I stopped following new Rush releases in the late 1980s, I think the record was called Hold Your Fire. I had been a huge fan growing up a bassist and coming of age in that decade. There were so many great bassists to listen to in Hard Rock then. Geddy Lee of Rush being right up there with any of them.
Working in radio throughout the 1990s and the record industry in this decade I was obviously aware that Rush was still putting out new music, touring all over the world, and maintaining their loyal fan base (a most loyal fan base, Grateful Dead-style). I would come across the odd new song (I recall "Roll The Bones" in the early 90s) and I would hear of the live date every year or two. But aside from popping in Moving Pictures, Permanent Waves, and Signals (three all-time great rock records) I wasn't much involved in the world of Rush.
It was to my great surprise when I recently opened a package of promotional materials from their label, Atlantic Records, and saw the new Snakes & Arrows Live enclosed (a double-live recording from Holland, late 2007). Always looking for something great to review I listened to both discs.
It's great. It's a live record. It starts and ends with the crowd noise fading in and out, like every live record. And there are a bunch of the classic tunes from the records mentioned above. It's amazing to see how they still hold up: "Limelight", "Digital Man", "Entre Nous", "Freewill", "Subdivisions" (the opening low-register keyboard notes still get you excited, and that great bridge, oh my: "any escape might help to smooth..."), "Natural Science" (that phased whump, whump, whump, whump, just before that classic minor key heavy metal riff, one of the truly great metal riffs, still does something to you), "Witch Hunt" (the chimes in the intro are still as disturbing as when I first heard them), "Distant Early Warning" (from Grace Under Pressure), "The Spirit Of Radio", "Tom Sawyer", "A Passage To Bangkok" (another, almost-identical-in-it's-classic-ness, minor key, metal riff), and the ever-elusive "YYZ" (which every bassist tried in vain to learn note for note back in the day).
I also marvel at how, physically, Lee and drummer Neil Peart can still perform at that level. Playing music is a very physical act and it gets harder and harder to remain proficient with advancing age. (Guitarist Steve Vai has talked about this to a great extent.)
Like with most live records there aren't many discernible mistakes. If you're looking for a flub, during the acoustic guitar playing of Alex Lifeson you'll hear some buzzing of the strings (it appears to be some kind of small-scale, eight-string instrument, but regardless, there is buzzing). This should come as no surprise however because I can think of three guitarists who I've never heard buzz on acoustic and/or classical guitar: Yngwie Malmsteen, Roy Clark, and Andres Segovia. Also, in my opinion there are two virtuosos in Rush, not three, Lee and Peart. For thirty years Lifeson has been an excellent rock guitarist, very diverse and musical, with an above average tone...but he was always just this side of the top tier. I don't think that can be disputed. I liken him to former Van Halen bassist Michael Anthony: underrated, solid tone, groove-heavy, but overshadowed entirely by Edward Van Halen's legendary talent. And like I said, most guitarists buzz on acoustic. Listen closely. It happens more when picking out chords and changing chord fingerings than it does during a strummed part.
And, regarding any flubs, there is one moment, where I hear Peart either end or start a bar early, but I wouldn't sweat it. And the live drum solo, which is interesting and flawless, really doesn't need to be on the record or in the live show (no unaccompanied drum solo ever belongs anywhere). I know The Drum Solo is a staple of their show and diehard fans are diehard fans because of the comfort zone that exists with an artist but I'd much rather hear "Closer To The Heart", "Red Barchetta", "La Villa Strangiato" and maybe one other tune thrown in. We all know that Rush can play with anyone, there is no need for them to break into swing-style jazz like they do here. If it's a goof then please, by all means, don't goof on the audience. But old habits die really hard so I guess the solo isn't going anywhere soon.
I think you'll love the record if you're either a hardcore Rush fan or you just dabble in them, as I do now. And there are two discs so if you find it moderately priced, then it's a steal. Also, there are some great live photos in the record's booklet courtesy of legendary photographer Ross Halfin, who snapped Iron Maiden all throughout the 80s, and the art concepts are typical for a Rush package, clever. There are these BBQ'd interlocking chickens pictured.
The Am/Fm Project gives the record a 90 out of 100.
Search Engine Hints: Rush Snakes & Arrows Live
--
Our Puzzling Encounters Considered by Psyopus
Metal Blade 3984-1-4602-2
Everything is a puzzle with Rochester, New York's Psyopus: From the puzzle pieces on the record's cover, to the way the guys look (they're from the Primus school of goofery), to the circular, complicated song structures, to the name of the record (I notice how the first letters of the four words spell OPEC but I haven't found any current political material on the record), to the way they use accented i's as apostrophes. It's almost like they're are just fuckng with us.
The band is loud and fast, dynamic, a lot like The Dillinger Escape Plan or Sikth (to draw current comparisons).The guitar work is mainly a mix of squeals and linear riffing, lots of processor. And Adam Frappolli's vocal work is mostly screamed (like murder) in concert with the drumming (which I would describe as a more musical, technical version of the Blast Beats we hear in most Death Metal).
The tune "Whore Meet Liar" is particularly disturbing with a harrowing harmony vocal part performed by a female. She's basically screaming "liar" at you and you get that chill, you know the one I'm talking about? Then she's in on some other lyrics about "cheap bar room whores" and you can pretty much picture the arguing. And the the song "Kill Us" is about having sex with a dead body, but in a good way. He obviously really loves her.
Twice on the record there are great examples of interesting production. Drummer Jon Cole's bass drums conspire with the guitar to create a hum that rises above everything else. I can't recall ever hearing anything like it. You can hear it toward the end of "The Pig Keeper's Daughter" (the opening track) and early on in track 3, "Scissor Fuck Paper Doll".
There are a couple of beautiful interlude sections. Your mind and ears might hear the parts and think Classical but it's purely Jazz that the band is giving you. The phrasing of the solos and the drunken swagger, the rhythms...Jazz. The Hi-Hat work, the chromatic chord changes, and the note choices during these parts are also a giveaway. "Siobhan's Song" is a really beautiful piece of music, an instrumental, and it's the best sample of Fred Decoste's bass playing, underneath it all, it's right there for you to enjoy.
The second to last song, "Happy Valentine's Day", shatters the quiet and we're back to the insanity. From what I can gather it's about strangling your ex and wishing them a Happy Valentine's Day and stuff like that.
Like most Metal Blade releases the record is a short blast in your lips and teeth; metal musicians and fans of heavy, aggressive metal will love Psyopus.
The Am/Fm Project gives the record a 90 out of 100.
Search Engine Hints: Psyopus 2007 Metal Blade Release
--
Nocturnal by The Black Dahlia Murder
Meral Blade 3984-14642-2
BDM returns. Another record replete with drumming the won't let up, brutal lyrical imagery, acrobatic guitar solos, tunes that twist and turn, vocal cries and growls traded off as BDM does, and crisp production.
Their records are short. They have to be. How much longer could a band play at that level of proficiency? How much longer could a live set be before concertgoers drop over from being bashed in the ears and face?
BDM is ready to make the jump to a major label much in the way that Lamb Of God and Shadows Fall have done. They'll do that before their next full-length LP. My prediction is somewhere around late 2009/early 2010. Don't scoff. Their sound is accessible. A major could add just the slightest bit of gloss (as we witnessed with Shadows and Lamb) and BDM would take their place right next to those bands. There simply has to be major label interest and, it being a business, Metal Blade has to be thinking in this way. We'll see.
"What A Horrible Night To Have A Curse", "Virally Yours", and "Warborn" are some compelling titles that made me conjure up my own thoughts about the songs. And the record ends with a great, typical BDM fade.
One thing I like about the band is that you can see how there are distinct job descriptions in BDM: guitarist Brian Eschbach plays only rhythms yet arranges every song and sings not "backup vocals" but more of a "dual lead"; vocalist Trevor Strnad writes all of the lyrics and obviously gives Brian his parts; and guitarist John Kempainen handles the deft leads. So you can see that there is a lot of give and take within the songwriting process. A lot of deferring to band mates. A lot of trust shown in the individual areas of expertise and talent. And most importantly, obvious respect among the band that someone else knows best here and there. That's why they're as great as they are.
I think the record is near perfect. Honestly.
The Am/Fm Project gives the record a 98 out of 100.
Search Engine Hints: Amazon BDM Ncturnal
--
Roots Rock Riot by Skindred
Bieler Bros. 874007002028
It was worth the wait. I guess about 5 years give or take since Babylon? Skindred finally returns. They have a sound all their own and I think they are going to take their place as the world's most popular Aggressive band. System Of A Down is done right? And Rage Against The Machine, despite some shows, I don't expect anything new from them. Ok, if you want to say TOOL, maybe they fit in this category, but I just don't see any major label band (and I'm not talking Metal here, I'm talking Aggressive) that is still on the way up with a big following and impressive sales for this digital age that can challenge Skindred.
Their sound is still diverse but it's not as ambitious as Babylon. It's more mature, more their own, with less let up from the record's beginning to end, and with less of a purposeful "we listen to lots of music, can't you tell?"-type sound that so many accomplished musicians in bands try to force upon us. So, yes, Skindred has found their voice, they're confident, they're road-hardened. Roots Rock Riot is a tidy 12 tracks replete with cool sounds and woofer-ready production. The guitar tone is way heavier than Babylon. And the tunes are equally as singable.
I want to get to something else now. Track 9, "Spit Out The Poison". If you legally download only one track this year, download this one. To get right to the pont, the vocal performance by Benji Webbe is stark? Harrowing? Disturbing? I'm trying to find the word to describe it to you. I haven't heard as original a lyric/melody/performance trio since Kurt Cobain's "Verse Chorus Verse" from I guess 1992? I think what you must do is go to Amazon.com, search Skindred, click on Roots Rock Riot, and from there click on the 30 seocnd sample of the song. Upon listening, legally download the song. That's all I can say. Trust me, you won't believe your ears, it's that memorable.
Now for the record's closer, "Choices And Decisions". It's a good tune, average. But above and beyond that, any fan of Skindred knows that Benji is a very "religious" man. I use quotes because what does that mean? I use quotes because one declaring that they are "religious" means nothing to me. Zero. Matter of fact, it actually connotes something negative in my mind. That is my problem, my hang-up, my prejudice, and I do apologize for that. Why am I writing this? Well, here in America, in politics and in society and art, we have things called "Buzzwords". "Terror" is one. "9/11" is another. "Liberal" is yet another. "Mexican", "Raise Your Taxes", I can go on and on. These words are used by everyone from politicians to clergy to artists to average citizens who send e-mail forwards in an effort to cause knee-jerk reactions in people, to infuriate those opposed, to rally one's allies to your cause, to control minds.
Artists are no different than anyone else. They have agendas. And! All art is subversive by nature because it is left to the subject to decide the meaning. The reader, the listener, the viewer has final say. So I tell you this because Benji being has his agenda, as we all do. Being a person who gravitated towards the stage and the pen and paper and the microphone and the road he is trying to not only tell us something but to change our minds, to get us to see things his way. He is no different than Tim Burton, J.S. Bach, Hank Williams Sr., Henri Matisse, Walt Disney, and Burt Reynolds. There is nothing more powerful than art and holding one's audience captive.
When I first saw the title of the track I thought to myself: yet another artist with an impractical, ancient, unrealistic, sinister opinion about what women should and shouldn't do with their bodies (see Type O Negative's Peter Steele). Again, remember, "Buzzwords", "knee-jerk". Upon many listenings and lyric perusals I think the song is more about drug abuse and being oppressed...I think. The record ends with "Life, life, life, life, choose life." So I have no real closure here as a listener. I will say that George Michael in Wham! back in the early-80s had "Choose Life" on a shirt and that Dave Mustaine perverted it in Megadeth with "Choose Deth" (Dave himself became a cliche after years of partying and womanizing when he became an American Conservative who actually had the balls to question Al Jourgensen of Ministry's sanity and politics). So the phrase "Choose Life" is neither original nor clever, neither artistic nor poignant. In reality it's a catchphrase for American Conservatives, perhaps the least artistic group of people in Earth's long history. So I can't discern what Benji means there or where his allegiance lies.
We will be interviewing Benji here eventually (we've been working on it for over 2 years). Hopefully I'll get a a chance to ask him if the track is about women's rights. And if it is I'll ask him what his views on women's rights are. And then I would like to ask him what his views are on the illegal occupation of Iraq by the United States and British forces (Skindred is from the U.K.) And then we'll see if his answers wash, you know? If they are consistent.
I don't know, maybe it's all in my head.
The record is really great and I suggest you play it at a high volume.
The Am/Fm Project gives the record a 93 out of 100.
Search Engine Hints: Roots Rock Riot Concert Dates
--
Commandment by Six Feet Under
Metal Blade 3984-14613-2
Released earlier in 2007 Commandment from Death Metal's Six Feet Under will prove to be my easiest review.
It's exactly what one would want from a Death Metal artist: The guitar riffing is heavy as Hell (not as fast and complex as most Death Metal but as singable as your more mainstream Metal acts [Pantera, Lamb Of God]); The drumming is produced excellently, tight as anything anywhere and different than other similar artists' drumming because there are few (if any) "Blast Beat" snare drums (which is neither here nor there as far as my taste is concerned); There is zero let up on the records' ten tracks (no slow tempos nor "ballads" [LOL]...no slowly picked guitar intros...no motion picture sound clips); The imagery is all there (whether it's the skull on the records' cover, the rotting band members and the surgical scalpels in the booklet or the title of track 5 ["Bled To Death"]); And the vocals...well former Cannibal Corpse vocalist Chris Barnes is on the Mic (better than ever and he's never been better).
The bass (bassist Terry Butler) has a nice punchy tone and is clearly audible throughtout the record (which is a must for me to enjoy any recording).
I mean that's it. I can't rave enough about how good the record is. If you want a complete, tidy, heavy record get this one. And from what I can tell the band will be touring in the U.S. well into 2008 so go see them.
The Am/Fm Project gives the record a 97 out of 100.
Search Engine Hints: Six Feet Under Band Official Website
--
Modern Minds And Pastimes by The Click Five
168508-2 Lava/Atlantic
I'll tell you right up front that I think the record is a near-perfect collection of pop. I'll spoil the surprise and tell you that I'm giving it a 96 out of 100. The production is choice (obviously) but the performance given by the Berklee-trained players is really tight, which is to be expected. In typical schooled-musician fashion the songs are peppered with flavor ranging from 90s House riffs on the keyboards, a little crunching Metal guitar in a certain spot, and 70s Disco bass.
Brand new vocalist Kyle Patrick has a beautiful voice and for such a young guy really shows a mature musicality. He can clearly sing from different spots in his throat and it adds different textures in different instances. His performance in the gorgeous closer Empty is the one to listen for. The band really rocks in two particular cuts, When I'm Gone and Long Way To Go. Gang vocals, fast tempos, the band is growing and morphing.
I should note that you hear the hand-clapping of Atlantic Records Big Shot Andy Karp on the record. The reason I'm telling you this is that you can hear our audio interview with him archived on our audio interview page. It was done a couple of years ago before the release of The Click Five's first LP. So you can tell that this is his band at the label. He is listed as the only A&R rep for the band, and since he is the A&R Head at Atlantic that should tell you about the label's plans for the boys.
Back to the record, Flipside actually has a drum fill that I wait to listen for. That's pretty rare. It's just so spot-on that you sing along with it. The most-singable melody you'll find in Happy Birthday. It's real catchy.
A couple of things I'd like to close with: the band's changing look and lyrical content; and the departure of former vocalist Eric Dill. Before the first record I commented to an executive at Lava that I felt as the band got older they would change their image up from the exact replica Beatles look they had. I knew this would be so not because of obvious major label pressures but because two years of touring and aging and the guys in the band would grow into individuals. This is a fact of our lives. While the executive wasn't thrilled with the comment, I'd heard it in his voice, I was right. The boys each have a different look now. This si important. As for the lyrics, there is some innuendo and some lyrics that talk of break-ups and relationships gone wrong. This, again, has to do with age.
As for the situation with the new vocalist: He's a fabulous singer who in some ways is better than his predecessor and in some ways isn't; who brings more than the first guy and in some ways brings less. While that's a pretty obvious statement to make, I make it because internal factions and pressures drove Eric from the band, and as great as Kyle is, The Click Five will never be his band. So two years from now, I wouldn't be surprised to see only three original members. This is how bands work unfortunately. To me, they were five brothers who met at the world's finest music college, and they are diminished. If you want my uninformed, non-on-the-inside guess at whose band it is, I'll go with keyboardist Ben Romans. He is without a doubt a principal songwriter, he sings, and he has an upfront vibe about him. I wouldn't be shocked to see him fronting the band someday.
And if you want to now my absolutely meaningless opinion on what could drive a wedge between another member departing, it would be songwriting credit, which amounts to $ with each record sold. And I wouldn't be shocked if bassist/songwriter Ethan Mentzer eventually splits. But if this tension can be harnessed...
I wrote all of this because I love the band, having that school in common with them, and because I would consider them one of the best bands in the world right now.
The record is really great. You'll enjoy it.
The Am/Fm Project gives the record a 96 out of 100.
Search Engine Hints: Click Five Tour Dates Atlantic
--
The Hierophant by Will Haven
Bieler Bros. 874007001724
The Hierophant from Will Haven is a very good loud record. Their sound is certainly metal but definitely hardcore. And the vocals of Jeff Jaworski are spit at us in a certain punk way (John Lydon, Justin Sane, Ian Mackaye, Tim Armstrong even; the mouthy, spit lyrics). The record was produced by Deftones' Chino Moreno (and others) and both the production and the band's style is reminiscent of Deftones. However, Will Haven is their own animal and this is how it should be.
The record opens eerily with Grey Sky At Night and goes on a run of loud, tuned-low tunes with strummed riffing (not muted, staccato-like riffing of most metal) that lasts with no let up from Track 2 (King's Cross) to track 6 (Landing On Ice).
Jaworski writes every song (with some co-writing on a few tracks). The co-writer iisn't in the band which leads me to believe that he once was. Most likely he was a guitarist. Certainly Will Haven will benefit from other voices entering into the songwriting on future records. My bet would be guitarist Jeff Irwin and bassist Mike Martin. But don't take this the wrong way. Jaworski is a good songwriter and writes pretty progressive, complex tunes for someone with only a vocal credit on the record. My bet is they'll write as a band more now that they are touring the world. Tough touring can lend itself to collaboration.
For me, without question, the record's two greatest spots are the beautiful keyboards between Landing On Ice and Skinner, and the gorgeous closer Dark Sun Sets.
Skinner is a break in the record from the blaring hardcore. It's a really dynamic tune. Some spoken-word shit that reminds me of something from Metallica's ...And Justice For All, and some slow, low grooves coupled with vocals that delve into almost death metal-style.
Handlebars To Freedom picks the pace up a bit from Skinner but doesn't take us all the way back to that original burst of rage. It's a great tune though.
A Day Without Speaking, track 9, and the record is back to where it was for so long. I can really dig the line: "Last call for promises and miracles."
Sammy Davis Jr's One Good Eye is particularly ferocious and will be considered the record's best track by the masses (I must admit that the title, while obviously a metaphor, euphemism, irony or analogy, causes me to feel a little sad for Sammy, taking ostensible shrapnel here). However, as I said, the tune is unrelenting.
After being bashed n the face by Firedealer the record closes with the aforementioned Dark Sun Sets. The cut is really amazing. Strummed acoustic guitar that weaves and morphs into into something pretty beautiful. Timpani drum enthusiasts (which I am) will enjoy it too. What a way to close. Hear it for yourself.
The Am/Fm Project gives the record a 93.
Search Engine Hints: Bieler Bros Records Will Haven Chino Moreno Producer
--
Threads Of Life by Shadows Fall
Atlantic 115516-2
A band should approach everything artistically. From their name to their videos to their images to their music to their lyrics. Shadows Fall do this with Threads Of Life. Namely with their song titles and record art.
The songs were given serious names by serious artists, and they evoke serious thoughts. This is as it should be: Redemption, Burning The Lives, Storm Winds, Failure Of The Devout, Venomous, Another Hero Lost, Final Call, Dread Uprising, The Great Collapse, Just Another Nightmare, and Forevermore.
The record has great artwork (by artist Angry Johnny). The illustrations are of a creature who reminds me of Iron Maiden's Eddie crossed with Alien, Shelley's Frankenstein, and things out of a Tool video. He's this poor, stitched-up thing (maybe Shadows Fall can make him their mascot and an 8' tall creature can come out on stage and attack the band and stuff; plus, think of the merchandising potential!).
"We just wanted to write a full-on metal record," said Brian Fair, lead singer of Shadows Fall. They did. The production has a nice compact sound that I always like. It isn't airy with lots of space or separation. It sounds like some metal from the 80s, on vinyl. Warm. Every note in each guitar solo cuts through (which means proficient, technical playing). The snare drum is warm, deadened. This is important. And! There is the trademark Shadows Fall layered vocal growl. It's a major label recording to be sure, but it ain't glossy or overproduced. No way. On producer Nick Raskulinecz, Fair said: "Nick was able to get performances out of us that we didn’t even expect from ourselves. Structurally, we had worked out a lot of the stuff before we even got to the studio, but he really brought new life to things sonically — different layering of guitars, vocal harmonies that we wouldn’t have thought of, great ideas like that."
My favorite track is Failure Of The Devout. It starts quiet, builds and explodes. It has many intricate changes and parts; and it has a superbly produced section that highlights drums and vocal. It's ending swirls and stops so tight and sudden that it's like having a trap door fall out from underneath you.
The record isn't too long; about a dozen tracks. Overall, I'd say it's from the old-school. Pre-CD days. You'll love it.
The AM/FM Project gives the record a 94 out of 100.
Search Engine Hints: Shadows Fall Reviews Tours
--
Death Of A Dead Day by Sikth
Bieler Bros. 874007000925
I'd like to start by telling you about the album art. In this day of invisible mp3s I find myself really enjoying any record that contains captivating art. The booklet contained in Death Of A Dead Day opens to a poster depicting an industrial hell. Think The Lord of the Rings + Nine Inch Nails x Charles Dickens-style Industrial Revolution dreariness divided by TOOL. Add a pinch of Star Wars Episode III's lava planet and you have a bleak painting (artwork by Tim Fox).
The music is immaculately produced and quite complex. You have the standard components found in today's heaviest metal (Lamb of God, System of a Down, Shadows Fall, Slipknot): drumming that pushes the limits of the human anatomy; vocals that both sing and scream; and fast, quirky, processed guitars (check our Text Interviews page for a segment with Pin, guitarist of Sikth)..
Since satellite radio has boomed I should tell you to check your provider's aggressive metal channel (you'll hear Sikth there; I know I have). The opening track "Bland Street Bloom" is interesting and will give you an idea of what you'll hear within the remaining 11 tracks. I think you'll like the groove and the melody of "As The Earth Spins Round"; you'll dig the disjointed opening bars of "Flogging The Horses"; and you'll enjoy the circular, tight guitar in "Way Beyond The Fond Old River".
The AM/FM Project gives the record a 93 out of 100.
Search Engine Hints: Bieler Bros. Records Sikth
--
Pick A Bigger Weapon by The Coup
Epitaph 86720-2
For the sake of journalistic integrity I'll defer to Public Enemy's Chuck D. and former-Rage Against The Machine's Zack De La Rocha and tell you that Boots Riley of The Coup is tied for first place on my all-time list of politically active, fabulously gifted, incredibly relevant, funky, hardcore, rocking, hip-hoppers (hear an interview with Boots in the 2005 section of our Audio Interviews page).
And there is no shortage of politics and hip-hop on this record:
-From We Are The Ones. "We. We are the ones. We'll seal your fate. Tear down your state. Go get yo guns." This track has a really funky bass line. It sure moves.
-From My Favorite Mutiny. "'Death to the pigs' is my basic statement. I spit street stories till I taste the pavement." I would say that this cut features the record's most anthemic, melodic groove.
-Head (Of State). [Rather than print a line or two, do yourself a favor and enter "The Coup Head of State Lyrics" into a search engine. You won't believe the history lesson that Boots carpet bombs you with.] Singers Kween and Lawrence Wiley do a great job on the backing vocals here.
-A song titled BabyLet'sHaveABabyBeforeBushDoSomethin'Crazy? It's a beautiful slow number that hits hard. Silk E sings great on this track.
Do you get Boots's point? If you don't, one listen to Pick A Bigger Weapon and you will.
Guitarist Tom Morello (also formerly of Rage Against The Machine) and former-Dead Kennedys vocalist Jello Biafra make cameos, and the record ends in under an hour. There are a lot of great sounds produced by a wide variety of instruments played by many excellent musicians. And as with most of Boot Riley's work, there is a ton of humor.
Pick the record up. We are officially raving about it.
The AM/FM Project gives the record a 95 out of 100.
Search Engine Hints: The Coup Head of State Lyrics
--
'Live' Trucker by Kid Rock & The Twisted Brown Trucker Band
Atlantic 83914-2
The live CD 'Live Trucker'by Atlantic Records recording artist Kid Rock is a really good one. The drums are recorded really well and sound great. There are very good versions of well-known Kid Rock tunes that even a casual KR fan like myself knows and enjoys. Bawitdaba, Cowboy, Somebody's Gotta Feel This, and American Bad Ass fit into this category. These tunes have plenty of the good riffs, unique screaming, and cool hooks that Rock writes. The crowd is heard at a good level and that adds to the listen.
The high-point of the record is the duet "Picture" with country singer Gretchen Wilson. The crowd gives her a warm welcome, which is nice. Prior to hearing this CD I had neither heard nor heard of Gretchen Wilson, and she more than hangs in there with the maniacal Kid. She has a nice voice.
Another cool touch is the way "Kid Rock & The Twisted Brown Trucker Band" is written on the front cover; it's a not-so-obvious homage to Bob Seger & The Silver Bullet Band.
There is a pretty cool thing in the sequencing too. I found it pretty funny. The band performs Bawitdaba (Kid's most popular tune) early in the show, the second track. They tear it up. Much later (track 11) they go into the famous Bawitdaba intro again (prior to jamming Motherf**ker Quite Like Me) and the crowd responds with great fervor (as if they hadn't heard the tune that evening). The concert was spliced together from three straight nights of performances in 2004, and concertgoers love the hits, so this is no problem at all. I just find it funny.
At points, Kid's rhymes flow as effortlessly as those of Zack de la Rocha of the late, great Rage Against The Machine, and he croons like the vocal virtuoso Chris Cornell. His singing is underrated and quite honestly (being an artist myself) I wish KR would cool it with the prescription drug talk, the occasional incarceration, the amateur videotaping, and the gene-pool experiments (just for the time being...just for the time being), and sit down and write a loud, rude, sexed-up rock classic. He recently made mention of not being able to do so on Sirius Satellite Radio's The Howard Stern Show. He is one of only a handful of American rock stars in the world right now, and with America headed toward a 1960s-style cultural revolution, it'd be great to see Kid Rock at the helm.
The AM/FM Project gives the record an 89 out of 100.
Search Engine Hints: Kid Rock Lyrics Atlantic Records
----
Revolution Of The Cool by Kyle Jason
Slam Jamz SJ1369DVD
Kyle Jason's Revolution of the Cool is eleven of the jazziest, hippest, soulful-iest tunes you'll ever hear in one place. The production is top-notch (as we would expect of something from Chuck D's record label.)
The tracks break down as follows:
1) People People features a bass solo by John Montalbano (a monster) played in unison with a tap-dancing solo by Lindell Blake. I mean, are you kidding me? Only from the mind of Kyle Jason.
2) Hipper Nipple is great because Kyle squeezes the phrase "it's a hipper nipple" into one and a half beats of what is a pretty up-tempo tune. You can imagine the cunning linguist that Kyle is.
3) Cool Is Cool features the piano playing of Chris Friedman. To me it is very reminiscent of the brilliance of pianist Mike Garson (who played on David Bowie's Aladdin Sane.)
4) After Midnight is cool to listen to because Chris Munger's guitar does that 70s wacka-wacka style that we all know and love.
5) In Simone By Midnight trumpet player Joe Naples definitely plays with a mute on his trumpet. The tone is warm as hell and must be heard.
6) In Why (Am I So Funky) Kyle asks "Why am I so funky?" I don't even think he knows the answer to that one. I sure don't.
7) Cat-O-Tonic is an instrumental. More mint piano playing here.
8) Kyle does his best singing and most interesting melody work on Paris Sky.
9) Walkin' is consistent with what you would have noticed so far: each band member is an awesome musician; Kyle's songwriting can go here and there; and the CD's sequence leaves you wanting more of the same yet getting something entirely different and better with each ensuing track.
10) Hot Sauce is Kyle's "tribute to James." He means James Brown but he could've meant Rick James or James Jamerson, respectively, when you see him dance in the video to this cut (included in the CD/DVD 2-pack) and hear the banter that he affords the listener, or when you hear the fast bass line the goes up and down at the same time, seemingly.
11) Round Peg in a Roomfullasquares is another instrumental, a quirky one at that, where each player deftly manuvers between the tune's time changes.
12) Kyle really wrings out the cloth here, in I'm Tired of Being Your Friend. He tells the object of his affection, he doesn't ask or plead, but he tells her, that he is "tired, so tired," of being her friend.
The AM/FM Project gives the record a 95 out of 100.
Search Engine Hints: Kyle Jason Air America Radio
--
Greetings From Imrie House by The Click Five
Lava 2A-93826
Greetings From Imrie House by The Click Five (Berklee College of Music educated power pop'ers) is a tight, nicely produced, short and sweet offering of melodic rock. Eleven tunes you can spend 40 minutes with.
Good Day has a great main guitar riff that you can hum and has the rare good-melody-in-each-of-the-verse-bridge-and-chorus.
Just The Girl was written by Fountains of Wayne's Adam Schlesinger and gets added to his impressive list of pop conquests.
Catch Your Wave for me is a showcase Joey Zehr's drumming. It's a busy part and it stands out.
I'll Take My Chances features Joe Guese's best guitar solo.
Friday Night has a great, memorable main keyboard line performed by Ben Romans.
Angel To Me (Devil To You) demonstrates best Eric Dill's wide vocal range.
Resign has an incredibly heavy guitar bridge where the band jams about as hard as the late, great Pantera. I kid you not. The boys show their proficiency here.
Pop Princess sticks with the formula thus far: rocking pop that you remember.
Time Machine is my favorite cut on the CD. A+ writing and melodies. (Since I have the ear of the people at Lava Records, I shall recommend this as a single.)
Lies is a good version of the hit by The Thompson Twins. You know the tune; you'll like the version.
Say Goodnight fittingly closes the CD on a breather. A slower piece. And it has the clever ending of a CD title that we all are accustomed to.
The AM/FM Project gives the record a 90 out of 100.
Search Engine Hints: Click Five Greetings Imrie House Pictures
--
Miasma by The Black Dahlia Murder
Metal Blade 3984-14536-2
There is simply no let up during Miasma, the second Metal Blade release from Detroit's The Black Dahlia Murder. It pretty much just cracks you in the teeth...the heavy metal that is.
Ten songs in, what, 35 minutes or so? It's like in the pre-CD days when you played a vinyl album for 39 minutes and put another one on. I love it.
"Built For Sin" opens up with one of the choppiest grooves you'll ever hear.
Also, and in what is a must for me, the bass drum production is just right. They sound great, and more importantly, they are just at the perfect spot in the mix.
And vocalist Trevor Strnad describes Miasma's lyrics as "ranging from anthems of cheap sex and drug use to more classic...horror style." I'm intrigued.
Bassist Dave Lock, plenty of times, cuts through, playing deftly along with the guitars in unison riffs. Impressive stuff, especially for a bassist in a band that is just so full-on.
The band is known for their relentless touring and you can hear that liveness in the recording. They are touring right now, somewhere, undoubtedly, and while I haven't seen them, I'd bet that you hear the recorded band in the live show as well. Always a pleasant thing.
The AM/FM Project gives the record a 91 out of 100.
Search Engine Hints: BDM Metal Blade Records Tour Dates
--
Everlasting Love by Vanessa Williams
Lava 93802-2
It's my opinion that actress/model/vocalist Vanessa Williams is known least for what she does best: sing. We all have seen her in films alongside Arnold Schwarzenegger, Sam L. Jackson, Viv Fox; we've seen her face in photographs and as a spokeswoman in commercials. But how many of us think first of her voice and think of her as foremost a singer?
Everlasting Love, to me, is a fabulous record because something incredible happens on it: classic soul hits are remade to sound as if they are Vanessa's original material. It's uncanny. Hits written by Stevie Wonder, Burt Bacharach, Melissa Manchester, and The Isley Brothers actually take awhile to unfold. You will not be aware that they are covers. This is due to the production/arranging of Rob Mathes. His arrangements are some of the best I've heard. "Show And Tell", "Never Can Say Goodbye", "First Time Ever I Saw Your Face", and "Everlasting Love" also stay true to this pattern.
The production is crystal clear and her voice is straightforward. It has such a soft effect on it. The tone is very warm and it reminds me of the hum of a radio with the bass up and the treble down.
There are points on Everlasting Love where Vanessa reminds me of Barbra Streisand and Diana Ross. That is lofty company and Vanessa, without a doubt, is that good a vocalist.
You can relax to Everlasting Love. I would recommend throwing it on during a quiet get-together while having conversation with good friends over a few beverages.
One must marvel at the diversity of Lava Records (yes they are our sponsor but we are honest here): They give us Skindred and Vanessa Williams.
The AM/FM Project gives the record a 94 out of 100.
Search Engine Hints: Everlasting Love Vanessa Williams Lyrics
--
Organik by Niacin (featuring Bassist Billy Sheehan)
Videoarts Music (VACM-1260)
Bassist Billy Sheehan returns with his three-piece band Niacin's latest release Organik. Niacin is Sheehan on bass (of course), organist John Novello, and Dennis Chambers on drums.
Niacin reminds me of two of the greatest rocking, jazzy, musical groups ever: Weather Report and Medeski Martin and Wood. Whether those comparisons are legitimate and widely-held, I know not, but if you listen to all three unbelievably musical bands you would understand why I draw the comparison.
The CD has thirteen tracks (two of which are bonus tracks perhaps not included on some other format).
The first piece is Barbarian @ The Gate. I can only describe the riffing in this cut as "angry", or "violent" even. The sixteenth notes (four notes per beat) that Sheehan plays at certain points are some of the most machine gun-like that he has ever played (and he's been playing them on LPs for over 25 years).
Next up is Nemesis. Novello really shines the most during this track. His piano solo is fabulous (switches over to organ mid-stream). Sheehan is in lock-step with Chambers and lower in the mix simply holding everything together.
Blisterine. Billy's spacious bass line, sprinkled with the occasional fill, will be remembered by listeners. As will Chambers riding the cymbals for most of the tune. And boy, does this cut close on a "high-note".
Then we hear King Kong. A lot of room in the recording of this track. A reprieve from having your face punched in during the first three pieces.
Now we hear Super Grande. Main riff...you shall move, groove.
Magnetic Mood is next. Grade A USRDA of laid-back vibe to neurotic riffing to laid-back vibe.
As for Hair Of The Dog: Complex. For those who like their music busy.
Niacin then gives us 4's 3. Chambers with those cymbals again! I think Sheehan plays some bass in the tune's closing moments. I think. Don't hold me to it.
Stumble On The Truth. An A+ of a musical sentence.
We also hear Club Soda. A busy line that they all seem to play at once. Circular. In unison.
No Shame. I find that this tune's production/mixing is the best on the entire LP. It just strikes me as being very "goodly" mixed. It's just really clear and spacious.
"Bonus Track" Clean House. "Bonus" in that you're sad to see the boys getting ready to go, but you're happy that you're almost through getting pummeled by the music. You do not need guitars to pummel a listener (listen to Beethoven and you'll realize that). Billy Sheehan plays a little slap bass here folks. Perhaps he's not "slapping" Flea-style, but he's definitely pulling off those thin strings and thumping the thick one.
"Extra Special Bonus Track" Repeat Offender. A beautiful intro. My favorite track on the LP. A great repetitive bass line that expands out and comes back in. As if the bass is exhaling and inhaling.
Even the front and back cover art is cool. In this age of seeing absolutely nothing for a cover and not being able to read anything in a booklet, Niacin gives us an easy-to-read font (a lot of white on green) and a relaxing, interesting, neon green, "The Matrix"-like art concept.
The AM/FM Project gives the record a 92 out of 100.
