has "yeah" overload and demands my attention if only for being weirdly "adult contemporary pop".
The album ends on R.E.M.'s first title track, "Around The Sun". Dull, like the rest of the album, but gains a little interest for the bizarre echoy bridge, and organ and bass "nah nah nah" ending, like maybe the band stopped caring by this point too.
4/10
Tell me more!:
Unfortunately it's pretty uninspiring. At the time it even made me question my enjoyment of "Reveal".
On re-listen, nothing is terrible, but nothing is great either.
It's a very flat album.
Perhaps if some of these songs were buried amongst others on a better album it would improve them?
"Leaving New York" has a nice melodic chorus, but it's so plodding and shy. "Electron Blue" starts to soar, but the low-fi electronics ruin it. "The Outsiders" is better, but the rap is misplaced.
"Final Straw" is a nice left-step into politically charged folk... but after that I tune out. It's all so... dull. I like the bad chord start of "Worst Joke Ever" but not the song. "The Ascent Of Man" has "yeah" overload and demands my attention if only for being weirdly "adult contemporary pop".
The album ends on R.E.M.'s first title track, "Around The Sun". Dull, like the rest of the album, but gains a little interest for the bizarre echoy bridge, and organ and bass "nah nah nah" ending, like maybe the band stopped caring by this point too.
4/10
Saturday 20 September 2014
[1992] Faith No More, "Angel Dust"
Why?: FNM
Tell me more!:
I can't. Not about the album. There is nothing more to say...
A friend of mine doesn't like listening to Angel Dust, despite enjoying the songs. He thinks the production is "weird". The production is weird. Matt Wallace decided not to put much compression on anything when he recorded it, aiming to put most of the compression in while mastering. That's unusual, but it meant the recordings have a lot more dynamics that might otherwise have occurred. It also means the remaster that was recently released also sounded weird, because they didn't apply that post-mix compression, so the heavier songs didn't sound chunky enough, but the quieter parts sounded amazing.
For me, it's odd to think of this album without Easy tacked on the end, but it was released without Easy for a long time. Nor can I think of this album without thinking about the amazing b-side, a Patton vocals version of "As The Worm Turns" from the band's first album, a b-side that has so far remained hard to get, available only on some Midlife Crisis singles, and the Japanese release (available for $35 via ebay if you're interested). It seems they recorded the cover too "hot", and it crackles. I don't know if that's why it hasn't been re-released since, who knows. Some members of the band forget it even exists.
Then there are the non-album tracks, that have leaked out over the years. The elusive "The World Is Yours", nicknamed "Sample Song", at first only available as a crappy live recording from a couple of gigs in 1991, but then finally released in full when the band broke up. And "Seagull song", which has recently been leaked in part to YouTube, but first discovered in the MTV Angel Dust in studio footage.
But none of that is the album. The album is Land Of Sunshine, and Midnight Crisis, and Kindergarten, and RV, and Caffeine, and the lovely subtle Midnight Cowboy cover. Caffeine, a favourite of mine live, where the band extend the middle bass riff as long as they can, where Bill says he sometimes zones out and freaks out he'll miss the kick back. It's the "gay disco" or Small Victory, and one of my favourite FNM songs, Everything's Ruined. It's the probably never to be played live ever Smaller and Smaller, although there is a new tour coming up... maybe next year is its year. It's Jizzlobber, it's Be Aggressive, it's... Crack Hitler.
Jim wasn't that interested in the album, with rumours that Bill wrote a lot of the guitar parts. It was the first time Patton extended himself, writing the messed up Malpractice, screaming, singing low.
The new album due next year will be the first time FNM have worked on an album with everyone 100% engaged. Chuck was always a bit out of it, coming up with lyrics in the studio. Patton wrote everything for The Real Thing in weeks. Jim hated Angel Dust. Roddy was out for the count during King For A Day, and Patton wasn't all that interested in the beginnings of Album Of The Year. I'm fascinated to hear what a fully engaged band of professional composers will come up with. Maybe a mess? Maybe Album Of The Year 2. Maybe genius.
8/10
Tell me more!:
I can't. Not about the album. There is nothing more to say...
A friend of mine doesn't like listening to Angel Dust, despite enjoying the songs. He thinks the production is "weird". The production is weird. Matt Wallace decided not to put much compression on anything when he recorded it, aiming to put most of the compression in while mastering. That's unusual, but it meant the recordings have a lot more dynamics that might otherwise have occurred. It also means the remaster that was recently released also sounded weird, because they didn't apply that post-mix compression, so the heavier songs didn't sound chunky enough, but the quieter parts sounded amazing.
For me, it's odd to think of this album without Easy tacked on the end, but it was released without Easy for a long time. Nor can I think of this album without thinking about the amazing b-side, a Patton vocals version of "As The Worm Turns" from the band's first album, a b-side that has so far remained hard to get, available only on some Midlife Crisis singles, and the Japanese release (available for $35 via ebay if you're interested). It seems they recorded the cover too "hot", and it crackles. I don't know if that's why it hasn't been re-released since, who knows. Some members of the band forget it even exists.
Then there are the non-album tracks, that have leaked out over the years. The elusive "The World Is Yours", nicknamed "Sample Song", at first only available as a crappy live recording from a couple of gigs in 1991, but then finally released in full when the band broke up. And "Seagull song", which has recently been leaked in part to YouTube, but first discovered in the MTV Angel Dust in studio footage.
But none of that is the album. The album is Land Of Sunshine, and Midnight Crisis, and Kindergarten, and RV, and Caffeine, and the lovely subtle Midnight Cowboy cover. Caffeine, a favourite of mine live, where the band extend the middle bass riff as long as they can, where Bill says he sometimes zones out and freaks out he'll miss the kick back. It's the "gay disco" or Small Victory, and one of my favourite FNM songs, Everything's Ruined. It's the probably never to be played live ever Smaller and Smaller, although there is a new tour coming up... maybe next year is its year. It's Jizzlobber, it's Be Aggressive, it's... Crack Hitler.
Jim wasn't that interested in the album, with rumours that Bill wrote a lot of the guitar parts. It was the first time Patton extended himself, writing the messed up Malpractice, screaming, singing low.
The new album due next year will be the first time FNM have worked on an album with everyone 100% engaged. Chuck was always a bit out of it, coming up with lyrics in the studio. Patton wrote everything for The Real Thing in weeks. Jim hated Angel Dust. Roddy was out for the count during King For A Day, and Patton wasn't all that interested in the beginnings of Album Of The Year. I'm fascinated to hear what a fully engaged band of professional composers will come up with. Maybe a mess? Maybe Album Of The Year 2. Maybe genius.
8/10
[1992] Ugly Kid Joe, "America's Least Wanted"
Why?: I loved Ugly Kid Joe as a kid. Pop rock with a harder guitar edge closer to that Metallica sound I liked. This album was one of the first tapes I ever had. I've listened to it so much I could probably figure out how to play most of the songs by my memory's ear. I recently replaced the CD as I discovered while listening for this blog that my old copy has "worn out", as CDs sometimes do. New copy was $5 on ebay.
Tell me more!:
I'm glad I'm reviewing this at the same time as Appetite For Destruction, because for me they're similar albums, and I'd dare say Ugly Kid Joe's album, while not having a Sweet Child or Welcome To The Jungle, is easily the superior album.
Ignoring the songs, ignoring the lyrics, and just listening to the music, UKJ are heavier than GnR, their riffs and solos chunkier and far more "fun". UKJ are more Black Sabbath influenced, against GnR's heavy blues influence. I prefer Sabbath...
Given a not insignificant part of my brain consists of this album, I'm clearly biased. I can still recognise how cheesy these songs are. How they're really not that far from someone like Kid Rock, who everyone hates. It's pop-rock for bad cover bands... in fact, I accidentally saw an Ugly Kid Joe cover band once, back in around 2000, and I was one of a very small group of people enjoying myself.
UKJ lost themselves with their next album, heading in some very Christian themed directions that scared pretty much all of their fans away. They're back now, but I haven't really enjoyed their recent output. This album though, this album is the shit. The beer swilling shit that eats all the peanuts out of the mixed nuts and asks for more, but he's cute so you can't just kick him out. That'd be mean.
6/10
Tell me more!:
I'm glad I'm reviewing this at the same time as Appetite For Destruction, because for me they're similar albums, and I'd dare say Ugly Kid Joe's album, while not having a Sweet Child or Welcome To The Jungle, is easily the superior album.
Ignoring the songs, ignoring the lyrics, and just listening to the music, UKJ are heavier than GnR, their riffs and solos chunkier and far more "fun". UKJ are more Black Sabbath influenced, against GnR's heavy blues influence. I prefer Sabbath...
Given a not insignificant part of my brain consists of this album, I'm clearly biased. I can still recognise how cheesy these songs are. How they're really not that far from someone like Kid Rock, who everyone hates. It's pop-rock for bad cover bands... in fact, I accidentally saw an Ugly Kid Joe cover band once, back in around 2000, and I was one of a very small group of people enjoying myself.
UKJ lost themselves with their next album, heading in some very Christian themed directions that scared pretty much all of their fans away. They're back now, but I haven't really enjoyed their recent output. This album though, this album is the shit. The beer swilling shit that eats all the peanuts out of the mixed nuts and asks for more, but he's cute so you can't just kick him out. That'd be mean.
6/10
[1981] Ruts DC, "Animal Now"
Why?: I saw a review in Classic Rock that sounded interesting. I listened to a few tracks on YouTube and fell in love so I bought it via Amazon UK. This is a special re-release/re-master of this album, available for the first time on CD in 2012.
Tell me more!:
My limited knowledge of non-pop music from the late 70s/early 80s makes it difficult for me to describe the sound of Animal Now. The comparison I think most fits is very early Midnight Oil and Hunters & Collectors, with a little more keyboard production. Maybe there is an element of glam in there, like Aladdin Sane era David Bowie?
The songs are all downtrodden 80s singing, palm muted clean tone guitars, 80s over produced drums and bass that sound like computers before they had computers, reverb and heavy use of echo drenched keyboard-horn solos and multi-layered backing vocals, all covered in beautiful rock guitar solos.
Even when it finds itself in dub territory with Fools, it still works. The only song I hate is Walk or Run, which again is because of that boogie blues style I'm learning I hate so much. I commend them at least for spreading their style around so much in one album, but I skip Walk or Run every time.
Otherwise, I adore this album. More than I enjoy early Midnight Oil and Hunters and Collectors. It's one of those very rare-these-days moments where I've purchased an album on a small whim and genuinely fallen in love with it.
8/10
Tell me more!:
My limited knowledge of non-pop music from the late 70s/early 80s makes it difficult for me to describe the sound of Animal Now. The comparison I think most fits is very early Midnight Oil and Hunters & Collectors, with a little more keyboard production. Maybe there is an element of glam in there, like Aladdin Sane era David Bowie?
The songs are all downtrodden 80s singing, palm muted clean tone guitars, 80s over produced drums and bass that sound like computers before they had computers, reverb and heavy use of echo drenched keyboard-horn solos and multi-layered backing vocals, all covered in beautiful rock guitar solos.
Even when it finds itself in dub territory with Fools, it still works. The only song I hate is Walk or Run, which again is because of that boogie blues style I'm learning I hate so much. I commend them at least for spreading their style around so much in one album, but I skip Walk or Run every time.
Otherwise, I adore this album. More than I enjoy early Midnight Oil and Hunters and Collectors. It's one of those very rare-these-days moments where I've purchased an album on a small whim and genuinely fallen in love with it.
8/10
[1991] Sepultura, "Arise"
Why?: Like so many devouring music in the 90s, I fell in love with Seputura's Roots. Arise isn't much like Roots, but there are hints. I read somewhere that Arise is one of the "must have" metal albums so I bought it when cheap. This is the 1997 remaster.
Tell me more!:
In the last few years my metal ear has moved closer to doom, post-metal and thrash. So despite remembering not thinking much of Arise when I first bought it, I really 6/enjoy it now.
And in doing so, I start to show some big cracks in my analysis of why I don't like some other metal albums by bands like Anthrax. The vocals styles on this album as more toward shouty punk, a style I've claimed to hate. Maybe I don't mind Max's singing so much as it is a bit lower? Maybe it's the added joy of the fantastic riffs and progressive edge this album has?
Whatever it is, this album sounds as relevant today as it must have sounded revolutionary when it arrived, at the same time as Metallica's Black, and grunge. I can't disagree with its place so high on the metal pedestal.
A side note, I was perhaps a bit unfair to Against The Grain in my recent review, suggesting their only influence was Metallica. It's clear they were influenced by the thrash elements of bands like Sepultura, and presumably Slayer too. They didn't do it anywhere near as well...
My only complaint about Arise would be that it does drag a little at the end, but I mostly blame the bonus material for that.
7/10
Tell me more!:
In the last few years my metal ear has moved closer to doom, post-metal and thrash. So despite remembering not thinking much of Arise when I first bought it, I really 6/enjoy it now.
And in doing so, I start to show some big cracks in my analysis of why I don't like some other metal albums by bands like Anthrax. The vocals styles on this album as more toward shouty punk, a style I've claimed to hate. Maybe I don't mind Max's singing so much as it is a bit lower? Maybe it's the added joy of the fantastic riffs and progressive edge this album has?
Whatever it is, this album sounds as relevant today as it must have sounded revolutionary when it arrived, at the same time as Metallica's Black, and grunge. I can't disagree with its place so high on the metal pedestal.
A side note, I was perhaps a bit unfair to Against The Grain in my recent review, suggesting their only influence was Metallica. It's clear they were influenced by the thrash elements of bands like Sepultura, and presumably Slayer too. They didn't do it anywhere near as well...
My only complaint about Arise would be that it does drag a little at the end, but I mostly blame the bonus material for that.
7/10
[1987] Guns'n'Roses, "Appetite For Destruction"
Why?: My introduction to GnR was mostly via Sweet Child O' Mine, followed by Terminator 2's "You Could Be Mine", followed by taping the songs I liked from Use Your Illusion I and II onto a single tape from a neighbour. Much later in life I bought all three of those albums on CD.
Tell me more!:
Appetite is one of those albums everyone says they love, but I'm not that keen. Welcome To The Jungle is fantastic, as is Sweet Child O' Mine. Mr. Brownstone and Paradise City both have super catchy chorus' but what else is there? A bunch of songs I mostly don't even recognise the names of, and that barely scratch my interest on every listen. And I've listened a lot. I really have tried.
The style of the majority of these album tracks is this goodtimey rock/country boogie garbage that I despise. It took over "popular metal" in the 80s and damn near ruined it until Nirvana saved the day.
Blasphemy. Yeah. Whatever.
4/10 (2 points each for Welcome and Sweet).
Tell me more!:
Appetite is one of those albums everyone says they love, but I'm not that keen. Welcome To The Jungle is fantastic, as is Sweet Child O' Mine. Mr. Brownstone and Paradise City both have super catchy chorus' but what else is there? A bunch of songs I mostly don't even recognise the names of, and that barely scratch my interest on every listen. And I've listened a lot. I really have tried.
The style of the majority of these album tracks is this goodtimey rock/country boogie garbage that I despise. It took over "popular metal" in the 80s and damn near ruined it until Nirvana saved the day.
Blasphemy. Yeah. Whatever.
4/10 (2 points each for Welcome and Sweet).
Saturday 30 August 2014
[2007] Rivers Cuomo, "Alone - The Home Recordings of Rivers Cuomo"
Why?: Much of the time I really like Weezer, and when I bought this I was on an up. They've since really annoyed me with their last few albums, but these recordings are spread throughout their career. I'm also generally a big fan the lost gems musicians decide not the release.
Tell me more!:
I need to be in the right mood to listen to a collection like this. Sometimes I'm very tolerant of recordings from sources so bad they've been forced to leave in the tape warping, sometimes I'm really not. The idea I suppose is that you're supposed to hear the quality of the song over the missing production.
Weezerpedia.com has some very interesting facts about all of these songs. I urge you if you're interested to have a look.
"Ooh" is a nice experiment in multitracked vocals, and that was indeed what it was, an experiment in writing more complex vocal tracks.
"The World We Love So Much" has some excellent Weezer screams over acoustic pop chords, but I read it is a cover, but like the best covers, I'm unfamiliar with the original so Rivers makes this his own. The tape warp in the middle of this song, and the barely audible drum machine keeping the time, are only mildly irritating. I read it was part of a project Rivers and Patrick Wilson (Weezer drummer) took on, an attempt to write 50 songs between them. Such an idea is dear to my heart as some of the best songs my band came up with were on deliberate epic song-writing projects where we attempted to write many songs. I'm not sure a cover counts though...
"Lemonade" is classic early Weezer. "The Bomb" is a slightly embarrassing rap, but I admire Rivers for releasing it. Any musician growing up in the 90s has surely played around with rap? I know we have...
The "Buddy Holly" demo is interesting, it's quite rough, with more emphasis on the keyboards, but the guitars don't have as much of the awesome crunch as the album.
"Chess" is stupid, but I suppose a demonstration of simplicity. The kind of song Rivers can spit 50 of out in a week.
I really enjoy "Longtime Sunshine", written around the time of "Pinkerton", an album I'm not a big fan of. It's a pity it wasn't included on that album. I read a different version is included on the deluxe Pinkerton, and now I might have to go get that...
Back in 1995 Rivers started recording what was to be a rock opera, "Songs From The Black Hole" - "Blast Off!" and "Who You Callin' Bitch" are the first two tracks from this opera, "Dude We're Finally Landing" and "Superfiend" appearing elsewhere. I haven't heard the opera but it sounds like it would be fun, although hardly mind blowing.
"Wanda (You're My Only Love)" is a nice little ballad, but too minimal for me. It's actually a little too Ben Folds...
"Lover In The Show" is another great little classic Weezer home demo with the usual slightly stalker lyrics. The recording quality is excellent, it's a pity there are no drums. "Crazy One" on the other hand is plodding and depressing, the band sound asleep.
All previous tracks are (I believe) from 1998 and earlier. "This Is The Way" is from 2007, from the demo sessions before "The Red Album". Rivers was attempting to write non-Weezer songs, and came up with a deliberately cliche R&B song. Again I love stuff like this, it's a trick we used to do in our band, and sometimes it comes up with gold, even if only comedy gold. This track could do with just a bit more cheese.
"Little Diane" is a Dion and the Belmonts cover. It's fun enough, having been "Weezered" but it's nothing to write home about.
"Wish You Had an Axe Guitar" is a conversation recorded by Rivers and some friends when they were kids. It's absolutely adorable. I wish I had similar tapes from when I was a kid...
"I Was Made For You" is a track that was later reworked as "Save Me" for the "Make Believe" album but was rejected. Again, classic Weezer.
I actually enjoyed listening to this again with the information in front of me. A lot of it is still pretty forgettable, but it's fun, and it's Weezer. For a collection of unreleased tracks it's pretty great. I'm off to find the original version of "The World We Love So Much". I guess I'll have to review "Alone II" soon...
6/10
Tell me more!:
I need to be in the right mood to listen to a collection like this. Sometimes I'm very tolerant of recordings from sources so bad they've been forced to leave in the tape warping, sometimes I'm really not. The idea I suppose is that you're supposed to hear the quality of the song over the missing production.
Weezerpedia.com has some very interesting facts about all of these songs. I urge you if you're interested to have a look.
"Ooh" is a nice experiment in multitracked vocals, and that was indeed what it was, an experiment in writing more complex vocal tracks.
"The World We Love So Much" has some excellent Weezer screams over acoustic pop chords, but I read it is a cover, but like the best covers, I'm unfamiliar with the original so Rivers makes this his own. The tape warp in the middle of this song, and the barely audible drum machine keeping the time, are only mildly irritating. I read it was part of a project Rivers and Patrick Wilson (Weezer drummer) took on, an attempt to write 50 songs between them. Such an idea is dear to my heart as some of the best songs my band came up with were on deliberate epic song-writing projects where we attempted to write many songs. I'm not sure a cover counts though...
"Lemonade" is classic early Weezer. "The Bomb" is a slightly embarrassing rap, but I admire Rivers for releasing it. Any musician growing up in the 90s has surely played around with rap? I know we have...
The "Buddy Holly" demo is interesting, it's quite rough, with more emphasis on the keyboards, but the guitars don't have as much of the awesome crunch as the album.
"Chess" is stupid, but I suppose a demonstration of simplicity. The kind of song Rivers can spit 50 of out in a week.
I really enjoy "Longtime Sunshine", written around the time of "Pinkerton", an album I'm not a big fan of. It's a pity it wasn't included on that album. I read a different version is included on the deluxe Pinkerton, and now I might have to go get that...
Back in 1995 Rivers started recording what was to be a rock opera, "Songs From The Black Hole" - "Blast Off!" and "Who You Callin' Bitch" are the first two tracks from this opera, "Dude We're Finally Landing" and "Superfiend" appearing elsewhere. I haven't heard the opera but it sounds like it would be fun, although hardly mind blowing.
"Wanda (You're My Only Love)" is a nice little ballad, but too minimal for me. It's actually a little too Ben Folds...
"Lover In The Show" is another great little classic Weezer home demo with the usual slightly stalker lyrics. The recording quality is excellent, it's a pity there are no drums. "Crazy One" on the other hand is plodding and depressing, the band sound asleep.
All previous tracks are (I believe) from 1998 and earlier. "This Is The Way" is from 2007, from the demo sessions before "The Red Album". Rivers was attempting to write non-Weezer songs, and came up with a deliberately cliche R&B song. Again I love stuff like this, it's a trick we used to do in our band, and sometimes it comes up with gold, even if only comedy gold. This track could do with just a bit more cheese.
"Little Diane" is a Dion and the Belmonts cover. It's fun enough, having been "Weezered" but it's nothing to write home about.
"Wish You Had an Axe Guitar" is a conversation recorded by Rivers and some friends when they were kids. It's absolutely adorable. I wish I had similar tapes from when I was a kid...
"I Was Made For You" is a track that was later reworked as "Save Me" for the "Make Believe" album but was rejected. Again, classic Weezer.
I actually enjoyed listening to this again with the information in front of me. A lot of it is still pretty forgettable, but it's fun, and it's Weezer. For a collection of unreleased tracks it's pretty great. I'm off to find the original version of "The World We Love So Much". I guess I'll have to review "Alone II" soon...
6/10
[1995] Against The Grain, "As The Man Thinketh"
Why?: I actually vividly remember parts of the day I bought this album. It was at a music store at Knox Shopping Centre, the same store I bought various Faith No More, Smashing Pumpkins and Nirvana albums and singles. I have no idea what made me do it, perhaps the cover, but I asked to listen to this album at the listening post. I can see myself at that post bobbing my head along to the music. I really enjoyed the riffs so I bought it. At the same time I know I listened to a Dub War album and decided against it.
In hindsight I wouldn't be surprised if the guy at the shop recommended this to me because he was in the band, as I believe they're from Melbourne.
Tell me more!:
I listened to this album a lot back in the day. Every song is very familiar. I remember back then liking it a lot but my friends weren't as enthusiastic.
Listening today there is so much wrong with this release. The production on the drums and bass is very "clicky", like so many metal albums of an era slightly earlier than this. The guitars sound great though, the band is clearly heavily influenced by Metallica, and Metallica's influences.
The biggest problem though are the vocals. The melodies and phrasing aren't bad at all, they even manage some harmonies, he's just not that great a singer, which they try to cover with a lot of doubling of vocals, but it only makes it worse. While I'd argue the same thing about "...And Justice For All", the vocalist sounds like someone young trying to sound heavier, but he has none of the power Hetfield had back in that day.
The re-listen only solidified my memories that "As The Man Thinketh" is chock full of excellent guitar riffs, but let down by some uninspiring vocals.
Special mention must therefore go out to the instrumental track "For The Dying" which would fit perfectly well on a Metallica album today. The album ending title track is also great, although I'm not sure the overlaid samples from movies really work. A little too much like the "One" video... I'm also still pretty keen on "Dreams Beyond Reality" which has a very catchy chorus, and a really cheesy metal bridge.
I want to score this higher than it probably deserves, but I know it is nostalgia...
5/10
In hindsight I wouldn't be surprised if the guy at the shop recommended this to me because he was in the band, as I believe they're from Melbourne.
Tell me more!:
I listened to this album a lot back in the day. Every song is very familiar. I remember back then liking it a lot but my friends weren't as enthusiastic.
Listening today there is so much wrong with this release. The production on the drums and bass is very "clicky", like so many metal albums of an era slightly earlier than this. The guitars sound great though, the band is clearly heavily influenced by Metallica, and Metallica's influences.
The biggest problem though are the vocals. The melodies and phrasing aren't bad at all, they even manage some harmonies, he's just not that great a singer, which they try to cover with a lot of doubling of vocals, but it only makes it worse. While I'd argue the same thing about "...And Justice For All", the vocalist sounds like someone young trying to sound heavier, but he has none of the power Hetfield had back in that day.
The re-listen only solidified my memories that "As The Man Thinketh" is chock full of excellent guitar riffs, but let down by some uninspiring vocals.
Special mention must therefore go out to the instrumental track "For The Dying" which would fit perfectly well on a Metallica album today. The album ending title track is also great, although I'm not sure the overlaid samples from movies really work. A little too much like the "One" video... I'm also still pretty keen on "Dreams Beyond Reality" which has a very catchy chorus, and a really cheesy metal bridge.
I want to score this higher than it probably deserves, but I know it is nostalgia...
5/10
[1993] Boo-Yaa T.R.I.B.E. with Faith No More, "Another Body Murdered"
Why?: FNM. But also, the Judgement Night soundtrack is one of, if not the, best "collaboration" record ever produced. Ignore the movie, this 90s concept of pushing "alternative" bands together with "rap" bands worked a treat and it's full of really fun songs. This collaboration between Boo-Yaa T.R.I.B.E. with Faith No More is the best.
Tell me more!:
This single contains a "remix" which is effectively the album version with the swearing all reversed in 90s-censorship style, the radio release, and the album version. So I get to hear it three times. Yes!
I love every element of this song. The piano throughout the track, the looping distorted guitars, the rap, the dirty drums, Patton's freak out screams and "ooohs" in the chorus (his only vocal contribution), the filthy little guitar solo.
Back in the day, this was the first time we'd heard Patton sing like this. It was the first time Faith No More had sounded so heavy. It took a bit of the edge off the news they'd kicked Jim out (Bill plays guitar on this recording), but in hindsight this song isn't so much heavy as chuggy... it's a trick of the production, production I wasn't familiar with in 1994 but later became very common.
I'm frustrated that the video for this (and Ricochet) haven't been officially released. I'm not sure why, but YouTube has the answers of course.
I was wrong above. The "remix" version is likely the video version, as it includes the excellent piano outro that isn't on the album version (which fades out).
I'd love a version with that piano outro, but without the idiot 90s swearing reversals. I suppose I could bash that out in Audacity if I could be bothered...
7/10
Tell me more!:
This single contains a "remix" which is effectively the album version with the swearing all reversed in 90s-censorship style, the radio release, and the album version. So I get to hear it three times. Yes!
I love every element of this song. The piano throughout the track, the looping distorted guitars, the rap, the dirty drums, Patton's freak out screams and "ooohs" in the chorus (his only vocal contribution), the filthy little guitar solo.
Back in the day, this was the first time we'd heard Patton sing like this. It was the first time Faith No More had sounded so heavy. It took a bit of the edge off the news they'd kicked Jim out (Bill plays guitar on this recording), but in hindsight this song isn't so much heavy as chuggy... it's a trick of the production, production I wasn't familiar with in 1994 but later became very common.
I'm frustrated that the video for this (and Ricochet) haven't been officially released. I'm not sure why, but YouTube has the answers of course.
I was wrong above. The "remix" version is likely the video version, as it includes the excellent piano outro that isn't on the album version (which fades out).
I'd love a version with that piano outro, but without the idiot 90s swearing reversals. I suppose I could bash that out in Audacity if I could be bothered...
7/10
[1973] David Bowie, "Aladdin Sane"
Why?: Over the years I've aimed to buy all of Bowie's albums, even the bad ones. This one isn't one of the bad ones, and it was one of the first I bought, based on the advice of recent Bowie biography "Starman" by Paul Trynka.
Tell me more!:
I came into this listen with recent memories of this being my favourite of Bowie's 70s albums.
Certainly I adore the jamming freakouts of the title track, the fantastic guitar riffs in Panic In Detroit. I'm in love with Time, I could hear it Hedwig and the Angry Inch. I enjoy The Jean Genie but wonder if it is more familiarity than quality.
But I hate the boogie woogie of the piano in Watch That Man, the Drive-In Saturday's doo-wop gets old quickly, the scatting in the fade out seems forced, and there is more 50s nostalgia in The Prettiest Star.
The Stones cover Let's Spend The Night Together is fun, the song is improved with a good speed up and some weird space sounds.
I think Cracked Actor feels like Bowie covering a much heavier song, I suspect it might have more crunch played live.
Much of the guitar seems really rough actually. Overly distorted to the point of sounding under-produced and badly played, even though I recognise it isn't.
Lady Grinning Soul is a beautiful album ending ballad, with lovely acoustic guitars and pianos, Bowie's voice is incredible. Wikipedia tells me it contains his highest studio recorded note. The guitar solos are almost Brian May-esque.
So Aladdin Sane has a number of songs I absolutely love, and a number that bug me for personal reasons I don't really understand. I'm usually pretty happy at the end of each listen though.
7/10
Tell me more!:
I came into this listen with recent memories of this being my favourite of Bowie's 70s albums.
Certainly I adore the jamming freakouts of the title track, the fantastic guitar riffs in Panic In Detroit. I'm in love with Time, I could hear it Hedwig and the Angry Inch. I enjoy The Jean Genie but wonder if it is more familiarity than quality.
But I hate the boogie woogie of the piano in Watch That Man, the Drive-In Saturday's doo-wop gets old quickly, the scatting in the fade out seems forced, and there is more 50s nostalgia in The Prettiest Star.
The Stones cover Let's Spend The Night Together is fun, the song is improved with a good speed up and some weird space sounds.
I think Cracked Actor feels like Bowie covering a much heavier song, I suspect it might have more crunch played live.
Much of the guitar seems really rough actually. Overly distorted to the point of sounding under-produced and badly played, even though I recognise it isn't.
Lady Grinning Soul is a beautiful album ending ballad, with lovely acoustic guitars and pianos, Bowie's voice is incredible. Wikipedia tells me it contains his highest studio recorded note. The guitar solos are almost Brian May-esque.
So Aladdin Sane has a number of songs I absolutely love, and a number that bug me for personal reasons I don't really understand. I'm usually pretty happy at the end of each listen though.
7/10
Thursday 21 August 2014
[2009] Animals As Leaders, "Animals As Leaders"
Why?: Reasonably sure I saw this as a review in Metal Hammer and went and listed on YouTube and decided I liked it. Ordered from Amazon.
Tell me more!:
AAL is basically a Tosin Abasi solo album. He plays eight-string guitar (yes, 8) and bass, while engineer Misha Mansoor programmed the drums and keys.
What initially appealed to me about AAL is their intense, complex progressive metal style and the fact they're instrumental. Far too often a great metal band is ruined by terrible or uninteresting vocals, so I tend to gravitate toward instrumental bands to counter that. Instrumental bands have their own problems though...
Wikipedia adds "jazz fusion" to their list of genres, and I'm happy they did, as I'm a bit lost for words myself describing their style. "Progressive metal" isn't enough, as that brings up images of Dream Theater, and that doesn't even begin to describe just how fast and complex this music is.
Generally I enjoy listening to it, but while I'm intensely impressed by how fast and complex and unusual Tosin's guitar riffs are, I do find myself wishing for a bit more melody, and a bit more song structure. Often a band can be so complex, and cram in so many notes, that it starts to sound like noise. AAL aren't quite to that level, as their music is varied enough to keep my ear focused on what they're doing, but I still think a little bit of simple melody over the top of this scattering of notes might sound good. But then, as I said above, if that were vocals, and those vocals were crap, I'd hate the band, so perhaps they can't win? The melody could be a simple guitar part though?
I enjoyed re-listening, and I recognised songs from previous listens, but I'm not sure I'd be able to pick any out as favourites, or ones I might recommend. Perhaps if they were shorter and more focused? I think maybe this music is just that little bit too complex for my mind, although it is an excellent representation of good complex, not just complex for the sake of it.
5/10
Tell me more!:
AAL is basically a Tosin Abasi solo album. He plays eight-string guitar (yes, 8) and bass, while engineer Misha Mansoor programmed the drums and keys.
What initially appealed to me about AAL is their intense, complex progressive metal style and the fact they're instrumental. Far too often a great metal band is ruined by terrible or uninteresting vocals, so I tend to gravitate toward instrumental bands to counter that. Instrumental bands have their own problems though...
Wikipedia adds "jazz fusion" to their list of genres, and I'm happy they did, as I'm a bit lost for words myself describing their style. "Progressive metal" isn't enough, as that brings up images of Dream Theater, and that doesn't even begin to describe just how fast and complex this music is.
Generally I enjoy listening to it, but while I'm intensely impressed by how fast and complex and unusual Tosin's guitar riffs are, I do find myself wishing for a bit more melody, and a bit more song structure. Often a band can be so complex, and cram in so many notes, that it starts to sound like noise. AAL aren't quite to that level, as their music is varied enough to keep my ear focused on what they're doing, but I still think a little bit of simple melody over the top of this scattering of notes might sound good. But then, as I said above, if that were vocals, and those vocals were crap, I'd hate the band, so perhaps they can't win? The melody could be a simple guitar part though?
I enjoyed re-listening, and I recognised songs from previous listens, but I'm not sure I'd be able to pick any out as favourites, or ones I might recommend. Perhaps if they were shorter and more focused? I think maybe this music is just that little bit too complex for my mind, although it is an excellent representation of good complex, not just complex for the sake of it.
5/10
Sunday 17 August 2014
[1997] Faith No More, "Album Of The Year"
Why?: Faith No More are close to being my favourite band. This was the first (and last) album Faith No More released in the time I was a fan. I didn't get into Faith No More until after King For A Day was released. I ran out and bought this as soon as possible, with the bonus disc of extras.
Tell me more!:
We were all so excited for this album. A few leaks of a couple of WAV files of what turned out to be Last Cup Of Sorrow whetted our appetites, and a leaked, terrible quality tape of the whole album only increased the excitement. My memory of those leaks are that they were slightly different from the final album, but I can find copies of neither these days, so I can't know for sure.
The album divided fans, but ultimately it was well received, especially after the incredible world tour that supported it. I really enjoyed it, but it ranked pretty low of my list of favourites. Part of that was probably due to over exposure from collecting too many bootlegs from that 1997 era, but when my favourite album was King For A Day, these throwbacks to the keyboard driven The Real Thing era didn't appeal as much.
I think I've been unfair to it over the years though. I really enjoyed these relistens. There are a still a number of songs I still don't really enjoy (Ashes To Ashes being the main one), but most songs are excellent.
I enjoy Collision now. Originally I thought it was a bit too sludgy, a bit too rough, but it works now. The final repeated "head on" still seems out of sync with the rest of the song to me. I'm sure on the leaked tape it was "in time" but again, I've lost that tape now, so I don't know for sure.
Stripsearch is fantastic. At the time it didn't sound like Faith No More to me, but that's what I loved about the band, that they could come up with songs every album that didn't sound like them. It's the best demonstration of the keyboard heavy mix on this album, written by yet-another-new-guitarist Jon.
Last Cup Of Sorrow is perfect and I still adore it, even if the riff is stolen from their own song Kindergarten. The keyboard riff, and vocals, make the song of course, the guitar not being particularly exciting.
The guitar driven Naked In Front Of The Computer could have been left off King For A Day, as could have Got That Feeling. They're some of the only demonstrations of any real riffing on the album though.
Helpless is the kind of epic song I wanted along the lines of King For A Day, and I darn near lost my mind when they played it live (for the first time ever) at the second Festival Hall gig in Melbourne. It holds a special place in my heart now.
Mouth To Mouth received a lot of comparisons to Mr. Bungle, if only because of the "middle eastern" keyboard riff. That's lazy, but whatever it sounds like, I love it to death, it now being one of my favourite FNM songs. It's fantastic live too.
I really don't like Ashes To Ashes. It just doesn't work in any way for me. The chorus lyrics sound forced, the guitar riff is dull. I like the keyboard/guitar interplay and that solo, but the whole thing doesn't work at all. I know it's one of their most loved songs but why would I care about that?
I originally hated She Loves Me Not, and I still find it very strange, but I like it now. It's so cheesy and bizarre. They've never played the song live, and I can't imagine them pulling it off if they ever try.
Home Sick Home wouldn't be out of place on a future Tomahawk album, and provides a much needed sleaze element to the album.
Again, I originally didn't think much of Paths Of Glory or Pristina, but now I think they're incredible. Originally (on the promo release) the album closed with Home Sick Home, Got That Feeling, Paths Of Glory and Pristina. I think Paths and Pristina would have worked well together, but I think putting Home Sick Home between them gave Pristina the bit of extra power it needed.
I'm far too biased to say anything useful about this album (not that I would dare describe any of my silly posts as "useful"), other than to say that despite my love for it, it still sits very near the bottom of my favourite FNM albums list, which as at this moment, after this re-listen, is:
... and with that, I'm still shocked they only have six albums.
7/10
Tell me more!:
We were all so excited for this album. A few leaks of a couple of WAV files of what turned out to be Last Cup Of Sorrow whetted our appetites, and a leaked, terrible quality tape of the whole album only increased the excitement. My memory of those leaks are that they were slightly different from the final album, but I can find copies of neither these days, so I can't know for sure.
The album divided fans, but ultimately it was well received, especially after the incredible world tour that supported it. I really enjoyed it, but it ranked pretty low of my list of favourites. Part of that was probably due to over exposure from collecting too many bootlegs from that 1997 era, but when my favourite album was King For A Day, these throwbacks to the keyboard driven The Real Thing era didn't appeal as much.
I think I've been unfair to it over the years though. I really enjoyed these relistens. There are a still a number of songs I still don't really enjoy (Ashes To Ashes being the main one), but most songs are excellent.
I enjoy Collision now. Originally I thought it was a bit too sludgy, a bit too rough, but it works now. The final repeated "head on" still seems out of sync with the rest of the song to me. I'm sure on the leaked tape it was "in time" but again, I've lost that tape now, so I don't know for sure.
Stripsearch is fantastic. At the time it didn't sound like Faith No More to me, but that's what I loved about the band, that they could come up with songs every album that didn't sound like them. It's the best demonstration of the keyboard heavy mix on this album, written by yet-another-new-guitarist Jon.
Last Cup Of Sorrow is perfect and I still adore it, even if the riff is stolen from their own song Kindergarten. The keyboard riff, and vocals, make the song of course, the guitar not being particularly exciting.
The guitar driven Naked In Front Of The Computer could have been left off King For A Day, as could have Got That Feeling. They're some of the only demonstrations of any real riffing on the album though.
Helpless is the kind of epic song I wanted along the lines of King For A Day, and I darn near lost my mind when they played it live (for the first time ever) at the second Festival Hall gig in Melbourne. It holds a special place in my heart now.
Mouth To Mouth received a lot of comparisons to Mr. Bungle, if only because of the "middle eastern" keyboard riff. That's lazy, but whatever it sounds like, I love it to death, it now being one of my favourite FNM songs. It's fantastic live too.
I really don't like Ashes To Ashes. It just doesn't work in any way for me. The chorus lyrics sound forced, the guitar riff is dull. I like the keyboard/guitar interplay and that solo, but the whole thing doesn't work at all. I know it's one of their most loved songs but why would I care about that?
I originally hated She Loves Me Not, and I still find it very strange, but I like it now. It's so cheesy and bizarre. They've never played the song live, and I can't imagine them pulling it off if they ever try.
Home Sick Home wouldn't be out of place on a future Tomahawk album, and provides a much needed sleaze element to the album.
Again, I originally didn't think much of Paths Of Glory or Pristina, but now I think they're incredible. Originally (on the promo release) the album closed with Home Sick Home, Got That Feeling, Paths Of Glory and Pristina. I think Paths and Pristina would have worked well together, but I think putting Home Sick Home between them gave Pristina the bit of extra power it needed.
I'm far too biased to say anything useful about this album (not that I would dare describe any of my silly posts as "useful"), other than to say that despite my love for it, it still sits very near the bottom of my favourite FNM albums list, which as at this moment, after this re-listen, is:
- Introduce Yourself / King For A Day
- Angel Dust
- Album Of The Year / The Real Thing
- We Care A Lot
... and with that, I'm still shocked they only have six albums.
7/10
[1989] Annihilator, "Alice In Hell"
Why?: I bought this with five other CDs for $10 at a second-hand stall at a market. For that price I was willing to buy a few things on a whim, and late 80s metal was on my mind.
Tell me more!:
I'm faintly surprised to see that Annihilator are still around, although I read they did basically disband in the early 90s as did so many "hair-metal" bands of the era. This album is apparently highly influential in Canadian metal circles.
Certainly the music is riffing is fast and furious, this is good thrash. Riffing is fast and complex, songs have quiet instrumental parts, build ups, huge duelling solos. The vocals are a little too thrash for my liking, the band being closer to the punkier Anthrax side of metal. Lyrics are spat, with occasional high screams. I'm reminded of early Metallica (Kill 'Em All and their early covers), with higher vocals, less melody.
I really enjoy the classical acoustic intro song Crystal Ann, followed by the hilariously punny title track Alice In Hell, and very Metallica "W.T.Y.D." (Welcome To Your Death). But by the time I get to "Burns Like A Buzzsaw Blade" I'm getting bored. Variety in style isn't easy to find on this album, and it outstays its welcome quickly.
Interesting enough, excellent riffing, but not melodic or vocally varied enough to keep my interest.
4/10
Tell me more!:
I'm faintly surprised to see that Annihilator are still around, although I read they did basically disband in the early 90s as did so many "hair-metal" bands of the era. This album is apparently highly influential in Canadian metal circles.
Certainly the music is riffing is fast and furious, this is good thrash. Riffing is fast and complex, songs have quiet instrumental parts, build ups, huge duelling solos. The vocals are a little too thrash for my liking, the band being closer to the punkier Anthrax side of metal. Lyrics are spat, with occasional high screams. I'm reminded of early Metallica (Kill 'Em All and their early covers), with higher vocals, less melody.
I really enjoy the classical acoustic intro song Crystal Ann, followed by the hilariously punny title track Alice In Hell, and very Metallica "W.T.Y.D." (Welcome To Your Death). But by the time I get to "Burns Like A Buzzsaw Blade" I'm getting bored. Variety in style isn't easy to find on this album, and it outstays its welcome quickly.
Interesting enough, excellent riffing, but not melodic or vocally varied enough to keep my interest.
4/10
[1993] Nirvana, "All Apologies"
Why?: What teenager in the 90s wasn't into Nirvana? Lots probably... I remember buying this single with my dad in tow, who looked at the back and saw songs called "Rape Me" and "Moist Vagina" and looked at strangely. I insisted it was "art", not weird.
Tell me more!:
In Utero was a slow burner for me. I, like a lot of Nirvana fans, went from enjoying Nervermind the most, to completely swapping my preference to In Utero, with Bleach and Incesticide sitting in the middle. In Utero is dang near perfect and album, and these days Nevermind almost sounds dated and cheesy. Almost.
As a budding guitarist I tried to play along to All Apologies and struggled. It's a very unusual riff... it's an unusual song. Pop constructed with verse, bridge, chorus; but that riff is so loose as to almost sound out of tune. The song itself ends by falling apart into apathy. Adding some understated cello was a stroke of genius. Unusually for me, elements of the lyrics stick with me, "I wish I was like you, easily amused", "Married. Buried.".
"Rape Me" was everywhere in 1994. I remember going to see cover bands and they were playing it. The riff, so like "Smells Like Teen Spirit" as to be surely deliberate... but those lyrics flew straight over most teenagers' heads. I'm happy enough to admit it took a good many years for me to mature enough to understand the motivations of writing a song from the perspective of a rapist. I liked the song at the time, but purely musically. My opinion hasn't changed much, but my understanding has shifted with my opinion of the album overall.
"Moist Vagina", the non-album b-side, is odd. With barely enunciated lyrics describing sex, including what may or may not be analingus, followed by screaming "Marijuana". It isn't anything to write home about, but to include it as a b-side with the two other songs, shoved it in the face of countless kids. Maybe it opened their minds a bit. Not mine anyway... The beat is great, but it feels little more than a polished jam, and it is hardly surprising it didn't make the album.
6/10
Tell me more!:
In Utero was a slow burner for me. I, like a lot of Nirvana fans, went from enjoying Nervermind the most, to completely swapping my preference to In Utero, with Bleach and Incesticide sitting in the middle. In Utero is dang near perfect and album, and these days Nevermind almost sounds dated and cheesy. Almost.
As a budding guitarist I tried to play along to All Apologies and struggled. It's a very unusual riff... it's an unusual song. Pop constructed with verse, bridge, chorus; but that riff is so loose as to almost sound out of tune. The song itself ends by falling apart into apathy. Adding some understated cello was a stroke of genius. Unusually for me, elements of the lyrics stick with me, "I wish I was like you, easily amused", "Married. Buried.".
"Rape Me" was everywhere in 1994. I remember going to see cover bands and they were playing it. The riff, so like "Smells Like Teen Spirit" as to be surely deliberate... but those lyrics flew straight over most teenagers' heads. I'm happy enough to admit it took a good many years for me to mature enough to understand the motivations of writing a song from the perspective of a rapist. I liked the song at the time, but purely musically. My opinion hasn't changed much, but my understanding has shifted with my opinion of the album overall.
"Moist Vagina", the non-album b-side, is odd. With barely enunciated lyrics describing sex, including what may or may not be analingus, followed by screaming "Marijuana". It isn't anything to write home about, but to include it as a b-side with the two other songs, shoved it in the face of countless kids. Maybe it opened their minds a bit. Not mine anyway... The beat is great, but it feels little more than a polished jam, and it is hardly surprising it didn't make the album.
6/10
[1994] The Sharp, "Alone Like Me"
Why?: I'm one of about maybe 100 people left in the world who loved the The Sharp in the 90s, and still love them now. I have everything they've released (I think) except that darn 1993 Fan Club Xmas tape. I even made a The Sharp discography fan page.
Tell me more!:
Alone Like Me was released as a single in two parts. One part in a cardboard sleeve like most singles, and part 2 in a slimline hard case designed for both discs. I'll review both.
"Alone Like Me" is a perfect little slab of rock'n'roll pop. In my humble opinion it's brilliant. The main distorted, rockabilly guitar riff, doubled under the whole song on rumbling double bass, two vocalists sharing duties, the shouted sing-along chorus, and silly little slightly stalker lyrics. What more could anyone want? I loved it enough to cover it (sort-of) on a first demo tape, and I often tried to get my band to cover it, but they didn't share the love.
The Sharp always did brilliant b-sides. Rumours at the time of their break up suggested that Alan (bass) wanted to go down the more experimental dance jam side of the music mountain, while Charlie (guitar) wanted to stay on the rock'n'roll path.
The two b-sides "Who Are You?" and "Baby Doll" seem to show this difference. The song "Who Are You?" is all backwards guitar, bowed strings, drum loops, monotonal lyrics, not much of a structure, like nothing on their first album, but shades of it are seen on "Sonic Tripod".
"Baby Doll" on the other hand is pure blues-rockabilly, although it is written and sung by drummer Pete. This song could have fit on either of the band's albums, but it perhaps a little straight forward.
Part 2 has three live tracks from the band's first album: Yeah I Want You, Train Of Thought and Talking Sky. They show just how amazingly tight they were live, but it they were a very visual band, so live audio alone isn't enough, and they play so perfectly, you'd be better off listening to the album. The intro to Train Of Thought for instance includes Pete come out from behind the drums to drum on the strings of Alan's cello. This is heaps of fun live, and it sounds nice, but you don't really know what's going on on CD.
6/10
Tell me more!:
Alone Like Me was released as a single in two parts. One part in a cardboard sleeve like most singles, and part 2 in a slimline hard case designed for both discs. I'll review both.
"Alone Like Me" is a perfect little slab of rock'n'roll pop. In my humble opinion it's brilliant. The main distorted, rockabilly guitar riff, doubled under the whole song on rumbling double bass, two vocalists sharing duties, the shouted sing-along chorus, and silly little slightly stalker lyrics. What more could anyone want? I loved it enough to cover it (sort-of) on a first demo tape, and I often tried to get my band to cover it, but they didn't share the love.
The Sharp always did brilliant b-sides. Rumours at the time of their break up suggested that Alan (bass) wanted to go down the more experimental dance jam side of the music mountain, while Charlie (guitar) wanted to stay on the rock'n'roll path.
The two b-sides "Who Are You?" and "Baby Doll" seem to show this difference. The song "Who Are You?" is all backwards guitar, bowed strings, drum loops, monotonal lyrics, not much of a structure, like nothing on their first album, but shades of it are seen on "Sonic Tripod".
"Baby Doll" on the other hand is pure blues-rockabilly, although it is written and sung by drummer Pete. This song could have fit on either of the band's albums, but it perhaps a little straight forward.
Part 2 has three live tracks from the band's first album: Yeah I Want You, Train Of Thought and Talking Sky. They show just how amazingly tight they were live, but it they were a very visual band, so live audio alone isn't enough, and they play so perfectly, you'd be better off listening to the album. The intro to Train Of Thought for instance includes Pete come out from behind the drums to drum on the strings of Alan's cello. This is heaps of fun live, and it sounds nice, but you don't really know what's going on on CD.
6/10
[1996] The Tea Party, "Alhambra"
Why?: I was a little bit obsessed with The Tea Party's Edges Of Twilight album back in the day, having discovered it when someone slipped me a bootleg of theirs. I never knew Led Zeppelin, so The Tea Party seemed awfully unique to me. I was also obsessed with acoustic versions of rock songs, so an EP of acoustic renderings of The Tea Party songs was the perfect product for me.
Tell me more!:
These days my mind has swapped, and now I tend to find acoustic versions like dulled versions of otherwise great songs. The Tea Party have at least attacked these songs with a strong attempt at reinterpretation, with traditional instruments and lots of 12 string guitar to fill in the spaces. Mostly it works. "The Grand Bazaar", "Silence" and "Turn The Lamp Down Low" all sound pretty good, but I think "Innana" loses a lot in acoustic mode. "Turn The Lamp Down Low" is the bluesiest song on Edges, and I never much liked how it speed up and rocked out, it always seemed like a cheep trick. It survives much better acoustically, especially with the drum jam at the end. I think overall I'd have preferred more drums though.
"Time", the only new song on the EP, is sung by folk singer Roy Harper, who also appears in spoken word form on the hidden track of Edges Of Twilight. It's a great song, in the tradition of 70s folk rock, rocked up slightly for the chorus. Roy has a pleasant enough voice. I can't really imagine this song with Jeff Martin singing it, although I'm sure such a thing probably exists. I'm not interested enough to go find it.
It was a remix of Sister Awake on it too, but I'm not a big fan of remixes. This at least isn't just techno-beats, they have actually remixed the core elements of the song, but it's still silly.
The EP also comes with a multimedia element with videos of the band explaining the instruments they use. It was fairly interesting from memory, with the postage stamp sized video you used to see on CDs in the 90s. The multimedia part on my copy doesn't work in Windows, but can be ripped with some software like ISOBuster to at least watch the videos in Quicktime. The EP was re-released in 2000s fixed to work properly, but I suspect they didn't fix the size of the video.
Overall it's a nice little package, but it's the kind of thing you'd see on a $10 DVD these days, in much better quality. Other acoustic songs recorded at the same time ended up as b-sides and compilations. These days, you could plug a better, more complete version of the EP together (minus the multimedia) via iTunes, and you might be better off.
5/10
Tell me more!:
These days my mind has swapped, and now I tend to find acoustic versions like dulled versions of otherwise great songs. The Tea Party have at least attacked these songs with a strong attempt at reinterpretation, with traditional instruments and lots of 12 string guitar to fill in the spaces. Mostly it works. "The Grand Bazaar", "Silence" and "Turn The Lamp Down Low" all sound pretty good, but I think "Innana" loses a lot in acoustic mode. "Turn The Lamp Down Low" is the bluesiest song on Edges, and I never much liked how it speed up and rocked out, it always seemed like a cheep trick. It survives much better acoustically, especially with the drum jam at the end. I think overall I'd have preferred more drums though.
"Time", the only new song on the EP, is sung by folk singer Roy Harper, who also appears in spoken word form on the hidden track of Edges Of Twilight. It's a great song, in the tradition of 70s folk rock, rocked up slightly for the chorus. Roy has a pleasant enough voice. I can't really imagine this song with Jeff Martin singing it, although I'm sure such a thing probably exists. I'm not interested enough to go find it.
It was a remix of Sister Awake on it too, but I'm not a big fan of remixes. This at least isn't just techno-beats, they have actually remixed the core elements of the song, but it's still silly.
The EP also comes with a multimedia element with videos of the band explaining the instruments they use. It was fairly interesting from memory, with the postage stamp sized video you used to see on CDs in the 90s. The multimedia part on my copy doesn't work in Windows, but can be ripped with some software like ISOBuster to at least watch the videos in Quicktime. The EP was re-released in 2000s fixed to work properly, but I suspect they didn't fix the size of the video.
Overall it's a nice little package, but it's the kind of thing you'd see on a $10 DVD these days, in much better quality. Other acoustic songs recorded at the same time ended up as b-sides and compilations. These days, you could plug a better, more complete version of the EP together (minus the multimedia) via iTunes, and you might be better off.
5/10
[1998] Powderfinger, "Already Gone"
Why?: I can't overstate how influential Powderfinger's "Internationalist" and previous album "Double Allergic" were to my band. I loved them. This single is from "Internationalist".
Tell me more!:
I also can't overstate how much I hated the band after Odyssey Number Five came out. All of the experimentation, lyrics and fun production tricks of those two albums dribbled away and they became this awfully boring band that everyone seemed to love.
"Already Gone" was one of those songs we didn't try to cover, mostly because of those bizarre left/right panning drums in the verses. It just didn't sound right singing it without them. We also couldn't begin to pull off the chorus, having not quite figured out the power of slightly distorted guitar vs over distorted metal guitar. Also keyboards. I think I remember being a bit surprised it was a single actually. But I bought it for the b-sides...
"Control Freak" is a little ditty about what seems to be office politics, dreaming of different jobs and a less complex life. "I've got a good idea" is a great chorus, but the verses are a little too literal for my taste. "I wish I was a computer" from someone who seconds later says they're a "technophobe"? I like my lyrics vague.
"Today You Came" is a trip-hop (I think?) mix of "The Day You Come", while the "Ascension Remix" is drum-n-bass. I'm not a big fan of remixes, but both of these really work. "Today You Came" sounds like it could be the original, as if the song always sounded that way. The main riff of "Ascension remix" still gets stuck in my head to this day. I'd love to hear a full band cover each of these mixes, the way Regurgitator used to play their own remix of Polyester Girl. Great stuff.
"Tom (demo)" sounds more like it would have fit on Double Allergic, and maybe it is from that era. It's a nice enough little song, although the chorus sounds tired, and it doesn't know how to end.
A less than favourite song from Internationalist, some interesting b-sides, but nothing amazing.
5/10
Tell me more!:
I also can't overstate how much I hated the band after Odyssey Number Five came out. All of the experimentation, lyrics and fun production tricks of those two albums dribbled away and they became this awfully boring band that everyone seemed to love.
"Already Gone" was one of those songs we didn't try to cover, mostly because of those bizarre left/right panning drums in the verses. It just didn't sound right singing it without them. We also couldn't begin to pull off the chorus, having not quite figured out the power of slightly distorted guitar vs over distorted metal guitar. Also keyboards. I think I remember being a bit surprised it was a single actually. But I bought it for the b-sides...
"Control Freak" is a little ditty about what seems to be office politics, dreaming of different jobs and a less complex life. "I've got a good idea" is a great chorus, but the verses are a little too literal for my taste. "I wish I was a computer" from someone who seconds later says they're a "technophobe"? I like my lyrics vague.
"Today You Came" is a trip-hop (I think?) mix of "The Day You Come", while the "Ascension Remix" is drum-n-bass. I'm not a big fan of remixes, but both of these really work. "Today You Came" sounds like it could be the original, as if the song always sounded that way. The main riff of "Ascension remix" still gets stuck in my head to this day. I'd love to hear a full band cover each of these mixes, the way Regurgitator used to play their own remix of Polyester Girl. Great stuff.
"Tom (demo)" sounds more like it would have fit on Double Allergic, and maybe it is from that era. It's a nice enough little song, although the chorus sounds tired, and it doesn't know how to end.
A less than favourite song from Internationalist, some interesting b-sides, but nothing amazing.
5/10
[2001] R.E.M., "All The Way To Reno"
Why?: I honestly don't know. I wasn't really all that into R.E.M. until way after singles stopped being a thing. But here it is. It is from Reveal, which was my gateway drug into the R.E.M. world, and I suspect it probably has a multimedia element with the Imitation Of Life video, which I adore. Later I bought that video on DVD single (really, they were a thing once too, for about a year).
Tell me more!:
Tell me more!:
"All The Way To Reno" isn't my favourite song by far from Reveal. Just a little too slow paced and lacking in any really interest changes. I like the way Michael sings in the verses though.
I really don't like the cover "Yellow River". I'm sure it is a throwback to the kinds of covers R.E.M. used to do back in the day, but it is way too happy and poppy for me. The surf instrumental "165 Hillcrest" is fun though.
"Imitation of Life" live, with all the production stripped away, loses a lot of its shine, but R.E.M. are excellent live, and manage to carry the song well enough. Again, not something I'd listen to again without vision.
4/10
Sunday 10 August 2014
[1995] Beastie Boys, "Aglio e Olio"
Why?: This is my wife's. I was very slow getting into Beastie Boys, only starting to see the light after Intergalactic.
Tell me more!:
"Aglio e Olio" is a very short EP of sub-two-minute hard-core punk songs. I've always been impressed that BB had this instrumental side to them, and loved the fact they played instruments on a lot of their most famous raps, but the hard-core punk side was a shock when I discovered it.
Musically, this isn't really my thing. I like how rough it sounds, especially the drums. It's like you're in the room with them, kicking the walls.
But... not really my thing. Big points for very short songs.
3/10
Tell me more!:
"Aglio e Olio" is a very short EP of sub-two-minute hard-core punk songs. I've always been impressed that BB had this instrumental side to them, and loved the fact they played instruments on a lot of their most famous raps, but the hard-core punk side was a shock when I discovered it.
Musically, this isn't really my thing. I like how rough it sounds, especially the drums. It's like you're in the room with them, kicking the walls.
But... not really my thing. Big points for very short songs.
3/10
Monday 28 July 2014
[1991] Pearl Jam, "Alive"
Why?: I was never a fan of Pearl Jam. I liked "Ten" and "Vs", but I wasn't at the level where I needed to have all-the-things (as I was with Metallica, Smashing Pumpkins, Faith No More etc.). This copy of "Alive" is pretty battered, so I suspect it was very cheap. The justification for buying it would have bought it for the b-side "Wash".
Tell me more!:
How can I say anything sensible about "Alive"? The soundtrack to my teens, it is near impossible to review it without significant bias. Further, I've read so much about early Pearl Jam, that my knowledge of how the song came about colours my opinion of it.
Nirvana, and other bands of the era, were generally not big fans of Pearl Jam, arguing they were a commercialised "grunge", manufactured by the record companies. That's unfair, but on listening now, "Alive" is far more polished than I thought at the time. My mental image of Pearl Jam was grungy, messy, rough. "Alive" is in fact very highly polished.
I'm also aware that "Alive" existed in instrumental form before Vedder joined the band. Listening now it sounds like Eddie's voice is above the music, not as well mixed as I remember, as if it was recorded over the top, later. That's likely not how it happened, and I can't trust my mind on this.
Now my musical experiences have massively expanded over the last two+ decades, I can clearly hear Pearl Jam's the influences. If I'd been aware of Neil Young, Led Zeppelin or The Who I'd have noticed it at the time, and perhaps been critical. Instead I thought Pearl Jam were a unique version of rock, both emotive and hard-rocking.
"Alive" is the combination of all those thoughts. I never had any heroic memorable teenage moments while listening to Pearl Jam, and they invoke none of those memories. Such things are saved for Nirvana and Faith No More.
My favourite track from "Ten" is "Once", and the version from this single is my favourite, prefixed with a faded in version of "Master/Slave", the hidden track from "Ten". My head believes this version is slightly better mixed compared to the album, but I no longer believe this... I think the weird intro warps my mind into believing this version is heavier.
I'm not a fan of "Wash". It's horribly dull, especially paired with these two songs. It's a pity they didn't include "Footsteps" on this single. It would have been a nice package of the "mother/son" trilogy. These days there is nothing stopping me creating that trilogy in a playlist...
Scoring this single is difficult, one great song, one overplayed un-reviewable anthem, one bad song. I guess that makes it...
5/10
Tell me more!:
How can I say anything sensible about "Alive"? The soundtrack to my teens, it is near impossible to review it without significant bias. Further, I've read so much about early Pearl Jam, that my knowledge of how the song came about colours my opinion of it.
Nirvana, and other bands of the era, were generally not big fans of Pearl Jam, arguing they were a commercialised "grunge", manufactured by the record companies. That's unfair, but on listening now, "Alive" is far more polished than I thought at the time. My mental image of Pearl Jam was grungy, messy, rough. "Alive" is in fact very highly polished.
I'm also aware that "Alive" existed in instrumental form before Vedder joined the band. Listening now it sounds like Eddie's voice is above the music, not as well mixed as I remember, as if it was recorded over the top, later. That's likely not how it happened, and I can't trust my mind on this.
Now my musical experiences have massively expanded over the last two+ decades, I can clearly hear Pearl Jam's the influences. If I'd been aware of Neil Young, Led Zeppelin or The Who I'd have noticed it at the time, and perhaps been critical. Instead I thought Pearl Jam were a unique version of rock, both emotive and hard-rocking.
"Alive" is the combination of all those thoughts. I never had any heroic memorable teenage moments while listening to Pearl Jam, and they invoke none of those memories. Such things are saved for Nirvana and Faith No More.
My favourite track from "Ten" is "Once", and the version from this single is my favourite, prefixed with a faded in version of "Master/Slave", the hidden track from "Ten". My head believes this version is slightly better mixed compared to the album, but I no longer believe this... I think the weird intro warps my mind into believing this version is heavier.
I'm not a fan of "Wash". It's horribly dull, especially paired with these two songs. It's a pity they didn't include "Footsteps" on this single. It would have been a nice package of the "mother/son" trilogy. These days there is nothing stopping me creating that trilogy in a playlist...
Scoring this single is difficult, one great song, one overplayed un-reviewable anthem, one bad song. I guess that makes it...
5/10
Sunday 18 May 2014
[1984] Foreigner, "Agent Provocateur"
Why?: Part of a 5-albums-for-$20 set that I bought purely on the strength of "Cold As Ice".
Tell me more!:
I really enjoyed "4", the album so I expected to really enjoy this album, but I was wrong.
The mega-hit "I Want To Know What Love Is" surprised me with its Bruce Springsteen sounding verse, but the chorus is so syrupy it's unpleasant to revisit.
The rest of the album is forgettable, with none of the pop melodic fun of "4". None.
2/10
Tell me more!:
I really enjoyed "4", the album so I expected to really enjoy this album, but I was wrong.
The mega-hit "I Want To Know What Love Is" surprised me with its Bruce Springsteen sounding verse, but the chorus is so syrupy it's unpleasant to revisit.
The rest of the album is forgettable, with none of the pop melodic fun of "4". None.
2/10
[2011] Chimaira, "The Age Of Hell"
Why?: Free on the cover of "Metal Hammer". I kept pronouncing their name wrong until someone finally corrected me. Thanks someone.
Tell me more!:
The kind of technically proficient but musically vacant metal that has flooded the market, and magazine-cover-CDs and caused me to cancel my subscription to Metal Hammer to dig deeper in the the doom/black/extreme metal genres, leaving this "pop" crap behind.
I'm being harsh, but that's the way it is. I really enjoyed Trivium when I first heard them, but when everything in mainstream metal sounds the same for over a decade (including Trivium), it's hard to stay enthusiastic.
"The Age Of Hell" has parts I enjoy, quite a few actually, but no parts are in the same song. I liked the Pantera groove-metal influences, the Thin-Lizzy double guitars, but the generic yelling vocals usually ruin the fun.
2/10
Tell me more!:
The kind of technically proficient but musically vacant metal that has flooded the market, and magazine-cover-CDs and caused me to cancel my subscription to Metal Hammer to dig deeper in the the doom/black/extreme metal genres, leaving this "pop" crap behind.
I'm being harsh, but that's the way it is. I really enjoyed Trivium when I first heard them, but when everything in mainstream metal sounds the same for over a decade (including Trivium), it's hard to stay enthusiastic.
"The Age Of Hell" has parts I enjoy, quite a few actually, but no parts are in the same song. I liked the Pantera groove-metal influences, the Thin-Lizzy double guitars, but the generic yelling vocals usually ruin the fun.
2/10
[1996] Tool, "Ænima"
Why?: Highly recommended by a friend (who also bought Korn's "Life Is Peachy" at the time I believe), played heavily at parties, it was one of the first CDs I bought once I got a job and disposable income.
Tell me more!:
This album is still incredible. The production is a bit tiny compared to modern production, but it's better for it. I listened to this album to death at the time, and I still heard something new this time around, with decent headphones.
There isn't a song I don't love, even the ridiculous German cake recipes, and lamely threatening phone-calls. Ænima is still one of my favourite songs: its crazy timing, confusing intro, dismissive-end-of-the-world lyrics, are all perfect.
Ænima pulls off an amazing trick of being both full of "single" songs that I'd happily listen to in isolation, but also being a full album artwork I love listening right through, over and over.
In almost twenty years of hindsight, I'd have to put this album in my "favourites" pile. I'm not calling Top 10, I suspect the favourites will be a big pile, but I'm scoring this the highest this blog as seen so far...
9/10
I never liked "Lateralus" but I hear good things about "10,000 Days". Pity Tool aren't on Spotify...
Tell me more!:
This album is still incredible. The production is a bit tiny compared to modern production, but it's better for it. I listened to this album to death at the time, and I still heard something new this time around, with decent headphones.
There isn't a song I don't love, even the ridiculous German cake recipes, and lamely threatening phone-calls. Ænima is still one of my favourite songs: its crazy timing, confusing intro, dismissive-end-of-the-world lyrics, are all perfect.
Ænima pulls off an amazing trick of being both full of "single" songs that I'd happily listen to in isolation, but also being a full album artwork I love listening right through, over and over.
In almost twenty years of hindsight, I'd have to put this album in my "favourites" pile. I'm not calling Top 10, I suspect the favourites will be a big pile, but I'm scoring this the highest this blog as seen so far...
9/10
I never liked "Lateralus" but I hear good things about "10,000 Days". Pity Tool aren't on Spotify...
[1995] Deftones, "Adrenaline"
Why?: I think I heard about the band via The Matrix and fell for some recommendation or other.
Tell me more!:
I didn't like this album at the time and nothing has changed.
The mix is thin as a 90s alternative album can possibly sound; the music is nu-metal; not completely obnoxious, but most of the way there. As someone brought up on the incredible production of Korn, it's a hard disc to listen to.
Having a quick look on Spotify I think I probably meant to buy White Pony but got confused by the white cover. Silly me.
It's gathered dust ever since...
2/10
Tell me more!:
I didn't like this album at the time and nothing has changed.
The mix is thin as a 90s alternative album can possibly sound; the music is nu-metal; not completely obnoxious, but most of the way there. As someone brought up on the incredible production of Korn, it's a hard disc to listen to.
Having a quick look on Spotify I think I probably meant to buy White Pony but got confused by the white cover. Silly me.
It's gathered dust ever since...
2/10
[1998] Smashing Pumpkins, "Adore"
Why?: It's impossible to describe just how huge a Smashing Pumpkins fan I was from 1995-1998. Enormous. Everything they did until that date was perfect in my mind. Adore killed it. I never bought it, I hated it so. My wife did though, and here it is in our collection...
Tell me more!:
I spent a lot of money collecting Smashing Pumpkins at the time... I'm surprised I never bought Adore. I don't think I even had it on tape. I collected SP bootlegs and had a few of the songs live, but it seems I really did draw a line and stop listening to the band after this album.
I've since grown to love the band again, the last album (Oceania) is great, so I came to listening to this again with fresh enthusiastic ears.
And it starts well. "To Shelia", "Ava Adore" and "Perfect" are all great songs. I know from listening to bootlegs that Ava Adore is much better live, with the electronic parts played on a distorted guitar, but the recorded version is pretty good.
Unfortunately the album just falls apart after this. Comparing it to recent albums, it's all so low impact, and much of it sounds like half-finished demos. But even that isn't fair as many Smashing Pumpkins half-finished demos from earlier years sound better.
The mix isn't great either. The instruments are mostly pushed to the background, with Billy's whine right up front. Buried in the mix with a wall of guitars, I like his voice, but right up front, singer-songwriter style, it grates quickly.
A 6-disc re-issue of this album is due. I've bought all the previous re-issues and enjoyed them to varying levels. A full remix (rather than remaster) of this might make me enjoy it more, but it's probably overall too mellow.
3/10
Tell me more!:
I spent a lot of money collecting Smashing Pumpkins at the time... I'm surprised I never bought Adore. I don't think I even had it on tape. I collected SP bootlegs and had a few of the songs live, but it seems I really did draw a line and stop listening to the band after this album.
I've since grown to love the band again, the last album (Oceania) is great, so I came to listening to this again with fresh enthusiastic ears.
And it starts well. "To Shelia", "Ava Adore" and "Perfect" are all great songs. I know from listening to bootlegs that Ava Adore is much better live, with the electronic parts played on a distorted guitar, but the recorded version is pretty good.
Unfortunately the album just falls apart after this. Comparing it to recent albums, it's all so low impact, and much of it sounds like half-finished demos. But even that isn't fair as many Smashing Pumpkins half-finished demos from earlier years sound better.
The mix isn't great either. The instruments are mostly pushed to the background, with Billy's whine right up front. Buried in the mix with a wall of guitars, I like his voice, but right up front, singer-songwriter style, it grates quickly.
A 6-disc re-issue of this album is due. I've bought all the previous re-issues and enjoyed them to varying levels. A full remix (rather than remaster) of this might make me enjoy it more, but it's probably overall too mellow.
3/10
[1990] Death Angel, "Act III"
Why?: I read somewhere (Metal Hammer?) this was one of those "must have" thrash albums. It's critically their "best" album.
Tell me more!:
I remember not thinking a lot of this when I finally got to play it and listening again now hasn't much changed my mind, despite my knowledge and enjoyment of metal being much more than it was at the time.
The music is OK, but not amazing, perhaps a little too ambitious. It leans more toward the Anthrax side of thrash, the punkier side. I don't enjoy the vocals much either... they remind me heavily of an Australian band I randomly got into in the 90s called "Against The Grain" who I guess must have been influenced by this band, or coincidently sounded the same.
Nothing really stuck much this time. I don't think I'd miss this CD if it went. I can hear all sorts of quality in it, I just don't enjoy it, at all.
I read that while touring this album the band had a bus crash and their drummer was badly hurt, effectively ending the band. They've since reformed and released numerous albums, I should have a listen.
4/10
Tell me more!:
I remember not thinking a lot of this when I finally got to play it and listening again now hasn't much changed my mind, despite my knowledge and enjoyment of metal being much more than it was at the time.
The music is OK, but not amazing, perhaps a little too ambitious. It leans more toward the Anthrax side of thrash, the punkier side. I don't enjoy the vocals much either... they remind me heavily of an Australian band I randomly got into in the 90s called "Against The Grain" who I guess must have been influenced by this band, or coincidently sounded the same.
Nothing really stuck much this time. I don't think I'd miss this CD if it went. I can hear all sorts of quality in it, I just don't enjoy it, at all.
I read that while touring this album the band had a bus crash and their drummer was badly hurt, effectively ending the band. They've since reformed and released numerous albums, I should have a listen.
4/10
[2005] Alarm Will Sound, "Acoustica: Alarm Will Sound Performs Aphex Twin"
Why?: One of the many many things I love in music is acoustic instruments playing electronic songs. I think a lot of overly produced electronic songs have a lot of melodic merit, but they're ruined by their chosen "instruments". When I heard about this album I downloaded it... loved it, so bought the CD.
Tell me more!:
If you're even remotely a fan of incredible drumming, you should buy this album now. The performances are incredible. Aphex Twin's music is deceptively simple, until you try to play it with your hands. Alarm Will Sound do an amazing job playing these songs, and in doing so make them incredible jazz orchestra pieces that I defy anyone not to enjoy. They even randomly swear!
I'm completely unaware of the original tracks. I've heard some old Aphex Twin and didn't enjoy it at all. Perhaps the music itself isn't that great, I don't know... I'm simply floored by the musicianship.
If I had to choose a favourite I'd say "4", but I love listening to the whole album... except the two last tracks, which appear to be electronic remixes... not at all what I want.
7/10
Tell me more!:
If you're even remotely a fan of incredible drumming, you should buy this album now. The performances are incredible. Aphex Twin's music is deceptively simple, until you try to play it with your hands. Alarm Will Sound do an amazing job playing these songs, and in doing so make them incredible jazz orchestra pieces that I defy anyone not to enjoy. They even randomly swear!
I'm completely unaware of the original tracks. I've heard some old Aphex Twin and didn't enjoy it at all. Perhaps the music itself isn't that great, I don't know... I'm simply floored by the musicianship.
If I had to choose a favourite I'd say "4", but I love listening to the whole album... except the two last tracks, which appear to be electronic remixes... not at all what I want.
7/10
[2009] Absu, "Absu"
Why?: A very recent purchase. I love 2011's "Abzu" and I'm very much looking forward to the future"Apsu" album.
Tell me more!:
It's great. I can't say much more than I've already said in my Abzu review.
I'd have to be slightly negative and say "Absu" doesn't have a lot of what I enjoyed about "Abzu". It's less cohesive, has less of what I probably unkindly called "the humour" of the later album. It has more songs, and they're probably more varied than "Abzu", which I like, but I don't get as much of a "full album" feel as I get from "Abzu".
The new album is on the way, and weirdly, they've apparently released a single through Adult Swim.
Absu don't do happy endings.
Absu, "Hall Of The Masters"
6/10
Tell me more!:
It's great. I can't say much more than I've already said in my Abzu review.
I'd have to be slightly negative and say "Absu" doesn't have a lot of what I enjoyed about "Abzu". It's less cohesive, has less of what I probably unkindly called "the humour" of the later album. It has more songs, and they're probably more varied than "Abzu", which I like, but I don't get as much of a "full album" feel as I get from "Abzu".
The new album is on the way, and weirdly, they've apparently released a single through Adult Swim.
Absu don't do happy endings.
Absu, "Hall Of The Masters"
6/10
[2003] Muse, "Absolution"
What?: [I'm going to quit doing this bit, you've got Google]
Why?: Muse's back catalogue has always ended up in the $10 pile so they're easy to collect. I wouldn't have picked this up until after 2007 when I finally gave in and started enjoying this band.
Tell me more!:
Musically, Muse are everything I've ever asked for in a rock band. Their guitar riffs, repetitive, fast, melodic; their slightly electronic feel. I don't think they really kick it into gear and properly embrace the electronics until three years later when they release "Black Holes", but the hints are here.
I'm reminded of chip tunes, and perhaps this kind of guitar riffing (constant melodic runs with few gaps) was ingrained in my consciousness by years of playing Commodore 64 games, whose composers were heavily influenced by 70s prog.
I avoided Muse for so long because the vocals are hard to listen to for a full album. Bellamy can sing, but somehow there just isn't enough variety in his voice, at least not in these early albums.
And the same goes for the music. Song by song I like their stuff, but on a full album... maybe it's the production... but it all runs into each other.
5/10
Why?: Muse's back catalogue has always ended up in the $10 pile so they're easy to collect. I wouldn't have picked this up until after 2007 when I finally gave in and started enjoying this band.
Tell me more!:
Musically, Muse are everything I've ever asked for in a rock band. Their guitar riffs, repetitive, fast, melodic; their slightly electronic feel. I don't think they really kick it into gear and properly embrace the electronics until three years later when they release "Black Holes", but the hints are here.
I'm reminded of chip tunes, and perhaps this kind of guitar riffing (constant melodic runs with few gaps) was ingrained in my consciousness by years of playing Commodore 64 games, whose composers were heavily influenced by 70s prog.
I avoided Muse for so long because the vocals are hard to listen to for a full album. Bellamy can sing, but somehow there just isn't enough variety in his voice, at least not in these early albums.
And the same goes for the music. Song by song I like their stuff, but on a full album... maybe it's the production... but it all runs into each other.
5/10
Monday 5 May 2014
[2008] R.E.M., "Accelerate"
What?: Slightly popular R.E.M.'s 14th, and second to last, album.
Why?: I was late to the R.E.M. party, not joining until the singer of my band got me into "Reveal" in 2001. I slowly, and reluctantly, built up my collection until I had all their albums. I'd say "Accelerate" would be the first R.E.M. album I was actively excited about and bought on its release.
Tell me more!:
I really didn't think much of "Around the Sun" (the previous album) but I love "Accelerate".
The whole album is a rocking, aggressive version of R.E.M. that I'd really been missing. The songs are riffy, melodic, short and to the point.
The story goes that the band previewed many tracks from the album at a residency in Ireland. The whole album does have a strong live feel and I imagine them all working well in that context.
Unusually for me I like the turn-it-up-loud production, although I think it's been used to good effect on songs like "Houston" when the keys, acoustic, drums all deliberately distort, adding to their power, and live feel.
I'm not a big fan of "Man Sized Wreath", it's a bit of a mess, and I don't like the "just don't care" lyric. I like the held vocal note at the end though, and how it kicks into "Supernatural Superserious". The final track ("I'm Gonna DJ") is a bit rough too... although I like how the album ends so suddenly with a big final "yeah".
Listening now I just want to pick up a guitar and play along! It's a rare album that can make me do that, especially one that is mainly "chord riffs" as I call them (riffs made up of string picking within a chord strum, as opposed to say palm muted metal riffs). It's the kind of guitaring I used to do in my band, and I miss it. It almost tempts me to take up a friend's offer of starting an R.E.M. cover band... buy why add to the pile?
7/10
Why?: I was late to the R.E.M. party, not joining until the singer of my band got me into "Reveal" in 2001. I slowly, and reluctantly, built up my collection until I had all their albums. I'd say "Accelerate" would be the first R.E.M. album I was actively excited about and bought on its release.
Tell me more!:
I really didn't think much of "Around the Sun" (the previous album) but I love "Accelerate".
The whole album is a rocking, aggressive version of R.E.M. that I'd really been missing. The songs are riffy, melodic, short and to the point.
The story goes that the band previewed many tracks from the album at a residency in Ireland. The whole album does have a strong live feel and I imagine them all working well in that context.
Unusually for me I like the turn-it-up-loud production, although I think it's been used to good effect on songs like "Houston" when the keys, acoustic, drums all deliberately distort, adding to their power, and live feel.
I'm not a big fan of "Man Sized Wreath", it's a bit of a mess, and I don't like the "just don't care" lyric. I like the held vocal note at the end though, and how it kicks into "Supernatural Superserious". The final track ("I'm Gonna DJ") is a bit rough too... although I like how the album ends so suddenly with a big final "yeah".
Listening now I just want to pick up a guitar and play along! It's a rare album that can make me do that, especially one that is mainly "chord riffs" as I call them (riffs made up of string picking within a chord strum, as opposed to say palm muted metal riffs). It's the kind of guitaring I used to do in my band, and I miss it. It almost tempts me to take up a friend's offer of starting an R.E.M. cover band... buy why add to the pile?
7/10
Saturday 26 April 2014
[2010] Dimmu Borgir, "Abrahadabra"
What?: The ninth album from Norwegian Black Metal band Dimmu Borgir.
Why?: I heard somewhere that if I wanted to hear a good example of orchestra being used with a metal band, I should check out Dimmu Borgir. I googled and found a video from this album of the purely orchestra version of one of the tracks, and my immediate thought was "this would make a great metal song", and of course it was one, so I bought the album.
Tell me more!:
I was a bit dismissive of this after the first few listens and I quickly put it down. It wasn't dark enough for what I was interested in at the time, not brutal enough, too pop.
On this recent re-listen I thoroughly enjoyed it. Unlike the majority of "orchestra with metal" albums I've heard, it feels like the orchestra was a major instrument in the main composition, not tacked on at the end. It fits wonderfully in most of the tracks, with horns or violins or numerous other orchestral instruments filling the gaps in songs that might otherwise be filled with a guitar riff or drum fill.
The mixing is great. The orchestra is right there with the guitars. The guitar, bass and drums haven't been mixed low to leave room for the orchestra; they're all up loud where they belong.
The four or five tracks flow brilliantly. "Gateways" in particular, with Agnete Kjølsrud sharing vocals duties, is a favourite. I love the way it turns into this huge epic chorus only at the end of the track. I'm a sucker for a poppy build-up.
The album drags towards them end though. The middle to end tracks don't stick in my memory, and I actively hate the last track ("Endings and Continuations"), the vocal track (by Garm, of Arcturus, a band I've been known to like) is just awful. I even tried listening to the album from the middle but it didn't help. Great start, sliding toward a bad end. Pity.
6/10
Why?: I heard somewhere that if I wanted to hear a good example of orchestra being used with a metal band, I should check out Dimmu Borgir. I googled and found a video from this album of the purely orchestra version of one of the tracks, and my immediate thought was "this would make a great metal song", and of course it was one, so I bought the album.
Tell me more!:
I was a bit dismissive of this after the first few listens and I quickly put it down. It wasn't dark enough for what I was interested in at the time, not brutal enough, too pop.
On this recent re-listen I thoroughly enjoyed it. Unlike the majority of "orchestra with metal" albums I've heard, it feels like the orchestra was a major instrument in the main composition, not tacked on at the end. It fits wonderfully in most of the tracks, with horns or violins or numerous other orchestral instruments filling the gaps in songs that might otherwise be filled with a guitar riff or drum fill.
The mixing is great. The orchestra is right there with the guitars. The guitar, bass and drums haven't been mixed low to leave room for the orchestra; they're all up loud where they belong.
The four or five tracks flow brilliantly. "Gateways" in particular, with Agnete Kjølsrud sharing vocals duties, is a favourite. I love the way it turns into this huge epic chorus only at the end of the track. I'm a sucker for a poppy build-up.
The album drags towards them end though. The middle to end tracks don't stick in my memory, and I actively hate the last track ("Endings and Continuations"), the vocal track (by Garm, of Arcturus, a band I've been known to like) is just awful. I even tried listening to the album from the middle but it didn't help. Great start, sliding toward a bad end. Pity.
6/10
[1998] Counting Crows, "Across a Wire: Live in New York City"
What?: Live double-disc album from Californian's Counting Crows.
Why?: I loved their first album. It's one of those albums I know off by heart. I knew that CC liked to heavily rework their songs live and thought that would be interesting to hear. I also though hearing live versions of the songs from the second album might make me like it more.
Tell me more!:
The two discs are two complete shows, both from TV broadcasts (VH1's Storytellers and MTV's 10 Spot). In today's age I suppose this would be a three disc with the vision on a third DVD disc.
I used to love live recordings. I used to spend insane amounts of money trading cassette tapes of terrible quality fan recorded gigs. Not any more. Today I crave quality, and if I'm to listen to a live recording it has to be of a truly innovative band, like Secret Chiefs 3, or a band I absolute love to death, like Faith No More.
The VH1 recording is interesting for being acoustic, with the songs I know from the first album being heavily reworked with completely different instrumentation and piano accompaniment. Interesting... but good? "August and Everything After" is so ingrained in my skull, that messing with the songs to this degree is just... annoying. I admire a band who takes risks and messes with their songs, even if it's probably because they're well and truly sick of them. But either they went too far, or I'm just not in the mood for it.
The songs from the second album are pleasant enough but unfamiliar, even though I'm sure I've listened to it numerous times.
The second disc is less interesting, being a straight rock-band recording, although they still mess with the compositions a little.
It is strange to see a live album, which often serves as an unofficial best-of, after only two albums, although as a fan of Faith No More I would know this isn't that unusual. Speaking of Faith No More, David Bryson, guitarist of Counting Crows, helped mix Angel Dust. Just saying.
Counting Crows are one of a long list of bands who have recently embraced the idea of selling their live recordings online. I'm sure there are much better recordings www.livecountingcrows.com than these two shows. Although I'm torn, because if they were not released, I'd argue they should be, as because they were broadcast on TV I'm sure they would be heavily bootlegged, which argues they must be popular, and therefore worthy of official release. Right? I'd also argue this would be a much better package with the vision, although I almost never watch the live concert recordings I have...
I enjoyed, briefly, hearing different versions of the tracks I know, but I enjoyed much less than half of this, and I can't really see myself listening to it much again.
3/10
Why?: I loved their first album. It's one of those albums I know off by heart. I knew that CC liked to heavily rework their songs live and thought that would be interesting to hear. I also though hearing live versions of the songs from the second album might make me like it more.
Tell me more!:
The two discs are two complete shows, both from TV broadcasts (VH1's Storytellers and MTV's 10 Spot). In today's age I suppose this would be a three disc with the vision on a third DVD disc.
I used to love live recordings. I used to spend insane amounts of money trading cassette tapes of terrible quality fan recorded gigs. Not any more. Today I crave quality, and if I'm to listen to a live recording it has to be of a truly innovative band, like Secret Chiefs 3, or a band I absolute love to death, like Faith No More.
The VH1 recording is interesting for being acoustic, with the songs I know from the first album being heavily reworked with completely different instrumentation and piano accompaniment. Interesting... but good? "August and Everything After" is so ingrained in my skull, that messing with the songs to this degree is just... annoying. I admire a band who takes risks and messes with their songs, even if it's probably because they're well and truly sick of them. But either they went too far, or I'm just not in the mood for it.
The songs from the second album are pleasant enough but unfamiliar, even though I'm sure I've listened to it numerous times.
The second disc is less interesting, being a straight rock-band recording, although they still mess with the compositions a little.
It is strange to see a live album, which often serves as an unofficial best-of, after only two albums, although as a fan of Faith No More I would know this isn't that unusual. Speaking of Faith No More, David Bryson, guitarist of Counting Crows, helped mix Angel Dust. Just saying.
Counting Crows are one of a long list of bands who have recently embraced the idea of selling their live recordings online. I'm sure there are much better recordings www.livecountingcrows.com than these two shows. Although I'm torn, because if they were not released, I'd argue they should be, as because they were broadcast on TV I'm sure they would be heavily bootlegged, which argues they must be popular, and therefore worthy of official release. Right? I'd also argue this would be a much better package with the vision, although I almost never watch the live concert recordings I have...
I enjoyed, briefly, hearing different versions of the tracks I know, but I enjoyed much less than half of this, and I can't really see myself listening to it much again.
3/10
Friday 25 April 2014
[2010] Nachtmystium, "Addicts: Black Meddle, Part II"
What?: The fifth album from "psychedelic black metal" Chicago band Nachtmystium.
Why?: One of the many albums I borrowed from a guy at work. I absolutely loved about 10% of them, this being one of them (others being albums from Agalloch, Absu, Katatonia, Melechesh and various other not-mainstream metal bands). I finally got around to getting the CD only recently. I love it to death
Tell me more!:
I love this album. It's brilliant.
For years... a decade or more even... I avoided most black metal because it's all just screaming and super fast double-kick isn't it?
It's bands like Nachtmystium (and many others I've since discovered) that grab my attention though, by mixing in everything from straight 70s-rock-n-rock, The Cure, Ministry and generous use of keyboards, into their black-metal soup.
If it were not for the guttural and screaming vocals, and occasional black-metal drums, with different mixing, this really could be a The Cure album in every way. It has pop choruses and dark engaging and sometimes-silly lyrics. A band like "Ghost" (aka. "Ghost B.C.") have made a whole career out of songs like "Nightfall", only Nachtmystium's singer sounds a lot less like Weird Al.
As an album it flows well, is varied enough to keep me listening, full of great melody and chorus, and short, at only 48 minutes.
I didn't enjoy the album after this anywhere near as much, but I must dig up it's predecessor ("Assassins") as many suggest it "more coherent", which may, or may not, be a good thing.
9/10
Why?: One of the many albums I borrowed from a guy at work. I absolutely loved about 10% of them, this being one of them (others being albums from Agalloch, Absu, Katatonia, Melechesh and various other not-mainstream metal bands). I finally got around to getting the CD only recently. I love it to death
Tell me more!:
I love this album. It's brilliant.
For years... a decade or more even... I avoided most black metal because it's all just screaming and super fast double-kick isn't it?
It's bands like Nachtmystium (and many others I've since discovered) that grab my attention though, by mixing in everything from straight 70s-rock-n-rock, The Cure, Ministry and generous use of keyboards, into their black-metal soup.
If it were not for the guttural and screaming vocals, and occasional black-metal drums, with different mixing, this really could be a The Cure album in every way. It has pop choruses and dark engaging and sometimes-silly lyrics. A band like "Ghost" (aka. "Ghost B.C.") have made a whole career out of songs like "Nightfall", only Nachtmystium's singer sounds a lot less like Weird Al.
As an album it flows well, is varied enough to keep me listening, full of great melody and chorus, and short, at only 48 minutes.
I didn't enjoy the album after this anywhere near as much, but I must dig up it's predecessor ("Assassins") as many suggest it "more coherent", which may, or may not, be a good thing.
9/10
Monday 21 April 2014
[2004] dälek, "Absence"
What?: MC dälek and producer Oktopus's (Oktopi's?) third album.
Why?: Ipecac, Mike Patton's label. Beyond that, I'm not sure to be honest. I probably read a review that described it as hip-hop over distorted guitars and was intrigued. Actually, "I bought a couple of albums recently purely on instinct and reputation, something I haven't done for a long while..." [thanks old blog! 21-Jul-2005]
Tell me more!:
At the time I was disappointed, suggesting I might like it if it "wasn't for the banshees."
I can't say my opinion of the album has improved, although "banshees" is perhaps a little harsh.
Ignoring lyrics (which I typically do), all of the tracks are the same. A chorus of guitar feedback acts as the backing drone to all tracks, while beats are rapped over. The description of the guitar feedback element is what interested me initially, but it is beyond interest. The guitars do serve as a distraction though, removing a lot of the impact of the drums and vocals. They guitars could be replaced with a keyboard and you would not lose much, but you might gain some better mixing.
I gave it a read-hot re-listen go but I still don't like it.
2/10
Why?: Ipecac, Mike Patton's label. Beyond that, I'm not sure to be honest. I probably read a review that described it as hip-hop over distorted guitars and was intrigued. Actually, "I bought a couple of albums recently purely on instinct and reputation, something I haven't done for a long while..." [thanks old blog! 21-Jul-2005]
Tell me more!:
At the time I was disappointed, suggesting I might like it if it "wasn't for the banshees."
I can't say my opinion of the album has improved, although "banshees" is perhaps a little harsh.
Ignoring lyrics (which I typically do), all of the tracks are the same. A chorus of guitar feedback acts as the backing drone to all tracks, while beats are rapped over. The description of the guitar feedback element is what interested me initially, but it is beyond interest. The guitars do serve as a distraction though, removing a lot of the impact of the drums and vocals. They guitars could be replaced with a keyboard and you would not lose much, but you might gain some better mixing.
I gave it a read-hot re-listen go but I still don't like it.
2/10
Tuesday 15 April 2014
[2000] Gomez, "Abandoned Shopping Trolley Hotline"
What?: Compilation of b-sides, live tracks, rarities for Gomez.
Why?: I can't remember. My wife is the Gomez fan. I suspect we bought this cheap, not being aware it was a compilation.
Tell me more!:
My interest in Gomez peeked after seeing them live in 2000 and dropped off after 2004's "In Our Gun". This compilation sits right in the middle of that.
By its nature it's all over the place, with crap unfinished jams sitting next to epic live jams and sub-par b-sides.
The best stuff are the live or remixed versions of songs from their first two albums. The band completely rework "78 Stone Wobble" into "78 Stone Shuffle". "We Haven't Turned Around" (x-ray version) is a fantastic remake with almost all instrumentation removed, replaced with simple keyboard riffs, bringing the vocals right to the front, and the live version of b-side "Rosemary" is epic blues.
Their Beatles cover, "Getting Better", suits the band well, although it's a fairly straight cover. "Cowboy Song" is a bizarre C-64 jam that I like, but mostly due to it being so short.
"Bring Your Loving Back Here" is classic Gomez that I find hard to believe is buried on this album and found nowhere else. Fans love "Buena Vista", and I do like the little echo riff it has but the vocals are a bit grating... but it's the awesome jam that kicks in after 4 minutes that makes the song. I'm a bit of a fan of "Wharf Me" too, the music is so chilled... almost Smashing Pumpkins MCIS.
Much of the the rest of the album is hard to describe... left over... "bits"? They're barely songs. Most are very short (sub 2 minutes). There is some interesting stuff going on, I like the blues-trip-hop of "Steve McCroski", but mostly as an idea, maybe not the execution.
Half a good live/remix album, half an interesting insight into the bits of tape left on the cutting room floor. Listening has re-ignited my love for old Gomez, so I might check out their recently released b-sides album, especially to hear the original version of Rosemary.
5/10
Why?: I can't remember. My wife is the Gomez fan. I suspect we bought this cheap, not being aware it was a compilation.
Tell me more!:
My interest in Gomez peeked after seeing them live in 2000 and dropped off after 2004's "In Our Gun". This compilation sits right in the middle of that.
By its nature it's all over the place, with crap unfinished jams sitting next to epic live jams and sub-par b-sides.
The best stuff are the live or remixed versions of songs from their first two albums. The band completely rework "78 Stone Wobble" into "78 Stone Shuffle". "We Haven't Turned Around" (x-ray version) is a fantastic remake with almost all instrumentation removed, replaced with simple keyboard riffs, bringing the vocals right to the front, and the live version of b-side "Rosemary" is epic blues.
Their Beatles cover, "Getting Better", suits the band well, although it's a fairly straight cover. "Cowboy Song" is a bizarre C-64 jam that I like, but mostly due to it being so short.
"Bring Your Loving Back Here" is classic Gomez that I find hard to believe is buried on this album and found nowhere else. Fans love "Buena Vista", and I do like the little echo riff it has but the vocals are a bit grating... but it's the awesome jam that kicks in after 4 minutes that makes the song. I'm a bit of a fan of "Wharf Me" too, the music is so chilled... almost Smashing Pumpkins MCIS.
Much of the the rest of the album is hard to describe... left over... "bits"? They're barely songs. Most are very short (sub 2 minutes). There is some interesting stuff going on, I like the blues-trip-hop of "Steve McCroski", but mostly as an idea, maybe not the execution.
Half a good live/remix album, half an interesting insight into the bits of tape left on the cutting room floor. Listening has re-ignited my love for old Gomez, so I might check out their recently released b-sides album, especially to hear the original version of Rosemary.
5/10
[2009] Tori Amos, "Abnormally Attracted To Sin"
What?: Tori's tenth album.
Why?: It would take a lot to stop me buying Tori Amos. She's constantly surprising.
Tell me more!:
I think I truly became a Tori Amos fan after To Venus And Back. Part of that was the amazing live album that showcased her catalogue perfectly, but it was also the acknowledgement that she wasn't afraid to completely change her production style album to album.
AATS is a mix of many of the previous Tori production styles. Much of the up-front guitar arrangements remind me of her very early work, some songs are piano/vocals solo, some are the trip-hop of "To Venus".
I'm a big fan of the trip-hop feel of "Give" and "Flavour", the Cure bass-line of "Welcome To England" and the Zeppelin intro to "Strong Black Vine". The "Not Dying Today" beat is almost Sugarcubes. "Curtain Call" has a fantastic background echo guitar thing that I could list to all day, and a great chorus. The little descending keyboard bit before the chorus of "Fire In Your Plain" always makes me smile. "Mary Jane" and "Ophelia" are classic solo-Tori, where we can imagine her playing in the corner of a bar, the clicking of glasses almost drowning her out.
"Lady In Blue" and "Oscar's Theme" are both perfect album enders, bluesy, filthy, jazz-bar stuff. I love how, four minutes in, "Lady In Blue" kicks into a fantastic distorted guitar filled ending which I'd argue would have been a better ending than "Oscar's Theme" which seems a bit tacked on, as good as it is. Although Wikipedia has just told me that "Oscar's Theme" is indeed tacked on as a bonus for Australians, so there you go.
It's a very solid album. I love the varied and interesting production, the heavy use of non-piano backing.
I don't love everything though. I can't stand "Police Me" although I love the attempt. I'm not a fan of some of the choruses, especially "Strong Black Vine". Tori is known for her strange pronunciation of words, but I feel she really ramps it up on this album, almost to the point where I'm sure she's taking the piss. Only Tori could make the York of New York fifteen syllables.
A number of Tori fans don't like this album. Sure it's long and you could probably cut a number of songs out, but which ones? You can bet if Tori was forced to cut the 18 songs down to 12 she'd have taken out a couple of your favourite songs in the process.
7/10
Why?: It would take a lot to stop me buying Tori Amos. She's constantly surprising.
Tell me more!:
I think I truly became a Tori Amos fan after To Venus And Back. Part of that was the amazing live album that showcased her catalogue perfectly, but it was also the acknowledgement that she wasn't afraid to completely change her production style album to album.
AATS is a mix of many of the previous Tori production styles. Much of the up-front guitar arrangements remind me of her very early work, some songs are piano/vocals solo, some are the trip-hop of "To Venus".
I'm a big fan of the trip-hop feel of "Give" and "Flavour", the Cure bass-line of "Welcome To England" and the Zeppelin intro to "Strong Black Vine". The "Not Dying Today" beat is almost Sugarcubes. "Curtain Call" has a fantastic background echo guitar thing that I could list to all day, and a great chorus. The little descending keyboard bit before the chorus of "Fire In Your Plain" always makes me smile. "Mary Jane" and "Ophelia" are classic solo-Tori, where we can imagine her playing in the corner of a bar, the clicking of glasses almost drowning her out.
"Lady In Blue" and "Oscar's Theme" are both perfect album enders, bluesy, filthy, jazz-bar stuff. I love how, four minutes in, "Lady In Blue" kicks into a fantastic distorted guitar filled ending which I'd argue would have been a better ending than "Oscar's Theme" which seems a bit tacked on, as good as it is. Although Wikipedia has just told me that "Oscar's Theme" is indeed tacked on as a bonus for Australians, so there you go.
It's a very solid album. I love the varied and interesting production, the heavy use of non-piano backing.
I don't love everything though. I can't stand "Police Me" although I love the attempt. I'm not a fan of some of the choruses, especially "Strong Black Vine". Tori is known for her strange pronunciation of words, but I feel she really ramps it up on this album, almost to the point where I'm sure she's taking the piss. Only Tori could make the York of New York fifteen syllables.
A number of Tori fans don't like this album. Sure it's long and you could probably cut a number of songs out, but which ones? You can bet if Tori was forced to cut the 18 songs down to 12 she'd have taken out a couple of your favourite songs in the process.
7/10
Saturday 5 April 2014
[1996] The Smashing Pumpkins, "1979"
What?: The second single from third album "Mellon Collie and the Infinite Sadness".
Why?: I loved The Smashing Pumpkins. I really did think they were perfect. That's the fault of growing up on 90s music and not being remotely aware of the 70s. TSP were my Zeppelin, my Yes, my Foreigner. This being the 90s, when singles were still a thing, a thing that included non-album b-sides, I bought all the singles I could get my hands on. Later I bought the "The Aeroplane Flies High" box-set which included all of the singles with all of their b-sides. Last year I bought the re-issue edition of TAFH but I'll review that as a whole later. This review is of this 90s AFH boxset version of the 1979 single.
Tell me more!:
I remember being surprised they released "1979" as a single. I was still into the rock side of Pumpkins and this weirdo experimental drum-machine crap didn't sit well with me. It grew on me, but I'm still not sure I "like" it. It's familiar and glamorised by my fanaticism. Corgan can certainly write a melody, and the song manages to stay interesting dispite lacking a real guitar riff and a monotonous, unchanging drum machine drum-line.
The b-sides are a treat though. The palm-muted, lightly distorted, thick-stringed riff on "Ugly" was hugely influential to my own song-writing at the time, as was the very minimal backing track. I can hear The Cure in it now, and Billy's whiny vocals grate, but I still love the riff and the minimalist drums that could have been completed on a Casio keyboard. Love it.
The clean simple repetitive riffing style on "Cherry" was a huge influence as well. Not surprising as I would sit and play this riff over and over on my acoustic. I could probably find a tape of it. Over and over. Again the background is minimal, with some lovely effected guitar acting as a keyboard, but the chorus is bigger than Ugly.
Both "Cherry" and "Ugly" are similar songs, and both have lyrical themes that I don't much like these days, but I find ignoring lyrics pretty easy, and Corgan has a way of being obscure enough that it doesn't bother too much.
Two b-sides with James singing ("The Boy" and "Believe") is a surprise. Iha sings only on the last tracks of MCIS and both times as a fan at the time it was jarring. James' voice is thin and he struggles to sing high but does anyway. He later released a solo album, which I must remember to track down. Today I like his songs, they remind me a bit of a simpler, less grunge, Imperial Teen. They're poppy and fun, and short. At the time I used to collect bootlegs, and one of my favourite Smashing Pumpkins bootlegs was an acoustic performance they did in France, including James singing David Bowie's "Kooks". It's a perfect example of his kind of music. "The Boy" is a little too cute really, but "Believe" is great and very Smashing Pumpkins.
I always loved the way "Set The Ray To Jerry" started, with bass, accompanied slowly by the perfect flowing guitar riff, but the song is a little too long, and Billy's voice really does go over the top a bit.
The band do some lovely live versions of "Set The Ray To Jerry" and "Ugly", as well as many other b-sides, in their 1995 Double Door shows, some of which is included on TAFH 2013 re-issue.
The fan-bias and nostalgia is very strong in this review. The riffs on the b-sides are great, and my new found appreciation for James Iha is a nice surprise, but 1996 era Billy's vocals jar badly these days, and "1979" itself, while poppy, isn't amazing. Just wait until I review MCIS.
6/10
Why?: I loved The Smashing Pumpkins. I really did think they were perfect. That's the fault of growing up on 90s music and not being remotely aware of the 70s. TSP were my Zeppelin, my Yes, my Foreigner. This being the 90s, when singles were still a thing, a thing that included non-album b-sides, I bought all the singles I could get my hands on. Later I bought the "The Aeroplane Flies High" box-set which included all of the singles with all of their b-sides. Last year I bought the re-issue edition of TAFH but I'll review that as a whole later. This review is of this 90s AFH boxset version of the 1979 single.
Tell me more!:
I remember being surprised they released "1979" as a single. I was still into the rock side of Pumpkins and this weirdo experimental drum-machine crap didn't sit well with me. It grew on me, but I'm still not sure I "like" it. It's familiar and glamorised by my fanaticism. Corgan can certainly write a melody, and the song manages to stay interesting dispite lacking a real guitar riff and a monotonous, unchanging drum machine drum-line.
The b-sides are a treat though. The palm-muted, lightly distorted, thick-stringed riff on "Ugly" was hugely influential to my own song-writing at the time, as was the very minimal backing track. I can hear The Cure in it now, and Billy's whiny vocals grate, but I still love the riff and the minimalist drums that could have been completed on a Casio keyboard. Love it.
The clean simple repetitive riffing style on "Cherry" was a huge influence as well. Not surprising as I would sit and play this riff over and over on my acoustic. I could probably find a tape of it. Over and over. Again the background is minimal, with some lovely effected guitar acting as a keyboard, but the chorus is bigger than Ugly.
Both "Cherry" and "Ugly" are similar songs, and both have lyrical themes that I don't much like these days, but I find ignoring lyrics pretty easy, and Corgan has a way of being obscure enough that it doesn't bother too much.
Two b-sides with James singing ("The Boy" and "Believe") is a surprise. Iha sings only on the last tracks of MCIS and both times as a fan at the time it was jarring. James' voice is thin and he struggles to sing high but does anyway. He later released a solo album, which I must remember to track down. Today I like his songs, they remind me a bit of a simpler, less grunge, Imperial Teen. They're poppy and fun, and short. At the time I used to collect bootlegs, and one of my favourite Smashing Pumpkins bootlegs was an acoustic performance they did in France, including James singing David Bowie's "Kooks". It's a perfect example of his kind of music. "The Boy" is a little too cute really, but "Believe" is great and very Smashing Pumpkins.
I always loved the way "Set The Ray To Jerry" started, with bass, accompanied slowly by the perfect flowing guitar riff, but the song is a little too long, and Billy's voice really does go over the top a bit.
The band do some lovely live versions of "Set The Ray To Jerry" and "Ugly", as well as many other b-sides, in their 1995 Double Door shows, some of which is included on TAFH 2013 re-issue.
The fan-bias and nostalgia is very strong in this review. The riffs on the b-sides are great, and my new found appreciation for James Iha is a nice surprise, but 1996 era Billy's vocals jar badly these days, and "1979" itself, while poppy, isn't amazing. Just wait until I review MCIS.
6/10
[2012] The Mercy House, "A Broken State Of Bliss"
What?: Debut album, London band, championed by Metal Hammer/Classic Rock.
Why?: It came free with Classic Rock (or was it Metal Hammer?). At first we received an EP of a few songs, and later the full CD.
Tell me more!:
Being free I probably gave it less attention than I normally would. When I buy an album, even randomly, I give it a lot of attention, even if I don't like it. I like to try to justify my purchase, find something to love, even if I despise it.
I don't despise this album, but I don't like it. It's received a LOT of love in reviews. Everyone loves it. I would have loved it in my youth. I really would. This is one of those debuts that should gain a lot of fans, as long as they haven't first heard and loved anything from the 90s.
The Mercy House sound like Alice In Chains, and Stone Temple Pilots, and Soundgarden, and Guns'n'Roses, and like they have Faith No More's Bill Gould on bass. The production is huge. The bass is up-front and interesting and sometimes even solo, which always gains extra points for a band. The guitar riffs are awesome.
The vocals sometimes work, but they don't vary enough throughout the album. His big STP 90s whine might be news to some, and it's a nice change to most modern singers, but it quickly bores me. It gets a little too Marylin Mason at times, and by that I mean rough and a bit out of tune (sounding) in the lower range.
Weirdly I hear a little Load era Metallica in there... I hear that a lot in recent music, and older music. I think I might have a problem. Metallica were clearly hugely influenced by Dio era Black Sabbath, and I guess a lot of modern bands were influenced by them too, and by Metallica. I LIKE the Load album, but that's a review for much later my friends...
The Mercy House should be huge, they've thrown everything at this album, they've received an amazing leg-up getting the magazine-cover, and I can only assume they sound great live (I must YouTube them...).
There is a lot to love, but I don't. After the first few tracks I just lose interest, and after numerous listens I just can't get past the dull vocals. Sorry guys.
3/10
Check out "Greed", a song which not only shares a name with a Faith No More song, but a bass-slappin' sound as well.
Why?: It came free with Classic Rock (or was it Metal Hammer?). At first we received an EP of a few songs, and later the full CD.
Tell me more!:
Being free I probably gave it less attention than I normally would. When I buy an album, even randomly, I give it a lot of attention, even if I don't like it. I like to try to justify my purchase, find something to love, even if I despise it.
I don't despise this album, but I don't like it. It's received a LOT of love in reviews. Everyone loves it. I would have loved it in my youth. I really would. This is one of those debuts that should gain a lot of fans, as long as they haven't first heard and loved anything from the 90s.
The Mercy House sound like Alice In Chains, and Stone Temple Pilots, and Soundgarden, and Guns'n'Roses, and like they have Faith No More's Bill Gould on bass. The production is huge. The bass is up-front and interesting and sometimes even solo, which always gains extra points for a band. The guitar riffs are awesome.
The vocals sometimes work, but they don't vary enough throughout the album. His big STP 90s whine might be news to some, and it's a nice change to most modern singers, but it quickly bores me. It gets a little too Marylin Mason at times, and by that I mean rough and a bit out of tune (sounding) in the lower range.
Weirdly I hear a little Load era Metallica in there... I hear that a lot in recent music, and older music. I think I might have a problem. Metallica were clearly hugely influenced by Dio era Black Sabbath, and I guess a lot of modern bands were influenced by them too, and by Metallica. I LIKE the Load album, but that's a review for much later my friends...
The Mercy House should be huge, they've thrown everything at this album, they've received an amazing leg-up getting the magazine-cover, and I can only assume they sound great live (I must YouTube them...).
There is a lot to love, but I don't. After the first few tracks I just lose interest, and after numerous listens I just can't get past the dull vocals. Sorry guys.
3/10
Check out "Greed", a song which not only shares a name with a Faith No More song, but a bass-slappin' sound as well.
[1983] Yes, "90125"
What?: YES's 11th album, the return of Jon Anderson on vocals and original keyboardist Tony Kaye.
Why?: I originally got into Yes via the previously mentioned "essential prog albums" list which included "Close To The Edge". Last year I found a single-CD best-of Yes in a bargain bin and found I really liked the 80's era Yes, eventually buying "Drama". This CD was in a 5-for-$20 Yes box-set.
Tell me more!:
John Farnham, The Police, Vince Dicola, 80's hard-rock, AOR, Foreigner, Madonna!, 80's movie soundtracks... prog.
All in a blender.
It's an amazing album, full of cheese and beautiful 80s production and technical proficiency, huge choruses, naffness.
There isn't much love for the 80s Yes, and many disown this album as much of it began life as a solo album for new guitarist Trevor Rabin. I don't know a lot of 60s and 70s Yes, other than "Close To The Edge", but this album certainly has the Yes feel that I know. I suppose most who grew up with the early era can't get past the 80s-ness at the soul of this disc, and fair enough...
I really enjoy this album, but it is far from perfect. Sometimes they really do try too hard for arena-rock-glory, sometimes they wander a bit... but overall it's very solid and a lot of fun.
The production is sublime. The keyboards sit next to the guitars like old friends. Vocals are frequently used as instruments (check out "Leave It"). Random little clean guitar riffs fill what few empty spaces there are. The bass is clear (I love a good audible bass guitar). The drum sound is 90% The Police, but that's fine.
I've found Jon's vocals to be a bit hard to listen to for too long, but they suit this 80s sound perfectly. The hit "Owner of a Lonely Heart" is fantastic, with its random orchestra hits all over the place. It's songs like this that draw me back to the 80s and 70s. I'm always surprised how eclectic pop songs were. Talking Head's "Once In A Lifetime" being another great example.
"Our Song" drove me crazy for a little bit, the introduction keyboard reminded me of something... until I figured out it was Cat Steven's "Remember The Days Of The Old Schoolyard". The riffs aren't the same, but the songs start with a similar feel. They're not at all the same of course because this is Yes' version of pop and it's all over the damn place.
The album ends with "Hearts" and the feeling I get is "Dream Theater", a band clearly influenced by all eras of Yes. It's the most "Yes" song on the album and it's a fan favourite. It's long, complex, and less arena-rock...
Throughout I'm reminded of 80s movies. I think anything from this album ever ended up on a movie soundtrack, but it has that feel. I'm surprised how strong the feeling is.
Your enjoyment of this will depend how much you like this kind of 80s music. I love it. The AOR elements aren't as perfect as Foreigner's "4", but they're close. The prog elements are buried a bit by the arena-rock. It's a bit of a mess really, but I like messiness, especially in music.
6/10
Why?: I originally got into Yes via the previously mentioned "essential prog albums" list which included "Close To The Edge". Last year I found a single-CD best-of Yes in a bargain bin and found I really liked the 80's era Yes, eventually buying "Drama". This CD was in a 5-for-$20 Yes box-set.
Tell me more!:
John Farnham, The Police, Vince Dicola, 80's hard-rock, AOR, Foreigner, Madonna!, 80's movie soundtracks... prog.
All in a blender.
It's an amazing album, full of cheese and beautiful 80s production and technical proficiency, huge choruses, naffness.
There isn't much love for the 80s Yes, and many disown this album as much of it began life as a solo album for new guitarist Trevor Rabin. I don't know a lot of 60s and 70s Yes, other than "Close To The Edge", but this album certainly has the Yes feel that I know. I suppose most who grew up with the early era can't get past the 80s-ness at the soul of this disc, and fair enough...
I really enjoy this album, but it is far from perfect. Sometimes they really do try too hard for arena-rock-glory, sometimes they wander a bit... but overall it's very solid and a lot of fun.
The production is sublime. The keyboards sit next to the guitars like old friends. Vocals are frequently used as instruments (check out "Leave It"). Random little clean guitar riffs fill what few empty spaces there are. The bass is clear (I love a good audible bass guitar). The drum sound is 90% The Police, but that's fine.
I've found Jon's vocals to be a bit hard to listen to for too long, but they suit this 80s sound perfectly. The hit "Owner of a Lonely Heart" is fantastic, with its random orchestra hits all over the place. It's songs like this that draw me back to the 80s and 70s. I'm always surprised how eclectic pop songs were. Talking Head's "Once In A Lifetime" being another great example.
"Our Song" drove me crazy for a little bit, the introduction keyboard reminded me of something... until I figured out it was Cat Steven's "Remember The Days Of The Old Schoolyard". The riffs aren't the same, but the songs start with a similar feel. They're not at all the same of course because this is Yes' version of pop and it's all over the damn place.
The album ends with "Hearts" and the feeling I get is "Dream Theater", a band clearly influenced by all eras of Yes. It's the most "Yes" song on the album and it's a fan favourite. It's long, complex, and less arena-rock...
Throughout I'm reminded of 80s movies. I think anything from this album ever ended up on a movie soundtrack, but it has that feel. I'm surprised how strong the feeling is.
Your enjoyment of this will depend how much you like this kind of 80s music. I love it. The AOR elements aren't as perfect as Foreigner's "4", but they're close. The prog elements are buried a bit by the arena-rock. It's a bit of a mess really, but I like messiness, especially in music.
6/10
Saturday 29 March 2014
[1972] Aphrodite's Child, "666 (The Apocalypse of John, 13/18)"
What?: The third and final album from Aphrodite's Child, a three piece 60's prog band with Vangelis on keyboards.
Why?: A few years back Classic Rock magazine came with a prog suppliment which listed 50 or so must-have prog albums. I went to YouTube (this was before Spotify) and listened to most of them, and ended up buying this, as well as The Pretty Things, KANSAS and Yes albums (but more on those much later).
Tell me more!:
Remembering back to my first listen of this, I had decided that "Four Horsemen" (the "hit" of the album) really was the only worthwhile track in the two-disc set.
During my recent re-listens I've grown to love this album... or at least, the first disc. It brings together so much of what I love: varied musical styles, instrumental proficiency, that beautiful early 70s "isn't stereo multitrack recording just amazing?!" production and a continuous doom-worthy satanic-end-of-the-world theme.
Much of the album could be described as pretentious, and certainly the spoken word songs ("Loud, Loud, Loud", "The Seventh Seal", "Seven Bowls") are a bit much by themselves, but they're short, and work very well making a coherent whole out of what is a set of very different songs.
The music is... difficult to describe. It's easy to just describe it as prog, but only in that it is so varied. Many of the songs, by themselves, aren't that strange, although others surprise with their oddness. "The Beast" could be a Goodies song, and it's followed by "Ofis", surely something left off a "Monty Python" disc? "Tribulation" wouldn't sound too strange at the end of a Zorn jam, "The Battle Of The Locusts" and "Do It" are pure 70s four piece Hendrix jams, "The Lamb" is exactly the sort of music you'd expect to come out of hippies visiting India in the late 60s, "Aegian Sea" sounds like a "War Of The Worlds" outtake, "Seven Bowls" is waiting to be used in a satanic horror movie.
The two big vocal tracks, "Babylon" and "The Four Horsemen", with Demis Roussos singing, are heaps of fun, and lure the listening into a false sense of security... with much of the rest of the album being the slow descending into hell and the beast rises... Although even the monotonous repetitiveness of "The Four Horsemen" hints at what is to come.
The best contemporary I could compare the album to would be Eyvind Kang, if he'd been born in the 50s.
It's easy to blame this album on drugs, although when many people talk about "trippy" albums I don't imagine this. I imagine terrible repetitive doof. However, of any album I've heard of that drug-music era, this one I believe. Particularly taking the second disc into account.
I love the first disc. It flows perfectly well, it's tells a great story of the coming apocalypse, the rising of the beast.
The second disc however wanders too much. The jams, while excellent, go on too long, the ideas repeat too much. What makes the first disc so great is the shorter jams, connected with the spoken word pieces. It's clear though that the attention span of the stoned listener is expected to be starting to get obsessive by the second disc. If they'd managed to stumble over to the record player to even put the second disc on, I expect they'd have stared at their speakers, open mouthed, while they watched the music swim around them...
To be completely fair it's mostly the almost 20 minute long "All the Seats were Occupied" that I hate (which goes as far as sampling large pieces from the first disc), and I'm really not much of a fan of "Infinity", the much spoken of orgasmic vocal performance of Irene Papas that saw the album almost banned.
I think I might make a version of this album removing those two songs and have another listen, to give the second disc a better go.
I highly recommend this, for hundreds of reasons. It's mental, it's fantastic, it's pretentiousness done right, with a humorous twinkle in its eye., and a dash of chemicals in its veins.
7/10
Why?: A few years back Classic Rock magazine came with a prog suppliment which listed 50 or so must-have prog albums. I went to YouTube (this was before Spotify) and listened to most of them, and ended up buying this, as well as The Pretty Things, KANSAS and Yes albums (but more on those much later).
Tell me more!:
Remembering back to my first listen of this, I had decided that "Four Horsemen" (the "hit" of the album) really was the only worthwhile track in the two-disc set.
During my recent re-listens I've grown to love this album... or at least, the first disc. It brings together so much of what I love: varied musical styles, instrumental proficiency, that beautiful early 70s "isn't stereo multitrack recording just amazing?!" production and a continuous doom-worthy satanic-end-of-the-world theme.
Much of the album could be described as pretentious, and certainly the spoken word songs ("Loud, Loud, Loud", "The Seventh Seal", "Seven Bowls") are a bit much by themselves, but they're short, and work very well making a coherent whole out of what is a set of very different songs.
The music is... difficult to describe. It's easy to just describe it as prog, but only in that it is so varied. Many of the songs, by themselves, aren't that strange, although others surprise with their oddness. "The Beast" could be a Goodies song, and it's followed by "Ofis", surely something left off a "Monty Python" disc? "Tribulation" wouldn't sound too strange at the end of a Zorn jam, "The Battle Of The Locusts" and "Do It" are pure 70s four piece Hendrix jams, "The Lamb" is exactly the sort of music you'd expect to come out of hippies visiting India in the late 60s, "Aegian Sea" sounds like a "War Of The Worlds" outtake, "Seven Bowls" is waiting to be used in a satanic horror movie.
The two big vocal tracks, "Babylon" and "The Four Horsemen", with Demis Roussos singing, are heaps of fun, and lure the listening into a false sense of security... with much of the rest of the album being the slow descending into hell and the beast rises... Although even the monotonous repetitiveness of "The Four Horsemen" hints at what is to come.
The best contemporary I could compare the album to would be Eyvind Kang, if he'd been born in the 50s.
It's easy to blame this album on drugs, although when many people talk about "trippy" albums I don't imagine this. I imagine terrible repetitive doof. However, of any album I've heard of that drug-music era, this one I believe. Particularly taking the second disc into account.
I love the first disc. It flows perfectly well, it's tells a great story of the coming apocalypse, the rising of the beast.
The second disc however wanders too much. The jams, while excellent, go on too long, the ideas repeat too much. What makes the first disc so great is the shorter jams, connected with the spoken word pieces. It's clear though that the attention span of the stoned listener is expected to be starting to get obsessive by the second disc. If they'd managed to stumble over to the record player to even put the second disc on, I expect they'd have stared at their speakers, open mouthed, while they watched the music swim around them...
To be completely fair it's mostly the almost 20 minute long "All the Seats were Occupied" that I hate (which goes as far as sampling large pieces from the first disc), and I'm really not much of a fan of "Infinity", the much spoken of orgasmic vocal performance of Irene Papas that saw the album almost banned.
I think I might make a version of this album removing those two songs and have another listen, to give the second disc a better go.
I highly recommend this, for hundreds of reasons. It's mental, it's fantastic, it's pretentiousness done right, with a humorous twinkle in its eye., and a dash of chemicals in its veins.
7/10
Sunday 16 March 2014
[1984] Van Halen, "1984"
What?: Van Halen's sixth album, the last with David Lee Roth on vocals.
Why?: I believe I saw this album is a list of "must haves", probably in Classic Rock magazine. I saw it for cheap on Amazon and decided to take a punt. I liked "Jump" and knew Eddie Van Halen was a great guitarist.
Tell me more!:
I listened to this once when I bought it and hated it.
On this relisten I was all ready to yell about how much I still hated it. And after the first listen I did still hate it.
Numerous listens later I've at least begun to appreciate Eddie Van Halen's bizarrely interesting riffing. The guitar is all-over-the-place on "Top Jimmy", and I love that, but the song style, like most of the guitar driven tracks on the album, is mostly that 80's metal-fast-strummy-country that was so popular at the time. I friggin' hate it.
The album is at its best when they let the keyboards shine, on the singles "Jump" and "I'll Wait", but then you don't get to hear as much Eddie.
I missed out on this big-hair-MTV era of music, gaining my love for music from the good GnR songs and Nirvana, and my love of metal grew from Metallica and Pantera. By the time I was buying music magazines they'd dropped the double-page dude-with-his-shirt-off spread. Listening to "1984" I don't think I really missed anything.
2/10
Why?: I believe I saw this album is a list of "must haves", probably in Classic Rock magazine. I saw it for cheap on Amazon and decided to take a punt. I liked "Jump" and knew Eddie Van Halen was a great guitarist.
Tell me more!:
I listened to this once when I bought it and hated it.
On this relisten I was all ready to yell about how much I still hated it. And after the first listen I did still hate it.
Numerous listens later I've at least begun to appreciate Eddie Van Halen's bizarrely interesting riffing. The guitar is all-over-the-place on "Top Jimmy", and I love that, but the song style, like most of the guitar driven tracks on the album, is mostly that 80's metal-fast-strummy-country that was so popular at the time. I friggin' hate it.
The album is at its best when they let the keyboards shine, on the singles "Jump" and "I'll Wait", but then you don't get to hear as much Eddie.
I missed out on this big-hair-MTV era of music, gaining my love for music from the good GnR songs and Nirvana, and my love of metal grew from Metallica and Pantera. By the time I was buying music magazines they'd dropped the double-page dude-with-his-shirt-off spread. Listening to "1984" I don't think I really missed anything.
2/10
Monday 3 March 2014
[1999] Blur, "13"
What?: The sixth, and second to last, Blur album.
Why?: Honestly, I'm not the Blur fan in the family, my wife is. Not that I'm shifting any blame, just that I probably wouldn't have bought it.
Tell me more!:
I knew "Coffee and TV" because of that cute video with the carton of milk. Otherwise...
"Tender" is nice and all, but about five minutes too long. It flowed nicely though from listening to an album of Ween country songs though. I'm sure it is heaps of fun live though, lots of opportunity for crowd singing.
I love "Bugman", all over saturated heavy distortion and wig-out jam. Followed by the before-mentioned "Coffee & TV" which is about as "the Blur in my head" as this album gets.
The rest of the album, and I tread carefully when I say this, sounds like prettied up demos. Much evidence can be found in the song titles, which may as well be "Song 3" plus.
I love experimentation. I have many albums that I'd consider "favourites" that are little more than a few "songs" and random in-studio jams. I actually like it when a band doesn't write verse chorus songs.
So I'm not necessarily saying 13 is bad for being experimental. I am saying though that it is mostly an album of jams, from a band that isn't the most amazing instrumentally, and certainly not vocally...
I actually enjoy this album most when it gets really noisy, like the end of "1992", or the excellent electronic "Battle" (which could be an UNKLE song), or the crazy riff at the end of "Trailerpark".
I think they lost an opportunity not ending the album after "No Distance To Run". After so much riffage, vocal snippets and almost-songs, "No Distance To Run" is a beautiful calm, a come-down. Unfortunately they plugged "Opitgan 1" on the end. What even is that?
I sound quite negative, but I actually enjoy listening to this album. It's a pile of fun. I can hear Gorillaz coming (although not as much as I do from their last album "Think Tank"), I love the fight between punk and electronic. I don't really enjoy Damon's attempts at harmonising, but it does work in the context of this crazy piece of music.
I kept being reminded of David Bowie's "Heroes"... and I suppose both albums are similarly structured, although there are a long more "songs" on "Heroes".
5/10
(I fear in my scoring, in my attempts to avoid the usual music-review average of 6 to 8 out of 10, all I've done is move to 5 to 6 out of 10. That is as it is. Over the years, I may change my rating. I may drop them. I may, I may not.)
Why?: Honestly, I'm not the Blur fan in the family, my wife is. Not that I'm shifting any blame, just that I probably wouldn't have bought it.
Tell me more!:
I knew "Coffee and TV" because of that cute video with the carton of milk. Otherwise...
"Tender" is nice and all, but about five minutes too long. It flowed nicely though from listening to an album of Ween country songs though. I'm sure it is heaps of fun live though, lots of opportunity for crowd singing.
I love "Bugman", all over saturated heavy distortion and wig-out jam. Followed by the before-mentioned "Coffee & TV" which is about as "the Blur in my head" as this album gets.
The rest of the album, and I tread carefully when I say this, sounds like prettied up demos. Much evidence can be found in the song titles, which may as well be "Song 3" plus.
I love experimentation. I have many albums that I'd consider "favourites" that are little more than a few "songs" and random in-studio jams. I actually like it when a band doesn't write verse chorus songs.
So I'm not necessarily saying 13 is bad for being experimental. I am saying though that it is mostly an album of jams, from a band that isn't the most amazing instrumentally, and certainly not vocally...
I actually enjoy this album most when it gets really noisy, like the end of "1992", or the excellent electronic "Battle" (which could be an UNKLE song), or the crazy riff at the end of "Trailerpark".
I think they lost an opportunity not ending the album after "No Distance To Run". After so much riffage, vocal snippets and almost-songs, "No Distance To Run" is a beautiful calm, a come-down. Unfortunately they plugged "Opitgan 1" on the end. What even is that?
I sound quite negative, but I actually enjoy listening to this album. It's a pile of fun. I can hear Gorillaz coming (although not as much as I do from their last album "Think Tank"), I love the fight between punk and electronic. I don't really enjoy Damon's attempts at harmonising, but it does work in the context of this crazy piece of music.
I kept being reminded of David Bowie's "Heroes"... and I suppose both albums are similarly structured, although there are a long more "songs" on "Heroes".
5/10
(I fear in my scoring, in my attempts to avoid the usual music-review average of 6 to 8 out of 10, all I've done is move to 5 to 6 out of 10. That is as it is. Over the years, I may change my rating. I may drop them. I may, I may not.)
Sunday 2 March 2014
[1996] Ween, "12 Golden Country Greats"
What?: Ween's 5th album, sitting between two of my favourites (94's Chocolate and Cheese and 97's The Mollusk)
Why?: Because Ween. Because I fell in love with this crazy crazy band and bought all the things.
Tell me more!:
This album cops a lot of flack from the hard-core fans. It's Ween sticking to one style, when half the fun of Ween is their varied styles. It's Ween playing with a real band instead of drum machines and tape-manipulation, when arguably half the fun is Ween pulling music out of the awful.
Personally, I love Ween with a band, and with good production... but I'm not a huge fan of country music. This album has Ween playing with various Nashville musicians I'm not going to pretend to have heard of, who have worked with the likes of Elvis, Bob Dylan and Johnny Cash, and who have appeared on pretty much everything country ever. They sound fantastic.
Regardless, it's still one of my least favourite of the less-brown-sounding Ween albums. I like "Power Blue" (even though my copy is cruelly cut), "I'm Holding You", "Japanese Cowboy" (aka. Chariots Of Fire) and I'm rather ashamed of loving "Mister Richard Smoker" (is it hugely homophobic?), but the rest doesn't blow me away. But even the worst of Ween is great.
"Piss Up A Rope" and "Help Me Scrape the Mucus off My Brain" seem to be big live favourites, and they're fun, but they're just too... serious... It's not that I demand Ween be amusing and crazy, but... bah.
On relistening to this I had expected "I'm Waving My Dick In The Wind" to be on it, but it's on the album after, "The Mollusk". It probably isn't really fair to watch a single Ween album. A single Ween album is simply another pile of awesome added to their back catalogue...
Meanwhile, I highly recommend you read this excellent interview with the album's producer, Ben Vaughn from 2011, celebrating the 15th anniversary of the album's release where he describes the music as "blue" and the difficulties getting classic country artists to work on the album due to Ween's reputation. Or Hank Shteamer's 33 1/3 on "Chocolate And Cheese" which is full of brilliant, and the best of the 33 1/3 series I've read.
5/10
Why?: Because Ween. Because I fell in love with this crazy crazy band and bought all the things.
Tell me more!:
This album cops a lot of flack from the hard-core fans. It's Ween sticking to one style, when half the fun of Ween is their varied styles. It's Ween playing with a real band instead of drum machines and tape-manipulation, when arguably half the fun is Ween pulling music out of the awful.
Personally, I love Ween with a band, and with good production... but I'm not a huge fan of country music. This album has Ween playing with various Nashville musicians I'm not going to pretend to have heard of, who have worked with the likes of Elvis, Bob Dylan and Johnny Cash, and who have appeared on pretty much everything country ever. They sound fantastic.
Regardless, it's still one of my least favourite of the less-brown-sounding Ween albums. I like "Power Blue" (even though my copy is cruelly cut), "I'm Holding You", "Japanese Cowboy" (aka. Chariots Of Fire) and I'm rather ashamed of loving "Mister Richard Smoker" (is it hugely homophobic?), but the rest doesn't blow me away. But even the worst of Ween is great.
"Piss Up A Rope" and "Help Me Scrape the Mucus off My Brain" seem to be big live favourites, and they're fun, but they're just too... serious... It's not that I demand Ween be amusing and crazy, but... bah.
On relistening to this I had expected "I'm Waving My Dick In The Wind" to be on it, but it's on the album after, "The Mollusk". It probably isn't really fair to watch a single Ween album. A single Ween album is simply another pile of awesome added to their back catalogue...
Meanwhile, I highly recommend you read this excellent interview with the album's producer, Ben Vaughn from 2011, celebrating the 15th anniversary of the album's release where he describes the music as "blue" and the difficulties getting classic country artists to work on the album due to Ween's reputation. Or Hank Shteamer's 33 1/3 on "Chocolate And Cheese" which is full of brilliant, and the best of the 33 1/3 series I've read.
5/10
Sunday 23 February 2014
[2011] Dream Theater, "A Dramatic Turn of Events"
What?: DT's 7th album, the first without Mike Portnoy on drums.
Why?: Habit. I come away from every Dream Theater album thinking it will be my last, but I always give in and get the next one... I was suckered in this time thinking a new drummer might change things up a bit.
Tell me more!:
I've listened to this album so many times over the last few weeks and it just doesn't stick. Maybe I'm not made for listening to the traditional Dream Theater million-ideas-per-song album? Maybe the melodies aren't catchy enough? I don't know what it is, but every listening is both too familiar, but also fresh...
Don't get me wrong... I find something to enjoy in every listen. Modern day Dream Theater is very slick. Everything is clear, the riffs are solid and chugging, the keyboards and strings aren't lost in the mix. They've thrown everything at this album: throat singers, choirs, strings, and it all sounds great.
But it's all a bit... flat? And LaBrie's vocals still send unpleasant shivers down my spine, that can't be helped. It's not his fault.
While I wouldn't say the new drummer had made as big a difference as I would have liked, I think this album has seen a shift back toward more progressive music as per their earlier albums, which should be encouraged, especially as it's combined with DT's recent heavier sound.
There are numerous moments in this album where I'm reminded of Vince DiCola's keyboard heavy prog soundtracks, or classic game soundtracks in general. All of which are clearly 70s prog (Yes!) influenced ("Breaking All Illusions!" is a great example). All of which I should love. But...
Almost every song is too long, with too much going on, and all so perfectly produced, that the notes, the riffs, the lyrics, all merge into one giant mess, and it fades to the background of my conciousness as I stare out the window, or read my book. Sometimes a catchy balladesque chorus, or particularly heavy or strange riff will catch my attention briefly, but it always fades again.
Maybe a semi-fan could bring a hacksaw to this album and cut it into 4 minute songs, like someone apparently did to some recent Metallica albums? I think I'd enjoy that more.
I'd listen to this again. Lots of times, but I wouldn't really be listening.
4/10
Why?: Habit. I come away from every Dream Theater album thinking it will be my last, but I always give in and get the next one... I was suckered in this time thinking a new drummer might change things up a bit.
Tell me more!:
I've listened to this album so many times over the last few weeks and it just doesn't stick. Maybe I'm not made for listening to the traditional Dream Theater million-ideas-per-song album? Maybe the melodies aren't catchy enough? I don't know what it is, but every listening is both too familiar, but also fresh...
Don't get me wrong... I find something to enjoy in every listen. Modern day Dream Theater is very slick. Everything is clear, the riffs are solid and chugging, the keyboards and strings aren't lost in the mix. They've thrown everything at this album: throat singers, choirs, strings, and it all sounds great.
But it's all a bit... flat? And LaBrie's vocals still send unpleasant shivers down my spine, that can't be helped. It's not his fault.
While I wouldn't say the new drummer had made as big a difference as I would have liked, I think this album has seen a shift back toward more progressive music as per their earlier albums, which should be encouraged, especially as it's combined with DT's recent heavier sound.
There are numerous moments in this album where I'm reminded of Vince DiCola's keyboard heavy prog soundtracks, or classic game soundtracks in general. All of which are clearly 70s prog (Yes!) influenced ("Breaking All Illusions!" is a great example). All of which I should love. But...
Almost every song is too long, with too much going on, and all so perfectly produced, that the notes, the riffs, the lyrics, all merge into one giant mess, and it fades to the background of my conciousness as I stare out the window, or read my book. Sometimes a catchy balladesque chorus, or particularly heavy or strange riff will catch my attention briefly, but it always fades again.
Maybe a semi-fan could bring a hacksaw to this album and cut it into 4 minute songs, like someone apparently did to some recent Metallica albums? I think I'd enjoy that more.
I'd listen to this again. Lots of times, but I wouldn't really be listening.
4/10
Thursday 6 February 2014
[1995] Dream Theater, "A Change Of Seasons"
What?: A single/EP with the title track and numerous live covers.
Why?: I originally bought "Metropolis Pt. 2: Scenes from a Memory" on a work mate's recommendation back in 2001 and loved it so went on a Dream Theater catch-up and bought everything.
Tell me more!:
I can tell you I thought this was an album when I bought it. It was probably cheap...
The title track, the 23 minute plus epic "A Change Of Seasons" was intended to be released on 1992's "Images and Words" but I suspect it was too long.
I like early Dream Theater. They're a little rougher, a little more metal, a little less produced. These days I feel like they've gotten too slick, and James LaBrie's voice irritates the crap out of me.
On "A Change Of Seasons" they still throw in every idea ever, but they've mixed it well into a single song. It flows nicely, the repeating themes hold my attention, and it's full of killer riffs. I like that some of the guitar effects sound cheap and I like that James keeps his singing to a minimum.
The covers are interesting in that I recognise the artists (Elton John, Led Zeppelin, Deep Purple) but not the songs. I suppose that shows my ignorance a little. It's only in the final Medley that I recognise anything. Who doesn't love KANSAS' "Carry On My Wayward Son"? Assholes that's who. Even then, I don't think anyone should really go near Bohemian Rhapsody live, not even what's left of Queen.
Covers are fun, and I generally say if you're going to do them, do them live, but they're just too well done. They're played perfectly, and as such, aren't very interesting. I'd also like to think I'd take an interest in tracking the originals down, but I don't hear anything I really enjoy. Sorry, I never really caught the Zeppelin/Purple bug.
"A Change Of Seasons" is good and I suppose the covers are a nice bonus, but they're nothing really.
3/10
Why?: I originally bought "Metropolis Pt. 2: Scenes from a Memory" on a work mate's recommendation back in 2001 and loved it so went on a Dream Theater catch-up and bought everything.
Tell me more!:
I can tell you I thought this was an album when I bought it. It was probably cheap...
The title track, the 23 minute plus epic "A Change Of Seasons" was intended to be released on 1992's "Images and Words" but I suspect it was too long.
I like early Dream Theater. They're a little rougher, a little more metal, a little less produced. These days I feel like they've gotten too slick, and James LaBrie's voice irritates the crap out of me.
On "A Change Of Seasons" they still throw in every idea ever, but they've mixed it well into a single song. It flows nicely, the repeating themes hold my attention, and it's full of killer riffs. I like that some of the guitar effects sound cheap and I like that James keeps his singing to a minimum.
The covers are interesting in that I recognise the artists (Elton John, Led Zeppelin, Deep Purple) but not the songs. I suppose that shows my ignorance a little. It's only in the final Medley that I recognise anything. Who doesn't love KANSAS' "Carry On My Wayward Son"? Assholes that's who. Even then, I don't think anyone should really go near Bohemian Rhapsody live, not even what's left of Queen.
Covers are fun, and I generally say if you're going to do them, do them live, but they're just too well done. They're played perfectly, and as such, aren't very interesting. I'd also like to think I'd take an interest in tracking the originals down, but I don't hear anything I really enjoy. Sorry, I never really caught the Zeppelin/Purple bug.
"A Change Of Seasons" is good and I suppose the covers are a nice bonus, but they're nothing really.
3/10
Sunday 2 February 2014
[2012] Muse, "The 2nd Law"
What?: Muse's 6th album and soundtrack to the 2012 London Olympics and World War Z.
Why?: I do like Muse, but it's a complex relationship. I wasn't going to get this album but in a moment of weakness (probably armed with birthday cash or a 20% off sale) I gave in.
Tell me more!:
I first heard Muse via the radio, and ignored them. All that high voice guitar wankery put me off.
Much later I heard them live on Triple J during one of their Impossible Music Festival days. I was fairly impressed, which put them back on my radar.
Shortly after that, the double whammy of the excellent overblown "Knights Of Cydonia" video, and my friend lending me a copy of the album that song is from, "Black Holes And Revelations", put the band in front of my consciousness.
Given all of their previous albums are cheap, devouring their past was easy.
I heard this album (The 2nd Law) was causing controversy with fans due to some aledgidly large swings away from their traditional sound, with dub step being mentioned, along with comparisons to Queen albums. Such talk just couldn't be ignored.
I enjoyed the album on the first listen but wasn't as impressed as the fans and media. I might have unkindly said something like "if this is Muse's Queen album, they must have meant Hot Space", but spending more time with it I appreciate what they've done.
Unlike most bands, who sound identical on each album, Muse have managed to shift their sound over the last few albums, with 2nd Law the obvious extention.
In all fairness the dub step elements do feel a little like pandering to the times, but they've done a better job of it than Korn did. Further, we're talking a couple songs ("Follow Me" and "The 2nd Law: Unsustainable"), not the whole album.
Much of the album actually feels like a tribute to the pop produced rock of the early 80s. "Panic Stations" could be anyone from INXS to Talking Heads. "Madness" could with a bit of imagination come from of of the more adventurous bands of the late 80s.
Speaking of Queen, I'm sure there must be deliberate humour in how ridiculous "Survival" is. The first thing that came to my mind was Regurgitator's "Crush The Losers". I'm a big fan of a well played over-produced joke.
"Supremacy" is the Bond theme that never was. "Animals" is straighter Muse, but played a little differently it could be Coldplay, or even U2, except for the huge riffs ending. It's Muse's strongest point to fill their songs with enough variety to avoid comparisons to other bands.
"Big Freeze" is another great example that could be U2 if not for the big slab of bass that is the chorus. It couldn't be anyone else.
If I wanted to pick low points, both "Save Me" and "Explorers" drift too far into ballad territory.
I stand corrected with "Liquid State", with bass player Chris singing, it sounds like a whole different band. I love a band with multiple vocalists.
If putting an economics version of the second law of thermodynamics to dubstep and orchestra doesn't get the kids learnin' I give up, this generation is lost.
I like the drawn-out Tubular Bells attempt at the end of the album, it's better than a fade out.
I like my albums diverse. I like bands to take risks. I like Queen level production. I like a bit of humour. I like a band with a singer who can hit some decent notes, and who lets their fellow band members sing. I like the 80s, I like when rock crosses over with dance.
So I should love this album? No. A lot of likes are still just a like.
6/10
Why?: I do like Muse, but it's a complex relationship. I wasn't going to get this album but in a moment of weakness (probably armed with birthday cash or a 20% off sale) I gave in.
Tell me more!:
I first heard Muse via the radio, and ignored them. All that high voice guitar wankery put me off.
Much later I heard them live on Triple J during one of their Impossible Music Festival days. I was fairly impressed, which put them back on my radar.
Shortly after that, the double whammy of the excellent overblown "Knights Of Cydonia" video, and my friend lending me a copy of the album that song is from, "Black Holes And Revelations", put the band in front of my consciousness.
Given all of their previous albums are cheap, devouring their past was easy.
I heard this album (The 2nd Law) was causing controversy with fans due to some aledgidly large swings away from their traditional sound, with dub step being mentioned, along with comparisons to Queen albums. Such talk just couldn't be ignored.
I enjoyed the album on the first listen but wasn't as impressed as the fans and media. I might have unkindly said something like "if this is Muse's Queen album, they must have meant Hot Space", but spending more time with it I appreciate what they've done.
Unlike most bands, who sound identical on each album, Muse have managed to shift their sound over the last few albums, with 2nd Law the obvious extention.
In all fairness the dub step elements do feel a little like pandering to the times, but they've done a better job of it than Korn did. Further, we're talking a couple songs ("Follow Me" and "The 2nd Law: Unsustainable"), not the whole album.
Much of the album actually feels like a tribute to the pop produced rock of the early 80s. "Panic Stations" could be anyone from INXS to Talking Heads. "Madness" could with a bit of imagination come from of of the more adventurous bands of the late 80s.
Speaking of Queen, I'm sure there must be deliberate humour in how ridiculous "Survival" is. The first thing that came to my mind was Regurgitator's "Crush The Losers". I'm a big fan of a well played over-produced joke.
"Supremacy" is the Bond theme that never was. "Animals" is straighter Muse, but played a little differently it could be Coldplay, or even U2, except for the huge riffs ending. It's Muse's strongest point to fill their songs with enough variety to avoid comparisons to other bands.
"Big Freeze" is another great example that could be U2 if not for the big slab of bass that is the chorus. It couldn't be anyone else.
If I wanted to pick low points, both "Save Me" and "Explorers" drift too far into ballad territory.
I stand corrected with "Liquid State", with bass player Chris singing, it sounds like a whole different band. I love a band with multiple vocalists.
If putting an economics version of the second law of thermodynamics to dubstep and orchestra doesn't get the kids learnin' I give up, this generation is lost.
I like the drawn-out Tubular Bells attempt at the end of the album, it's better than a fade out.
I like my albums diverse. I like bands to take risks. I like Queen level production. I like a bit of humour. I like a band with a singer who can hit some decent notes, and who lets their fellow band members sing. I like the 80s, I like when rock crosses over with dance.
So I should love this album? No. A lot of likes are still just a like.
6/10
Wednesday 22 January 2014
[1993] Various Artists, "100% Hits - 93 Volume 9"
What?: An Australia compilation of hits from 1993.
Why?: I used to borrow these compilations ("100% Hits" and "Hit Machine") from the local video store before someone decided hiring CDs wasn't legal. I used to make compilation tapes of the songs I liked (oh, that's why). Meanwhile I was also crazy obsessed with Australian band The Sharp and had to have every CD that featured them. They're on this.
Normally I wouldn't bother reviewing a compilation, especially a various artists "hits" compilation like this one, but part of the fun of this mission-to-review is to force myself to listen to stuff I know I hate.
Tell me more!:
1. Johnny Diesel, "Never Miss Your Water": In August 2002 my band booked a CD release gig at the Armadale Hotel (now a fruit shop I think) for a Saturday night. We got bumped back to Friday, because of Diesel. After the gig we were told we had about 200 paying customers, while Diesel had around 80. To be fair to him I think his was a record-company thing and most people probably got in for free, but still...
This is one of a number of styles of rock that I identify with the 90s. Far too much money spent on production. I like the slappy punchy bass, and horns are always good, but his style of singing and random orchestra grate.
Fades out.
2. Johnny Gill, "The Floor": Trust me when I say he plans to hit that floor. He must be telling the truth, he keeps saying it. Another one of those only-in-the-90s styles. Repetitive beat, falsetto male vocals trying to be Michael Jackon. It's the last gasp of the 90s still trying to be the sophisticated danceable 80s. Two minutes too long. Points for rhyming "derrière" with "air", and for not fading out.
3. Chaka Demus & Pliers, "Tease Me": Like a bad dance remix of a bad song, only it's supposed to sound like this. More vowel rotations than a road-raging New Zealander.
4. Duran Duran, "Come Undone": I was reminded of this song years later when I found myself with a copy of the Australian artists Duran Duran tribute album, "The Songs Of Duran Duran Undone". I remember this song driving me crazy in the 90s. The female vocal is so shrill. I like it more today, it reminds me of Caligula (the band), and the guitar effect throughout sounds just like one of my first guitar pedals. Nostalgia. Fades out.
5. The Cruel Sea, "The Honeymoon Is Over": I always thought the lyrics were "Gonna send you back to where the fuck, the hell it was you came" but apparently they're "Gonna send you back to wherever the hell it was you came" which makes a lot more sense, especially given how much radio play it gets. But then they used to play Regurgitator's Blubber Boy all the time too and that says the C word.
Either way, this song has been so over played it's hard to critique in any fair way. Slide guitar, dugga bass, vocals pushed out through beer soaked cheeks. The Cruel Sea are a unique and fun band. The song ends properly too.
6. Billy Idol, "Shock To The System": Awful. I like Billy Idol. The Billy Idol in my head anyway. He took Faith No More on tour with him in the 1990, so he deserves a pat on the back for that. The song has no punch, no power, but Billy sings it like it does. The guitar loop is terrible, and must be deliberately so because it's cranked up in the breaks. Ends properly.
7. The Sharp, "Scratch My Back": I love The Sharp. Far to biased to even comment. My band tried to cover this once and we were terrible. We tried "Spider" too. Just as bad.
A demonstration to other bands how to end a song.
8. Lenny Kravitz, "Believe": I despise this song. An attempt at sounding like The Beatles? Semi-religious and "Deep" and it fades out. The solo is good though.
9. East 17, "West End Girls": Oh wait, no, THIS song is horrible. Rapping isn't about sounding bored... I think Neil Patrick Harris would do a reasonable parody of this song though. And how good are those floppy oversized beanies? Bring those back! Fades out.
10. Silk, "Freak Me": OK fine, this song is even worse. I remember a party once, it must have been the year this came out. I was on the backstage crew of the school play so got to go to the after party (I'd never had been invited to a party otherwise). I remember this song playing and watching the incredibly uncomfortable but amused reaction from our vice-principle as he listened to the lyrics and watched various 14 year olds dance horrifically.
This really is the sleaziest song ever put to tape.
I'd love to hear a sweet-voiced singer-songwriter type female vocalist do a cover it.
Fades out.
11. 4 Non Blondes, "Whats Up?": This song cops a lot of crap, but I think it's held up fairly well. Sure that hat is stupid, and her voice breaks up all over the place, but it's a nice little pop ditty. Who doesn't like acoustic ooohs? And they end the song properly.
12. Inner Circle, "Sweat (A La La La La Song)": Reggae Fusion. Enough said. Has a proper end.
13. Snow, "Girl I've Been Hurt": A guy in my class used to sing Informer all the time. That was annoying. This song is awful. Some asshole overly jealous boyfriend asking demanding questions of his girlfriend. Awww, now he needs another lover. Poor you. Fades out.
14. Chocolate Starfish, "You're So Vain": I saw Chocolate Starfish play this song live in 1994 at Festival Hall. For nearly every song the singer put the microphone down his pants. We left early (we were only there for The Sharp). The overly Aussie accent doesn't do this song any favours. It was hugely popular. Clearly the original kills it. Fades out.
15. George Thorogood, "Get A Haircut" - I was surprised to see the nice animated video for this song. It's the kind of almost-comedy song you used to get before Denis Leary's "Asshole". It's vaguely amusing. Fades out.
16. R.E.M., "Everybody Hurts": Bill Berry's "polished turd". My favourite bit of this song is that the first time the main guitar riff is played there is a miss-struck string at the end. It taught me even hugely popular songs could have glaring mistakes in them and no-one will notice. Fades out. Of course.
17. The Cranberries, "Linger": Remember when everyone loved "Zombie"? I surprised no-one has done something with that given how popular zombies are these days. "Linger", and I think "Dreams", were the other songs popular from this album. I still have a soft spot for it. Has a proper end!
18. Tina Turner, "I Don't Wanna Fight": Ergh. Tina diving head first into the 90s. That beat, the orchestra... stop it! Tina has a fantastic voice though.
1/10 - I did get a fair amount of nostagia and amusement from listening to this, but really there aren't many good songs on here, and they're all best heard in the context of their albums.
Why?: I used to borrow these compilations ("100% Hits" and "Hit Machine") from the local video store before someone decided hiring CDs wasn't legal. I used to make compilation tapes of the songs I liked (oh, that's why). Meanwhile I was also crazy obsessed with Australian band The Sharp and had to have every CD that featured them. They're on this.
Normally I wouldn't bother reviewing a compilation, especially a various artists "hits" compilation like this one, but part of the fun of this mission-to-review is to force myself to listen to stuff I know I hate.
Tell me more!:
1. Johnny Diesel, "Never Miss Your Water": In August 2002 my band booked a CD release gig at the Armadale Hotel (now a fruit shop I think) for a Saturday night. We got bumped back to Friday, because of Diesel. After the gig we were told we had about 200 paying customers, while Diesel had around 80. To be fair to him I think his was a record-company thing and most people probably got in for free, but still...
This is one of a number of styles of rock that I identify with the 90s. Far too much money spent on production. I like the slappy punchy bass, and horns are always good, but his style of singing and random orchestra grate.
Fades out.
2. Johnny Gill, "The Floor": Trust me when I say he plans to hit that floor. He must be telling the truth, he keeps saying it. Another one of those only-in-the-90s styles. Repetitive beat, falsetto male vocals trying to be Michael Jackon. It's the last gasp of the 90s still trying to be the sophisticated danceable 80s. Two minutes too long. Points for rhyming "derrière" with "air", and for not fading out.
3. Chaka Demus & Pliers, "Tease Me": Like a bad dance remix of a bad song, only it's supposed to sound like this. More vowel rotations than a road-raging New Zealander.
4. Duran Duran, "Come Undone": I was reminded of this song years later when I found myself with a copy of the Australian artists Duran Duran tribute album, "The Songs Of Duran Duran Undone". I remember this song driving me crazy in the 90s. The female vocal is so shrill. I like it more today, it reminds me of Caligula (the band), and the guitar effect throughout sounds just like one of my first guitar pedals. Nostalgia. Fades out.
5. The Cruel Sea, "The Honeymoon Is Over": I always thought the lyrics were "Gonna send you back to where the fuck, the hell it was you came" but apparently they're "Gonna send you back to wherever the hell it was you came" which makes a lot more sense, especially given how much radio play it gets. But then they used to play Regurgitator's Blubber Boy all the time too and that says the C word.
Either way, this song has been so over played it's hard to critique in any fair way. Slide guitar, dugga bass, vocals pushed out through beer soaked cheeks. The Cruel Sea are a unique and fun band. The song ends properly too.
6. Billy Idol, "Shock To The System": Awful. I like Billy Idol. The Billy Idol in my head anyway. He took Faith No More on tour with him in the 1990, so he deserves a pat on the back for that. The song has no punch, no power, but Billy sings it like it does. The guitar loop is terrible, and must be deliberately so because it's cranked up in the breaks. Ends properly.
7. The Sharp, "Scratch My Back": I love The Sharp. Far to biased to even comment. My band tried to cover this once and we were terrible. We tried "Spider" too. Just as bad.
A demonstration to other bands how to end a song.
8. Lenny Kravitz, "Believe": I despise this song. An attempt at sounding like The Beatles? Semi-religious and "Deep" and it fades out. The solo is good though.
9. East 17, "West End Girls": Oh wait, no, THIS song is horrible. Rapping isn't about sounding bored... I think Neil Patrick Harris would do a reasonable parody of this song though. And how good are those floppy oversized beanies? Bring those back! Fades out.
10. Silk, "Freak Me": OK fine, this song is even worse. I remember a party once, it must have been the year this came out. I was on the backstage crew of the school play so got to go to the after party (I'd never had been invited to a party otherwise). I remember this song playing and watching the incredibly uncomfortable but amused reaction from our vice-principle as he listened to the lyrics and watched various 14 year olds dance horrifically.
This really is the sleaziest song ever put to tape.
I'd love to hear a sweet-voiced singer-songwriter type female vocalist do a cover it.
Fades out.
11. 4 Non Blondes, "Whats Up?": This song cops a lot of crap, but I think it's held up fairly well. Sure that hat is stupid, and her voice breaks up all over the place, but it's a nice little pop ditty. Who doesn't like acoustic ooohs? And they end the song properly.
12. Inner Circle, "Sweat (A La La La La Song)": Reggae Fusion. Enough said. Has a proper end.
13. Snow, "Girl I've Been Hurt": A guy in my class used to sing Informer all the time. That was annoying. This song is awful. Some asshole overly jealous boyfriend asking demanding questions of his girlfriend. Awww, now he needs another lover. Poor you. Fades out.
14. Chocolate Starfish, "You're So Vain": I saw Chocolate Starfish play this song live in 1994 at Festival Hall. For nearly every song the singer put the microphone down his pants. We left early (we were only there for The Sharp). The overly Aussie accent doesn't do this song any favours. It was hugely popular. Clearly the original kills it. Fades out.
15. George Thorogood, "Get A Haircut" - I was surprised to see the nice animated video for this song. It's the kind of almost-comedy song you used to get before Denis Leary's "Asshole". It's vaguely amusing. Fades out.
16. R.E.M., "Everybody Hurts": Bill Berry's "polished turd". My favourite bit of this song is that the first time the main guitar riff is played there is a miss-struck string at the end. It taught me even hugely popular songs could have glaring mistakes in them and no-one will notice. Fades out. Of course.
17. The Cranberries, "Linger": Remember when everyone loved "Zombie"? I surprised no-one has done something with that given how popular zombies are these days. "Linger", and I think "Dreams", were the other songs popular from this album. I still have a soft spot for it. Has a proper end!
18. Tina Turner, "I Don't Wanna Fight": Ergh. Tina diving head first into the 90s. That beat, the orchestra... stop it! Tina has a fantastic voice though.
1/10 - I did get a fair amount of nostagia and amusement from listening to this, but really there aren't many good songs on here, and they're all best heard in the context of their albums.
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