Bon Iver-Bon Iver Review

    Wisconsin's own Justin Vernon returns with another desolate collection of twisted folk pop after a three-year break from 2008's breakthrough "Forever Emma, Forever Ago". The album has already been hailed by many as a masterpiece; let's take a look at "Bon Iver" to see if this praise is warranted.

   Opener "Perth"on is a gentle electric-guitar based track with a marching drum beat accompanied by Bon Iver's trademark processed vocal choirs in the background. The song then kicks in with machine gun drum machines. I enjoyed the track; and it reminded me of "War" era U2 in a certain way. Next is "Minnesota, WI", continuing the theme of each track being named after a place. The song is an interesting mixture of acoustic and electronic, blending banjo chords with early 1990s synthesizers. The steel guitar really fills out the song; and provides the listener with visions of the often desperate and sparse Wisconsin landscape where much of the album was recorded. The heavily distorted bass would not sound entirely out of place on Kanye West's 2010 album "My Beautiful Dark Twisted Fantasy" which Bon Iver collaborated. A truly great song; and a perfect blend of the many elements that comprise the Bon Iver sound. Single "Holocene" is a gorgeous lament of self-reflection. Vernon struggles with his place in the world; feeling valueless but showing optimism at the same time. The song reminded me of Peter Gabriel's "So", a major influence on this album as well as Bon Iver in general. The gentle acoustic guitar chords are backed up by slow horns and vibes; accompanied by delicate electric bass. The song is intensely sombre, but at times hopeful as well. Great song.

    "Towers" brings the energy level up a bit. The song is relatively simple for a Bon Iver song; and revolves around simple strummed electric guitar accompanied by soft synthesizers and heavily processed horn sounds.The song takes an interesting turn halfway through, incorporating Bon Iver's more country side. The song gallops along accompanied by vintage sounding country-like horns and steel guitar before returning the the main section of the song again. The song is enjoyable enough; but not a standout on the album. "Michicant" returns us back to the quite depressing and self-reflective sound that dominates the album. The almost hymn-like song is easily the "coldest" sounding song on the album; with a very simple effect processed drum beat joined by acoustic guitar and very melancholy horns. The song contains numerous references to winter; and most of "Bon Iver" definitely reflects the emotional longing and desperation that winters can create within the human soul. Not really fit for a party; but an enjoyable romp through Vernon's frosty psyche.

     "Hinnom, TX" takes the album out of the bitterly cold winter and brings a more warm sounding piece of pseudo-electronica. The song contains "glitchy"and sparse drum blasts over processed piano and gentle vintage synthesizers.  The vocals are beautiful; and shows that Vernon and company have really mastered the manipulation of the human voice in a way not heard since Queen in the 1970s and 1980s. The choirs accentuate the deep growl of Vernon on this track. The song is beautiful. Unlike many contemporary artists; Bon Iver's lyrics are very poetic in nature; open to interpretation. The cryptic but beautiful language of Hinnom, TX only adds to it's mystique. Easily one of the best songs on the album. "Wash." shows the more "Baroque" pop sound that Bon Iver has often be labelled with. The song makes liberal use of strings; amid the mass of sounds that dominate the rest of the album. The gentle acoustic piano reflects the "bedroom" like nature of Bon Iver; despite the sound of the band clearly moving beyond the amateurishness of their debut. The song brings to mind the driving rain and mist of the Pacific Northwest; although with such vague lyrics it is really hard to tell what the song is truly about; which is the great thing about Bon Iver. Vernon's lyrics are about whatever you want them to be; like any great musical poet before him.

   Single "Calgary" was the true highlight of the album for me. It is here that artists such as Peter Gabriel and Phil Collins really come to the fore in terms of influence. The soft vintage synthesizers and electronic drums remind one of 1980s pop music; but at the same time, Bon Iver crafts something new using the foundations laid by these individuals. The song strays from the clean sounds of the 1980s by including what appears to be "prepared" drums and a guitars with liberal use of distortion and studio effects. The song closes gently; with a soft guitar strum and brush drums. Easily the best song on the album.The short "Lisbon, OH" is a short instrumental track that reminds one of Daniel Lanois and his blending of studio electronics and electric guitar. The song does not really add much to the album; but is a nice experiment. Closer "Beth/Rest" was another highlight for me. Bon Iver moves fully away from folk music here; and adopts the personality of a 1980s pop singer. The "Springsteen-like" horns stand atop incredibly cheesy "Casio" like digital keyboards. The sampled pop drums also sound incredible dated; but that is the point here, "Beth/Rest" will provide a nice dose of nostalgia for pop music from a bygone era. Vernon's vocals really show their power here; sounding much more powerful than heard anywhere else in their short discography. The song is beautiful; and the guitar solos really up the ballad quotient.  

  "Bon Iver" is a strange album that is for sure. I do believe however that the praise for this album is truly deserved. Like the 1980s singers that the album often pays homage to; Vernon and crew use vast amounts of textures and sounds to create emotionally beautiful music that tugs on the heartstrings.  I thoroughly enjoyed every minute of this album; despite the quite depressing nature of the album. Great, but only for those wanting to take a deeply emotional and visceral trip.

Rating-9/10

Black Sabbath-Never Say Die Review

   The last of the original "Ozzy" Osbourne era of Black Sabbath and what is usually considered to be a weak link in the otherwise mostly stellar Black Sabbath catalog. "Never Say Die" is really not as bad as people usually say it is; and I believe that it certainly holds up against the other Ozzy era albums. Let's take a look at this misunderstood album.....

   First up is the titular "Never Say Die". The track sheds the detuned, heavy riff based tracks of early-era Sabbath for a more traditional classic rock sound. Bill Ward is stellar as always on the sticks, and Ozzy certainly does not sound as bad on this album as people would have you believe. Overall, a good song despite the stupid low-pitched vocals at the end of the track. "Johnny Blade" has a cool synth introduction that almost sounds like the solo Osbourne material that would soon follow "Never Say Die". Despite the ridiculous lyrics; the song has a classic Tony Iommi riff; albeit sightly more glossy sounding and less distorted than early records. The classic rhythm section of Ward and bassist extraordinaire "Geezer" Butler provide typically solid Black Sabbath foundations atop Iommi's guitar. The song is somewhat bloated in terms of length, as many of the group's tracks were then becoming. "Junior's Eyes", a song written about the then-recent death of Ozzy's father, is a bass-driven almost "funk" song. The bass is spectacular, and one of Geezer Butler's most intrepid creations on the four-string.

    A "Hard Road" is a kind of throwaway of a song without any real substance. The song literally sounds like the band running out of steam after many hard years of touring, recording, and substance abuse. The song shows that Sabbath had really moved away from the occult and and doom and gloom at this point; instead focusing more on relationships, technology, as well as a wide manner of other topics of the day. The multi-tracked choir like vocals at the end only induce sleep further over Butler's lazy bass playing and Iommi's muffled guitar solos.

  Side 2 kicks it up a notch with "Shock Wave". The song reminds one of classic Sabbath, with a heavy riff from Iommi and Butler's characteristic bass fills.  I could not really ascertain what the song was about; but it does not really matter at this point in Sabbath's career. The solo is quite punchy; reflecting the rising influence of soon-to-be fellow tour mates on Iommi; Van Halen. Not a bad song at all and the closest facsimile to old Sabbath on the album. "Air Dance" is a nifty little song; with heavily multi-tracked  guitars that would not sound out of place on an album by "Boston". Ozzy sings sombre lyrics over gentle pianos and Geezer's dreamy bass. Bill Ward really shows his Jazz foundations on this track; showing his versatility. The song kind of fizzles out after the amazing introduction; and never really recovers the interest of the listener. The song is very sleepy; and the gentle guitars and keyboards reflect an increased interest in Jazz at this point of the band's history. The song contains a lengthy breakdown; and shows that at this point the band had moved away from the shorter songs that had dominated early albums such as "Master of Reality" and "No. 4".

    "Over To You" is a very contemporary sounding song for Black Sabbath. The song would not sound entirely out of place on an album by Chicago. The cheesy tinkling pianos and organ-sounding guitars reflect a very dated sounding Sabbath at this point. The song is a mess. Butler and Ward seem much more out of sync than previous albums here; and the previously invincible rhythm section appears to be starting to show cracks at this point. The guitar sound is very subdued for Iommi, and the very clean sound is almost ruined by the somewhat distorted but not clean guitar. Skip this one. The instrumental "Breakout" does not really add much to the album, and again sounds very dated. This slow jam reminded me of something by "Blue Oyster Cult". The horns are really out of place for Sabbath; and this is easily the worst Sabbath instrumental ever recorded. The drumming is solid; but lost in a haze of horns. Thankfully; the short experiment was not a sign of a future direction for Sabbath. "Swinging The Chain" closes out the album nicely. Bill Ward shows us his vocal talent; with a powerful baritone voice not unlike Zakk Wylde of "Black Label Society". The song contains a very nice distorted riff from Iommi, and nice harmonica playing. Great song.

    "Never Say Die" is not a masterpiece, but it is not a train wreck Fans of Sabbath will find enough to like here amid the filler. Overall, get the earlier albums first, but don't overlook some of the classic material on this final (new album, 2012!) album of the original Ozzy era.

Rating-7.5/10

Shocking Blue-Scorpio's Dance Review

       Despite releasing multiple albums and having a career that lasted from 1967 until 1974, Dutch band "Shocking Blue" received and have continued to receive very little attention from the mainstream rock press. The band is painfully underrated, and I believe that they require a serious reexamination. I will start this reexamination by looking at 1970's "Scorpio's Dance".

   "Scorpio's Dance" is Shocking Blue's third album, released during the twilight of the psychedelic era  that dominated much of Western music during 1960s. The album contains elements of psychedelic music, but sets itself apart by incorporating a number of other styles and influences. The album opens with a short introduction called "Scorpio's Dance", which is almost heavy metal in nature. Classical guitar clashes with distorted slashes of electric guitar. It sets the dark tone of the album very nicely. Next is the classic "Alaska Country". A song about solitude in what one can only assume to be a frozen wilderness, in a possibly metaphorical sense. The stark piano of the song rolls along sounding almost like the "Doors" and Ray Manzarek. The song really shows Shocking Blue's excellent musicianship; and the thumping bass lines and brittle, reverb-soaked guitars provide a truly full sound that almost sounds similar to contemporaries "Jefferson Airplane". Great tune. "Sally Was A Good Old Girl" shows the band's penchant for anything American sounding. The almost country song sounds somewhat ridiculous coming from a group of resident Europeans, but is catchy enough with its banjo plucking and gyrating country bass/drum rhythm section.

     The real highlight of the album is the curiously titled, "Daemon Lover".  The hazy song is classic 1960s psychedelia. The tremolo/reverb drenched guitars and organs provide a very dark mood for the evil-sounding song about damnation and love with a demon. The bass is slightly out of time with the band, but this only adds to the song , and the garage rock and jammy vibe of the song. The song is an absolute classic, and worth a purchase of this album or any other Shocking Blue compilations. The album heads back into country territory with the second part of the opener "Scorpio's Dance". The song goes from an rollicking almost "rag" back into the original classical influenced duel of acoustic and electric guitars, then into a "Spaghetti Western" sounding outro .  The song really shows the versatility of the band; and that they were comfortable with nearly any genre of popular music.

    The blues derived "Little Cooling Planet" showcases the power of late vocalist Mariska Veres. The music on this track is simply a somewhat tame blues/country jam, but the vocals are pushed to the front of the mix. Mariska had a great ability to sound very sweet and feminine at times, and powerful and masculine at others. This song shows her more bluesy and masculine side, with a Grace Slick- like vocal. The song is not great; but really features Mariska's vocals in a very raw setting with little instrumentation to muddle the vocals. "I Love Voodoo Music" is a folk-like song, that shows the band's acoustic skills. Mariska is less comfortable here, but still a quite enjoyable folk vocalist. The song breaks down into a very interesting "tribal" jam; that could easily be described as a sort of primitive form of modern electronic "Jungle" music. The song is an interesting experiment, but adds little musically to the album. "Seven Is A Number In Magic" continues the bands exploration of the occult atop a country-rock sounding jam. The song lacks any real structure, and feels quite boring and uses many of the same country guitar licks that dominate much of the album. The vocal uses an American accent from Mariska, and it sounds very contrived. Skip this one. "Keep It If You Want It" really shows why the band is popular with "garage rock" enthusiasts, the jangly and metallic guitars bounce around the somewhat bluesy song with a minimal drum beat. The song contains a saxophone solo that sounds somewhat silly and out of place, but overall a nice little track. The album closes with "Water Boy", a sitar-based jam that sounds really dated and very silly. The vocals are powerful and dramatic, but only fans of 1960s "sitar-rock" need apply here.

     "Shocking Blue" will always be best remembered for their 1969 hit "Venus". It is a shame really, as the band definitely had a lot to offer and were a very diverse group of musicians with quite a bit of talent. However; one would do fine to buy/download a Shocking Blue compilation rather than explore all of their "albums". "Scorpio's Dance"  is a decent enough album, but contains too much filler to warrant a separate purchase.

Rating-6.5/10

Ratt-Detonator Review

    L.A.'s legendary hair metal band close out their original era with "Detonator", their fifth and final album released during the intial run of the band. Detonator may be the soundtrack to the collapse of hair metal, but it is certainly not an album that shows any serious signs of deterioration, at least in a musical sense. Let's take a look at "Detonator" and  find out what makes this a somewhat underrated album.

    The album takes a cue from peers Motley Crue and opens with a short keyboard introduction to the album's second song, "Shame Shame Shame". The album's lead single, "Shame Shame Shame" is a nice Ratt single. The song basically talks about a cheating woman and the revenge that singer "Stephen Pearcy" is going to enact on her. "Shame Shame Shame" contains all the hallmarks of a great Ratt song, a nice thunderous beat provided by "Bobby Blotzer" backed up by the screeching guitar madness of "Warren DeMartini" and the late "Robin Crosby". Next is perhaps the album's most well-known song. Lovin You's A Dirty Job" is kind of cliche and typical late 1980s hair metal, although it contains a catchy chorus that one will find themselves likely singing over and over. The song is passable, but it tacks on a section that sounds almost like ballad; an area which has never been Ratt's strong suite. "Scratch That Itch" does not really add much to the album; the band sounds out of steam somewhat here, it really shows the limitations of Ratt's sleaze-driven lyrics and music. A whole album of this stuff is simply boring at times; which is why Ratt has and always will remain a "singles" band rather than an "album" band.

    "One Step Away" flirts with "Bon Jovi" territory, and the sappy song would sound nice at a high school prom during 1990. The song reminds me of contemporaries "Warrant", although I think it contains more musical merit via DeMartini's excellent guitar playing. The song is cheesy, but if you did not enjoy cheesy things, then why listen to Ratt? Nostalgic and sweet at the same time. "Hard Time" brings the album back into metal mode. "Hard Time" continues the themes of heartbreak and relationship disintegration, and the song is decent enough. The lyrics are utterly ridiculous, but the song has multiple guitar solos atop a heavy "Blotzer" beat.  One complaint, the bass is buried in the mix on this song. Bassist "Juan Croucier" is quite a capable four-string player; and it is quite a shame that he is not very audible on this track. The song continues to reflect the then chart dominance of "Pop Metal" acts like Poison and Bon Jovi with "Heads I Win, Tails You Loose. The song actually features Jon Bon Jovi on backup vocals. The song is very out of character for Ratt, and it is way too poppy for my musical tastes. Pearcy sounds almost like a "Bret Michaels" imitator on this song. Skip this turkey of a song.

   "All Or Nothing" sounds almost like Aerosmith during their seminal comeback album, "Pump". The song includes the incorporation of female backup vocals, perhaps due to the success of Motley Crue's 1989 smash hit "Dr. Feelgood", which contained very similar sounding female backup vocals.The song has some nice gritty Ratt lyrics; and it sufficiently sleazy sound despite some heavy effects processing in the mix. The song is classic Ratt, and a true highlight of the album. "Can't Wait On Love" is an energetic number that would not sound out of place on Ratt's seminal (in my mind)  debut album, "Out of the Cellar".  The song has blistering guitar solos, and anthem-like choruses and extremely horny lyrics that have always been a trademark of the Ratt sound. The song does little different from the vast majority of Ratt songs, but is enjoyable despite the not so "PG" moaning of Pearcy about "sliding it in deep". The song is very aggressive and sexual, and show that Ratt has always provided the proverbial soundtrack to young lust and sexual frustration. Single "Givin' Yourself Away" is utterly atrocious, it sounds like a Bon Jovi throwaway from the massive "New Jersey" album by Jovi and crew. The song does not work for Pearcy's cigarette-stained larynx; and is too slow and too sappy for Ratt. I suspect that master songwriter "Desmond Child" had a hand in the creation of this single, and this piece of schlock should be avoided at all costs. The guitar solos are nice, but that's about it.  The album closes with "Top Secret", a decent enough number which sounds somewhat like an afterthought; as if the band did not want to leave a bad taste in our mouths after "Givin' Yourself Away". The song is ok, but never seems to really go anywhere musically, it is very repetitive and the choruses lack any punch. Average at best.

    "Detonator" is a mixed bag of an album. The ballads definitely fail to work wonders for Ratt, but the album contains enough classic Ratt "sleaze-rock" to warrant a purchase. Unlike most hair metal bands, Ratt went out on top in my opinion with this album despite the cheesy and cliche ballads. If you are a fan of Ratt or a fan of hair metal, you could do a lot worse than purchase "Detonator". That is, if you can find it in print.


Rating-7/10

Rainbow-Down to Earth Review

      Ritchie Blackmore's post Deep Purple project continued to roll on in 1979; ever after the departure of the late banshee of a singer, "Ronnie James Dio". Rainbow instead recruited English singer of "The Marbles" fame Graham Bonnet. I truly believe that Bonnet is one of rock's most underrated vocalists and that this is one of hard rock's most truly underrated albums. Let's take a look a "Down to Earth" in depth......

      The instrumentation of Bonnet era Rainbow is not very different from that of the Dio era; albeit slightly brighter and more poppy in nature. The first track, "All Night Long" is one of the catchiest songs on the album about. The sordid tale of longing and lust is driven along by Blackmore's searing guitar and Rainbow's excellent rhythm/keyboard section. Bonnet's vocals have an almost American like quality, much like contemporary Paul Rodgers of Bad Company fame. The track is great; and extremely catchy and infectious.
The album then takes a more contemporary turn and makes liberal use of synthesizers on "Eyes of the World", a spacey and spooky number about what I could only ascertain to be "Evil". The song has killers backup vocals; as does most of the album and I believe that the extra vocals support Bonnet's voice, which lacks the range of Dio, Halford, etc. The guitar and keyboard solos make the song feel a little bloated; but if you are opposed to copious amounts of solo, Rainbow is probably not a band you would enjoy. The hot rocker "No Time To Lose" is a ferocious boogie and showcases the fact that although he loves mandolins and castles; Blackmore is best when just plain rocking out. The guitar solo felt a little subdued sonically ; and I would say that the guitar tone on this album is a little murky in the mix. Otherwise, a nice little song with Bonnet peacocking his way around the sultry vocal with the great Rainbow rhythm section (especially the late Cozy Powell) again in tow.

     The album continues with "Makin Love", a song about well....... just that. The album has a cool almost classical inintroduction; and includes a Harpsichord sound from master keyboard session musician "Don Airey". The song is very much like Bad Company; and it really sounds dated considering the date of release of this album. A very standard 1970s classic rocker; with very little to set it apart from the pack. The most famous song from the album is "Since You Been Gone", a catchy Russ Ballard written song that has continued to dominate classic rock radio to this day. The song is very out of character for the band; and it lacks the stomp and rollicking jam like character of most Rainbow songs. Not bad, but honestly not a great song in my opinion. "Love's No Friend" ventures into Deep Purple territory and shows Bonnet slightly out of his element with this lazy riff driven number. Bonnet is much better at singing at faster tempos; and probably not the right vocalist for this track. The song annoyingly cuts the keyboard solo prematurely to kick into Blackmore's solo; something I really did not enjoy. Overall, not a bad song at all. "Danger Zone" is very similar to "Eyes of the World"; the song has a kind of spacey/jam feel. Bonnet warns of the dangers of the "Danger Zone"; which I can only assume to be about sex. The song has a cheesy keyboard solo; but the guitar in this song really shows off Blackmore's wide range of scales from a variety of cultures, changing scales seamlessly. The song is ok, but slightly cliche and boring. The album closes with "Lost in Hollywood". "Lost in Hollywood" is the strongest track on the album telling the story of lost times in Hollywood; drinking, partying, and doing whatever else rich English rock bands do on the Sunset Strip. The song breaks into a very regal classic section midway through; and then goes on to a dueling solo between Blackmore and Airey. Finally, the songs kicks back into the main riff. The song is somewhat unconventional, but then again so was Rainbow. Great song.

   "Down to Earth" is by no means a masterpiece. But, I believe it has something for everyone and is definitely underrated in the history of hard rock. If you are a fan 1970s hard rock, you could do a lot worse than pick up the best non-Dio Rainbow album out there.

  Rating-7.5/10



   

Nas-Illmatic Review

   What can I say about 1994's "Illmatic" that could add anything to its legacy and importance; not much. A true classic album of Hip hop and an album that everyone that remotely enjoys the genre must listen to . Let's look at this quintessential masterpiece of Hip hop and understand why it has such an important legacy today.

    Illmatic provided the first blow against the West Coast "Gangsta" Rap movement that had dominated the airwaves since 1988's "Straight Outta Compton" by seminal West Coast group N.W.A. After Illmatic little would remain the same in the world of Hip hop; and the West Coast began a decline that would result in the implosion of Death Row Records and the rise of Jay-Z, Biggie and the Bad Boy crew, and the entire "Mafioso Rap" sub genre that would dominate the late 1990s. Let's examine Illmatic in depth and see why this album is such a classic...,

   First up is "The Genesis", the song introduces us to Nas and what he does. The gritty samples and dialogue introduced a normal day in the life of Nas during the days leading up to Illmatic; sipping Hennessey and hustling all amid what appears to be a Kung Fu movie sample that would not sound out of place on 1993's  seminal Hip hop masterpiece; Enter the Wu-Tang (36 Chambers). On to the "meat of the album". "Ny State Of Mind" provides a glimpse of Nas' life at that time. DJ Premier provides production; and the grainy piano samples drive the song over a steady beat. The song reveals the hard reality for those living in the "Queensbridge" housing projects where Nas hails from. Nas' tales of violence, rock slinging, and murder provided the East Coast equivalent of the increasing "hardcore" nature of Hip hop at this time. Classic and probably the strongest song on the album.The nihilistic "Life's A Bitch" provides a much more updated sound via famed Sugar Hill producer L.E.S. The song relies on a deep bass sample with panning effects, modern(then) R & B drums, and a slightly deflated and sombre saxophone. The song features a verse by underrated rapper and Nas collaborator "AZ". His fury and intensity almost outshines Nas on this song; and is a true highlight of the album. The song shows the fragility of life for those in New York's projects; and this theme permeates much of the album.

    The album rolls on like the "7" train. "The World Is Yours" really shows off both Nas' intelligence and his ability to act as a philosopher. Legendary producer "Pete Rock" provides a sick beat with sampled vintage Jazz piano, amazing scratches, and top-notch Akai "MPC" sequencing of drum samples. The song definitely has a positive message; and is shows Nas's ability to inspire and philosophize about the grand meaning of life. "Halftime" does exactly what the title says; it relaxes the listener with a bass-groove driven "Large Professor" beat atop Nas boasting about a variety of subjects including fashion, weed, lyrical skill, amid a number of other topics. The album goes vintage with "Memory Lane", with Nas giving us a recap of his life and hustles so far over a nice sentimental Premier beat with sampled vintage R & B vocals and Jazz organ.

  "One Love" continues the theme of Jazz exploration that is all over Illmatic. The "Q-Tip" produced track sounds almost like a leftover "A Tribe Called Quest" track circa "Midnight Marauders". Nas' flow is strong, and his appeals to his incarcerated friends is truly touching. The song is considered a classic of Hip hop, but I have never really understood the acclaim and status that it receives. "One Time 4 Your Mind" is a lazy stoner joint, and it shows Nas during his "off days"; chilling and relaxing and in a self-reflective mood. The song shows that Nas is really comfortable at any tempo; and his flow has a elasticity that few can match. The song really "takes the edge off" especially considering that most of the album is extremely dark and intense. "Represent" shows the violent and hedonistic side of Nas; on the corner strapped, guzzling Hennessey, banging bad bitches, mobbing, and generally causing havoc on NYC. The simple but effective Premier beat was a highlight of the production side of the album; the metallic and almost chime like sampled instrument provides a drama and coldness that few songs in hip hop have matched. The album closes with "It Ain't Hard To Tell", which famously uses samples of Michael Jackson's "Human Nature in combination with a nice sampled MPC beat. The song is good, and closes the album nicely.

   "Illmatic", along with "Ready to Die", redefined Hip hop in the 1990s. The album is quite simply the greatest Hip hop album of all time; and in my opinion has yet to be matched.If you have not heard this album and you have any interest in Hip hop, you owe it to yourself to "cop" this joint right now, no excuses. Life may be a bitch and then you die, but it is certainly more enjoyable with music like "Illmatic".

Rating-10/10

Dio- Strange Highways Review

   
    Throw up your "horns", it is Dio time. The late pint-sized metal master released "Strange Highways" in late 1993/early 1994 at a time when interest for heavy metal was minimal at best after the "Grunge" and Alternative onslaught that had changed the musical landscape by mid-1990s. Let's take a look at this "lost
 album (it sold horribly and is currently out of print) and decide if it holds up to the Dio pedigree set by such classics as Heaven and Hell by Black Sabbath and 1983s suburb solo effort "Holy Diver".

     The first thing that you will probably notice about "Strange Highways" is that the sound is much grittier and nastier compared to previous Dio efforts. Heavy Metal had changed a lot since the prior album by Dio, 1990's "Lock up the Wolves". At this point, Pantera and other contemporaries were making heavier and more aggressive music that many other bands definitely used an influence on their sound. The most important change for Dio on this album is the inclusion of guitarist "Tracy G" in the lead role. "Tracy G" provided a much heavier tone than previous guitarist "Craig Goldy". Other lineup changes affected the band at this point, with Dio replacing all except for veteran "Black Sabbath" era drummer Vinny Appice. Let's look at some specific highs and lows.

    "Blood From A Stone" is a classic Dio tune; it contains the hallmarks of the Dio sound. Chugging guitars drive along the soaring and driven vocals that always provide a sense of drama and importance. The bass playing is especially of note here, and seems to be in complete unison with Appice behind the kit. Then bassist "Jeff Pilson" is definitely one of the most underrated bassists in rock today, and this album contains masterful bass work. "Hollywood Black" seems to be a cautionary tale of life in Los Angeles and the associated quest for fame that so many have. The song was quite enjoyable, even if the lyrics are quite vague and almost laughable (as many are by Dio). The guitar is not really a highlight of this track; the guitar solo was underdeveloped and really shows the technical limitations of then guitarist " Tracy G". The album slows down for the title track, "Strange Highways". The song is very Sabbath sounding; and it would not have sounded out of place on 1993's "Dehumanizer" by Dio and Black Sabbath. The track was quite nice; but again really shows that while "Tracy G" is a good guitarist, he lacks the really axe-wielding insanity and technicality of previous Dio collaborates such as Ritchie Blackmore (Rainbow) and of course Tony Iommi (Black Sabbath, Heaven and Hell). "Bring Down The Rain" eases up the tension somewhat;. the song is not heavily detuned and sludgy the way that many other songs on the album are. However; Dio's vocals appear to continue the aggressiveness that dominates the album; he appears to be over singing to match the aggressiveness of Tracy G's playing. Good song. "Jesus Mary And The Holy Ghost" is a fast and groove driven song that actually works. Besides the dated effects on Dio's vocals, the song is a nice addition to the Dio catalog. Dio is always more comfortable with lyrics about religion, mythology, and fantasy. Dio sounds comfortable here and does not try to sound "hard" as he does on a lot of the album. "Give Her The Gun" is actually a cool song; Dio's vocals really excel here and show the pristine elasticity that we all expect from him. The drums hit hard and acoustic guitar fill out the verses. The song does have cheesy 90s keyboards; but they are quite low in the mix and you will likely not hear them at all. The solo is quite bad on the song however; and is way too short for such a dramatic Dio song. Not bad.

  The album definitely has some low moments.  "Here's To You" almost sounds like Def Leppard at points with its sing along chorus and glossy 1980s sounding production values. The guitar work was quite nice on this song; and Tracy G is finally given the spotlight here and shows that he can in fact rip it on the guitar. The ultra masochistic "Pain" is probably the most aggressive song that Dio ever recorded as a solo artist. The song is really a step in the wrong direction in my opinion; Dio lyrics here are extremely ridiculous and quite laughable. Additionally, the bass and guitar seem to be fighting for dominance of the song; and actually both instruments frequently solo at the same time. Dio sounds in "pain" during this song; and his vocals sound wrecked and distorted compared to the usually silky smooth tones we expect from him. Overall, skip this one. "Firehead" is about some kind of killer that seems to burn people alive.  The song is totally out of character for Dio; and it really lame in every sense of the word. The lyrics are very juvenile, and it is hard to head bang to some cautionary tale about a pyromaniac that kills people. The music is almost as bad. Appice is killer as always on the sticks, but Tracy G doesn't add much to this song. He appears to be emulating Zakk Wylde on this track; making heavy use of effects in unison with heavy distortion. Pilson's bass is also distorted; resulting is a very murky and unclear sound. Worst song on the album hands down.  The portmanteau titled song "Evilution" is again reminiscent of Black Sabbath's "Dehumanizer". The song is simply horrible; the lyrics are again extremely silly, and contain cautionary tales about the rising depravity of humanity. The use of samples is very out of place for Dio; and provide fuel for those who say that this album was too modern in terms of lyrical content and production.  A stinker of a song; and one of the worst in Dio's history.  "One Foot In The Grave" lacks any real punch; although has an interesting chorus that does provide some energy and excitement. The guitar solo sounds the same here as other songs; and shows that Tracy G's biggest problem is his lack of flexibility. The lyrics are cheesy, and I could not even tell what the song is about. Not bad, not great.

   "Strange Highways" is definitely not "the" Dio to buy if you could buy only one(that honor goes to 1983's "Holy Diver"). However; it does provide some worthwhile material. The biggest problem with this album is the approach taken on the album. People listen to Dio to hear about dragons, knights, religion and teen angst. Most of those topics are ignored here, and he appears to not really believe what he is singing here. There is a reason that this album is largely forgotten; it tried something different from what people expected from Dio and did not really work. Only for fans of Dio.


Rating-6/10

Nickelback Dark Horse Review

  
    Canada's soccer mom superstars returned to the fray with their sixth studio album in 2008. Chad Kroeger and company provide another set of misogynistic quasi-metal that really makes one ashamed to be the same country as these a**holes. Let's look at this coaster of an album and try to see if there are any redeeming qualities to this "Mutt" Lange produced sludgy "cowboy metal" mess.

    Nickelback has the lyrical depth of a 14-year old boy; and the songs alternate from songs about fellatio "Something In Your Mouth" to songs about feeling like somebody "Gotta Be Somebody". Nickelback has also been known to tell sordid tales of the drink, and "Burn It To The Ground" continues Kroeger's exploration of whiskey, tequila, and the joys of getting wasted, so much so that you "Burn It To The Ground", I am sure metaphorically of course. Kroeger loves to show his sensitive side (have you seen his hair?) and "I'd Come For You" provides the perfect accompaniment for riding in a elevator. The song is the sappiest piece of schlock I have ever heard. It is as if Nickelback envisioned a horribly tasteless wedding as their muse. "Next Go Round" is an improvement, although it sticks sucks hard. What is the song about? Sex of course. At this point of the album I was genuinely concerned about Kroeger's sexual intentions, as his lyrics suggest someone with deep-seated sexual addictions in a way that is truly creepy. "Just To Get High" seems to be about a woman who has hurt Kroeger in some way, but at this point who really cares. The song has a decent guitar solo, and shows that the band does in fact have some chops. The band again jumps in acoustic mode again for "Never Gonna Be Alone". The country sounding ballad is another sappy wedding song, and is the musical equivalent of a slide show of your least favorite cousin during their horribly cheesy wedding (to use a metaphor!). Utterly horrendous in every sense of the word.

    "Shakin' Hands" really seems to target the titty flashing, Corona hat wearing, market that Nickelback calls its fan base. The song is about a prostitute (shocker!!!) who seems to get around with numerous male companions in high places. It was here where I wondered if this was a concept album of sorts. The song is horrible, although it might provide a half-decent background for an exotic dancer's set (something Kroeger has likely witnessed). The continues the "deep" exploration of Sex with the appropriately titled, "S.E.X.". I am not sure what the acronym stands for, and I really don't care. Hostility set in at this point of my listen, and I started to crave a shower. Popular single "If Today Was Your Last Day" is next, the song is a typical Nickelback single with boring acoustics and sappy moaning about the meaning of life in the face of mortality. The song is really a soundtrack to grocery shopping, and employees of these stores should receive counseling for PTSD after repeated listens that they are subjected to daily. The album closes with "This Afternoon", a song about "hanging out", doing what Nickelback does during their time off.  This of course entails partying hard and looking for women to penetrate. The song shows Kroeger's appeal to the common man by name checking CCR (they don't deserve that Chad!) and mentioning some difficulties paying the rent (as if!). The song is atrocious, and easily the most cliche song I have ever heard.

   "Dark Horse" is horrible, it is beyond horrible, it is offensive. The fact that Nickelback are extremely popular and sell millions of copies is the truly scary thing. The caveman lyrics and horribly tame acoustic numbers combine with the very murky "cowboy metal" songs to produce what I can only describe as the musical equivalent of manure. In conclusion, "Dark Horse" is just what it says, the brownish/black excrement of a farm animal. Avoid this at all costs unless your idea of fun is shooting bears dressed in BVD underwear while sexually assaulting women.


Rating-0/10






    

Skrillex-Scary Monsters and Nice Sprites EP Review

       

     The second EP by Sonny John Moore under the moniker Skrillex is a truly special piece of music; and one of the best releases of 2010 in my humble opinion. For the uninitiated, Moore (Skrillex) is quickly becoming the mainstream figurehead (to the dismay of many in the movement) of the burgeoning dub step movement of electronic music. For those not in the know; dub step is a sort of mishmash of electronic musical styles fused with a heavy dose of hip hop,often with a good measure of "glitch"; music that utilizes stuttering beats to more often than not torture the listener in the best possible way. Moore's version of dub step strays somewhat from the pack; and is actually quite a mutant strain of the genre and he is seen as a producing a much more aggressive and almost "metal" version of dub step sometimes called by people with too much time on their hands, "brostep".I say, who cares about labels, this music really does defy strict classification.

    Skrillex is sure to serve an introduction to the genre for many; and this EP will surely be lauded in the years to come as one of the works that really brought dub step into the mainstream in America. Let's take a look at why. The scant six tracks(nine including remixes) on this "album" really serve as a kind of appetizer to the world of dub step. Moore seamlessly fuses hip hop, house, glitch, as well as elements of rock music (he fronted an Emo band!) into a hodgepodge of music that reflects the hyper accelerated nature of current music consumption. Opener "Rock N Roll (Will Take You To The Top" sounds like a meeting of Aphex Twin (an obvious influence) and  Daft Punk with  with a highly danceable beat and slick "chopped and screwed" vocals. The song is infectious, and a great dance song. Next up is a tour de force of a song; the titular "Scary Monsters and Nice Sprites" , it clearly shows that Skrillex has likely spent more than his fair share of time with a controller in his hand. The song incorporates aspects of the "chiptune" movement; a form of "electro" by  people with an affinity for the sound processors from classic video games consoles and computers such as the Commodore 64 and NES. The song incorporates the "loud-soft" alternations of figures such as Cobain and Black Francis in a 21st century style. The song is at times one of the hardest sounding songs you have ever heard, and then it will hit you with synth lines that are very melodic and would not be out of place in a "Megaman" game.

    Next is the creepy "Kill Everybody" that would be suited for a movie soundtrack The song contains a cryptic childish vocal sample amid video games flourishes and keys that sound like the audio equivalent of a saw cutting through bone. The song is somewhat repetitive; but enjoyable nonetheless. "All I Ask Of You" is the most conventional song on the album; it shows Moore's Emo history coming through and contains a female vocal by artist "Penny". The song is sweet, but often lacks the real cutting-edge beats and producing seen elsewhere on the album. Not bad, but somewhat ventures into poppy "Eurodance" territory. The next song, "Scatta" takes a trip to the home of dub step by utilizing the UK-based hip hop group "Foreign Beggars". The song is reminiscent of the "grime" movement of the early 2000s with a good measure of IDM; sounding like a meeting of electronic madman "Squarepusher" and "grime" poster boy Dizzie Rascal. 

     The real highlight of the "album" is the emotional and sleepy "With Your Friends (Long Drive)". The song is remarkable; the piano provides a sweetness over the mangled, but almost "Romanthony (Daft Punk's One More Time!)like vocals.The song actually sounds like a late drive coming back from somewhere on a highway; and is the perfect song to pump into your earphones on those later night coming home on the train/subway. The EP closes with some remixes of other songs (he loves his remixes, that is for sure). The remixes are decent enough but by no means a focal point for the listener, "Zedd", "Noisia" and "Bare Noize" provide more continental European remixes of the title track and "Kill Everybody" that would not sound out of place in the famous London club "Ministry of Sound". Good, but really just mostly filler.

    "Scary Monsters and Nice Sprites (yes, a Bowie reference) shows a rising young talent and more importantly the future of a genre that many (Eminem!) have proclaimed dead for over a decade. Skirllex may have his share of detractors; but I firmly believe that he holds the torch for interesting and intelligent dance music in 2011. Dub step is very much a reflection of years of music accumulation in the digital music era; it shows that one can incorporate a variety of genres together and create something new and unique. Let the revolution begin, Comrade Moore!

Rating-8.5/10

The Shaggs-Philosophy of the World Review

         This album and the attention it has got has always puzzled me. I might be destroying some of my indie cred here, but I just don't get it. The story of the Shaggs is infamous in the annals of rock history. Briefly, father buys girls studio time and instruments, girls who can barely instruments record an album, album is found years later at a radio station, album is lauded and cherished by a generation of Gen X musicians who move towards more atonality and a much rawer sound.

    The album is either one of the best or worst albums you are likely to hear. Personally, I would rather spend an evening listening to the Jamie Foxx discography followed by a nice dose of William Shatner's "The Transformed Man" than ever make it through this flaming pile of dog poop again. The musicianship is simply non-existent, and guitars rarely make it into tune. The drumming makes Lars Ulrich look like Buddy Rich, and any semblance to being in time is simply non-existent.

     The lyrical "depth" of the album is limited to pets, parents, halloween, and Jesus. Lyrics barely matter, as you won't be able to look past the abysmal playing that grates the ears nearly induces vomiting. There is not a single redeeming track on this album and they are all equally horrible. If I had to pick, "It's Halloween" would be my personal "favorite" on the album, and maybe the only song that could fit the musical definition of a song.

     The album certainly has had its share of supporters. The late Kurt Cobain deemed this album to be one of his personal favorites, and I am actually not terrible shocked. Cobain transformed the musical landscape of the 1990s by introducing elements of "lo-fi" (this album is certainly the unintended pioneer of lo-fi) into mainstream music. To use the age old rock proverb; it is likely that most who listened to the Shaggs and enjoyed them started a band just like those who listened and bought records by the Velvet Underground.

   The important of this album certainly cannot be underestimated. It would influence countless and spawn musical debates for much of the 1990s and onward. The band is even referenced in the massively underrated Gen X film "Empire Records", where a main character professes his love for the band in order to impress Liv Tyler's character with his musical knowledge. In conclusion, the album is certainly important in terms of influence, but does that make it a good album? No, "Philosophy of the World" is the worst thing you can imagine. Anyone who enjoys music would be best to avoid this album at all costs. It does not get much worse than this, and I dare you to make it though without experiencing nausea or other ailments of the body and/or mind.

 Rating-0/10

Misfits-The Devil's Rain Review

   New Jersey's foremost punk band returns with another post-Danzig affair with bassist Jerry Only again taking the vocal duties. The Misfits may be getting up there in terms of age; but I believe this is a great effort and easily one of the best punk albums of 2011.This album will probably not convert people to Misfits fans, but is a nice addition to the bands output.  Let's take a look at this currently underrated album and some of the aspects of it that work and some that don't.

      The Devil's Rain is actually the second album of the "Only" era Misfits after the charming cover album "Project 1950, released in 2003. Only is certainly not Glenn Danzig in terms of vocal range, but his voice has a nice charm to it and has a unique quality on its own. Backing up Only on the four-string is guitarist  Dez Cadena of seminal hardcore punk band "Black Flag". Fleshing out the lineup is drummer Eric "Chupacabra" Arce.  The album's sixteen songs (could have been trimmed), provide a monster-movie soundtrack that will please any fan of horror/sci-fi movies and punk music in general. Let's look at some highlights of the album.

      "Land of the Dead" is an obvious tribute to George A. Romero's "Dead" films. The song is classic post-Danzig Misfits; with plenty of whooooas and syllable extrapolation. " Land of the Dead" is the strongest track on the album by a mile. Other highlights include a sweet almost do-wop number called "Monkey's Paw". The song is very retro, and it fits nicely with the b-movie themes of space and zombies. Only is clearly on a mission to make a song about every monster in human history, and "Ghost of Frankenstein" gives us a creepy tale of Shelley's monster. The song is typical but catchy punk in all of its three-chord glory. The Misfits show their heavy metal muscle on "Father"; a riff based number about vampires.  The title track, "The Devil's Rain" really proves the Misfits underrated use of movie effects to set tone and atmosphere. The song is a fierce and thrusting quasi-metal tune about what I can only guess to be Devil's Rain (we are not dealing with poets here people, take it easy on them). Another 1950s influenced number is "The Black Hole"; bringing to mind the vintage sci-fi magazines that I would assume Only spent much of the 1960s reading. The song is kitschy; but that is really the point here. Basically, this album is the musically equivalent of a drive-in theater playing nothing but horror movies. Second single "Twilight of the Dead" is not horrible, but suffers from an identity crisis. The song alternates between metal and punk, and does not really do either genre terribly well. 

     Despite several killer tracks; the album does suffer from bloating. Several songs sound underdeveloped and really fail to stand out. "The Mummy's Hand" is extremely repetitive, and contains weird transitions that feel extremely out of place on a Misfits album. The lyrics are laughable even for the Misfits, and I would skip this one. Dez Cadena decides to take vocal duties on "Jack the Ripper" and "Death Ray", and the songs should have definitely been cut from the album. The songs almost induce sleep; and are extremely boring and too long. They sound almost like the same song; and the vocals lack any kind of defining features and elasticity. Back to the Only sung tunes, "Vivid Red" lacks any real punch and fails to satisfy with its amateur lyrics and repetitive chords and hook. "Where Do They Go" is quite simply one of the worst songs that the Misfits have made; it contains horrible female backing vocals that sound out of a 1990s car commercial. "Sleepwalkin" actually induces sleep; and chugs along with an almost narcoleptic Only barely interested. "Cold in Hell" is a decent enough song; but is very typical compared to the other songs on the album and adds very little to the album. "Unexplained" and "Dark Shadows" again feel like rehashes; they are almost interchangeable with most of the songs on the album.

  Overall, the Devil's Rain is more killer than filler. However, the album could have easily been cut to a more manageable ten tracks. The Misfits are largely confined to the fringes of the current music scene. Most of the punk community fails to recognize the current band as the legitimate Misfits. I would disagree with that statement, the current incarnation of the Misfits is certainly an enjoyable band. However, those looking for pseudo-satanic horror punk should look elsewhere. The songs on "The Devil's Rain" are quite tame compared to Danzig's macabre subject matter. For those who are fans of the band and those who enjoy all things campy and punk; this would be a nice addition to their collection.

Rating-7/10




    

Adele-21 Review

    You've heard it in supermarkets, during talent shows, and about anywhere else humans play music. I was initially skeptical of this beast of an album (in terms of mainstream popularity). However, after careful dissection, I can say that is a gorgeous album and a true classic. Let's take a look at what makes "21" (is 23 next?) such a memorable and visceral experience.

     Adele follows up the enjoyable "19" with a much more mature effort in 21. The "soul" songstress is certainly hot and bothered on 21, and the album deals mostly with the theme of love and specifically the disintegration of love. First up is the most played song of 2011."Rolling in the Deep" was never really a song that I enjoyed; and by the 300th listen I am still unconvinced of its musical merit. The second cut, "Rumor Has It", is a slick and sexy romp through female resentment towards each other. I might get flack for this, but "Rumor Has It" is the musical equivalent of a "cat fight". The song is great, the bass hypnotizes, the ooohhs produce a nice choir-like sound that backs up Adele in her fight against what one can only assume to be a horrible bitch of person that the song is about. Next up is "Turning Tables", a sad piano-drive minor song is almost as sad as "Someone Like You". The breakup theme is clearly evident in this song; and Adele bares her soul amongst a rolling piano and nice orchestral melancholy strings arrangements. I love this song; one of the best on the album.

   "Don't You Remember" was a lesser song on the album for me. The song feels a tad boring and forced; and Adele's golden larynx is almost drowned out by a sea of strings that sound out of place on this piece. Next is the best song album by a long shot; "Set Fire to the Rain" is a sort of "power ballad" with soaring strings and sombre piano following an almost march of a drum beat. The song reflects on the frustration and longing that follows separation; mourning for the loss of something that once was. Great song.

     "He Won't Go" ventures into Mary J. territory and is very American sounding (think 90s R & B). The grinding song was pleasing enough; and I enjoyed the tinkling piano keys and soft guitar interjections. The song is a nice addition; but a bit of a musical island in a sea of very British sounding tracks. "Take It All" shows Adele's tendency to be a bit of an old soul; she shows off her smokey voice and lyrics that sound like someone with much more experience and baggage than her modest age of 21 at the time of recording. The song almost reminded me of the pining of Freddie Mercury; and the song is sad yet hopeful at the same time.


    The album then takes a turn to "Winehouse town" and picks up in terms of tempo as well as lyrical content. "I'll Be Waiting" sounds much like other females coming out of the U.K. who have been labelled with the "soul" tag since Joss Stone hit the airwaves in the early 2000s. The rollicking number sounds like an Amy Winehouse outtake; and sounds somewhat dated with cheesy horns and subdued guitar that feels neutered. Definitely the weakest song on the album. On to "One and Only, a very sweet number about longing in love and commitment. The song is truly "old-skool; and one can almost imagine Otis Redding or Al Green belting out organ-backed lament. The song provides a much needed relief; a very upbeat oasis is a sea of dreary and melancholy songs. The jazzy cover of "Lovesong" by the Cure does not really add much to this album. It is not bad; but really just an afterthought; providing a soundtrack for Saturday afternoons shoe-shopping (I have heard it several times already). The album closes with the extremely blue "Someone Like You". The song has an instant ability to move many to tears, and it is a very touching reflection on the death of a relationship and all of the feelings that it creates. The song is beautiful in every sense of the word; and despite being metaphorically being beat over the head with it all Fall 2011, I still enjoy the song. This is the mark of quality music.

   "21" has already sold millions and vaulted Adele into international super stardom. All of this attention is justified; it is a treasure among a sea of LMFAOs and NKOTB deluxe editions on the CD racks of Wal-Mart. The influence of this album cannot be possibly measured at this point; and the fact remains, Adele will around for years to come and whether you like it or not, get used to "Rolling in the Deep" because it ain't going anywhere. Excellent.

Rating-9/10

Jamie Foxx-Unpredicatable Review

  I like Jamie Foxx. He is a shaky yet reliable actor. He performances range from genius (Ray) to creepy (Horrible Bosses) to just plain horrible (any sitcom he has been in). However, this review is not about Mr. Foxx's acting ability. This is an in-depth view at one of the worst things to happen to music since boy bands ruled the waves in the 1990s.

    "Unpredictable" is anything but; it is a very predictable array of shoddy R & B songs that make R. Kelly sound like a musical genius. During this review I will not be examining the songs in-depth (that is simply a waste of time). Quite simply, every song is almost the same three songs rehashed over and over again. The songs alternate from "bedroom horny Foxx" ("Warm Bed", Unpredictable") to "sensitive" Foxx ("DJ Play a Love Song", "Three Letter Word", "Love Changes") to finally "club/party Foxx" ("VIP", "Extravaganza"). Finally, the album ventures into Boyz II Men territory with "Heaven", an incredibly sappy R & B ballad, but actually the strongest song on the album (believe me that is not a compliment, it is like musically equivalent of choosing your favorite disease). The only song that I can't bash is Foxx's tribute to his grandmother ("I Wish U Were Here"). The song is horrible, but sweet and touching nonetheless.

   Quite simply, this is the worst album I have ever heard. I am sure that Jamie Foxx will never read this, and even if he did, he would not care and simply count his millions some more. Like actors before him (looking at you three-time "doucebag of the year winner" Jared Leto), actors simply should stick to what they are good at and avoid musical careers. I'm sure that Foxx is a very nice father and a quite capable actor, but please stay away from the studio. Horrible in the strictest definition of the word.

Rating-0.5/10

Queen-News Of The World Review

  
      What is there to say about this album that has not already been said. Critics and customers alike took issue with Queen at this juncture of their careers; and I think that some of that criticism is definitely warranted. Let's take a look at "News Of The World" and examine why the album has been met with such mixed reactions.

     The album is quite different from the almost "prog-rock" predecessors of the band's early period. The first thing that one will notice is that "News Of The World" contains much more "pop" than the previous opuses of the bands early days. The first two tracks are legendary in the Queen catalog; and anyone unfamiliar with "We Will Rock You" and "We Are The Champions" has obviously never been a professional sports match in their lives. These sports "anthems" hold up quite well, despite being overplayed to death by sports media. I don't think that these songs need any further explanation; and I will skip describing these songs in detail and move on to the less obvious material on the album.

    "Sheer Heart Attack" reflects the obvious influence of Punk as it invaded England during 1977. The song makes liberal use of effects; but I don't really enjoy the sound or direction of the song; it feels almost like Queen are trying to jump on the proverbial bandwagon with "Sheer Heart Attack". Next is the cryptic "All Dead, All Dead", purported to be about the passing of Brian May's cat. The May penned song is quite sad actually and sweet; I dare someone to listen to it and not be moved to tears. The harmonies are excellent as one would expect from Queen. The short number is actually my favorite song on the album; and a nice short treat of a song. "Spread Your Wings" is an inspirational song; one of many Queen songs to touch the heartstrings of the human spirit. The soaring song reflects the sheer energy and charisma that was Freddie Mercury . I loved the song; and it was a true high-point of the album. Closing out Side 1 (again, I usually review from vinyl) is "Fight from the Inside". I have never really been a huge fan of Roger Taylor written/sung tracks, and this track did not really change my opinion of his songwriting skills (drumming is a different story).

    Side 2 opens with the swinging and sexy rocker "Get Down, Make Love". Mercury is almost in "Robert Plant" mode here; and makes uses of sexual innuendos liberally. The song reproduces sexual tension in musical form; and would provided an excellent soundtrack for more adult activities (wink! nudge!). The song is raunchy and the bar-band clinking piano is driven along by a sparse drum kit and some spacey effects that at the time were sure to be very expensive. "Sleeping on the Sidewalk" is one of the album's most controversial songs. As intended; sleeping on the sidewalk sounds like a budget version of ZZ Top. The song is quite simply horrible; and I believe the rumors that the song was recorded in one take. Queen did never really excel at blues tracks; and this reinforces that commonly held opinion. The album again switches gear with "Who Needs You", the Spanish guitar instrumental is a nice enough song; but is mostly filler and does not really add much musically to the album. The two closing tracks, " It's Late" and "My Melancholy Blues" are decent enough, but do not really save the album from mediocrity. This is the point where Queen begins a decline. "News Of The World" is a decent album, but get Queen, Queen II, and other early material before buying this album .

Rating-5.5/10

Britney Spears-Femme Fatale Review

     
       What is there to say about this album that has not already been said. Check all of your reservations at the door and give this one a chance. Although I have never really been a fan of Brit's music; this album is truly a masterpiece of pop music and will change any idea you may have had about her.

      Quite simply, Femme Fatale redefines pop music in a way that has not really been done since Madonna hit the charts will Holiday in 83.  Critics have blasted the album as having too many "dance" songs, as being too "Swedish", as well as being too "horny" for the plus 30 Britney;  I say, who cares. This album is as catchy as the seasonal flu and you will find yourself singing the songs in the shower, at work, sometimes to your own dismay (I am a metalhead, and liking this album can work in my circles to my disadvantage). Quiet simply, this is the best album of 2011, and an album that I hope will enter the pantheon of pop music as it rightfully deserves.

       I'm sure you have already heard the albums singles. "Until The World Ends" makes even the whitest of white people want to bust a move and start dancing. The beats and bass drive a anthem of song; a song that quite simply proselytizes the non-believers of the power of dance. Production is top-notch; and the song is simply the catchiest that Brit has ever released. "Hold It Against Me" is another club song; one that is basically the audio form of grinding up against someone in a club( I mean this in the best possible way). Britney is in full "cougar" form here; and you can almost hear the sweat on this track (if that makes any sense). The song occasionally shows the rising influence of "Dubstep" from Britney's production team; and other songs of this album showcases elements of Dubstep. "I Wanna Go", is another "sex" song (they all are really!). "I Wanna Go" is a song that really the full sexual nature of the album; and over a highly infectious whistling-driven beat Brit speaks of releasing the "Freak" that we all hold deep inside in a way not heard since "Toxic".  The only weak single from the album is found was "Criminal"; which was a tad too "Music" era Madonna for me. The acoustic/beat combination does not really work for Britney; who works much better with electronics than acoustics.

   Besides the obviously catchy singles; the album has a number of other gems. "Seal it with a Kiss" basically sounds like the soundtrack to a strip club; and one can instantly imagining someone removing clothes to this ultra-sexy song (might get in trouble with the wife for that one!). This song is a true highlight album and again showcases a nice "dubstep" breakdown amongst the nice bass-synth squelch "riff" that dominates the song. Another truly great song on the album is the "trancish" song "Trip To Your Heart"; which is a much sweeter song that shows us some semblance to the younger Britney that had a much more "sugary" version of sex and love that we have come to know since "Blackout" a couple of years back.

     The rest of the album is quite good. "Big Fat Bass" is an interesting song; and it very different for Britney. The song sounds very "Eurodance". However, I did not really enjoy the song compared to the rest of the album. The song makes liberal use of the dreaded "auto-tune" effect; to the detriment of the song. I have never been a fan of "will.i.am" and his particularly annoying use of digital effects to mangle songs and make them sound like a robotic hodgepodge. "(Drop Dead) Beautiful" is charming enough; although it tends to sound like  Lady Gaga circa "The Fame"; and I would say that this style does not really mesh for Britney. "Gasoline", a more "rockier" number features guitar and grinding synths and beats and was a true highlight of the album for me. There are a few other songs such as "Up N" Down", which almost has an early 1990s feeling and is much more traditionally in terms of the Britney discography. "Inside Out" is a great song; and is perhaps the most truly sexual song on the album. The song basically sounds like two people "getting crazy" (pun intended), and on the subsequent tour provided great background moves for Britney's choreographed dances. "Inside Out" reveals an intimacy rarely seen before in Britney's songs; and it actually very sweet and horny at the same time. 

   Overall, "Femme Fatale" is a great album and showcases Britney's growing artistry and that she is not merely a tabloid fixture but in fact the "Queen of Pop". One could do a lot worse than buying "Femme Fatale". The album has already been met with rave reviews; so there is not much that I can say that has not already been said. Get it now.

Rating-9/10


If you get this album; get the "deluxe" edition as it contains the track "Selfish", which should have been a single by itself and possibly the best song on the album. It is going to be hard for Britney to top this masterpiece.  

Aerosmith-Rocks Review

       

   Before American Idol, before falling off the stage more than once, before "Honkin on Bobo", there was "Rocks" and "Rocks" was good. "Rocks" is what many consider to be the last gasp of classic 1970s Aerosmith and I would mostly agree with that statement. Besides laying the blueprint for Guns and Roses and most of 1980s American Metal, "Rocks" just plain and simply f**kin rocks. The song starts out with hockey game hall of famer "Back in the Saddle", which is simply one of the ballsiest songs in rock history. The use of Joe Perry's baritone guitar provides that extra heaviness that I believe has not really been bettered by any other "Drop D" goofballs such as Korn , Static-X, and (who the f**k cares about them anyways). The hits continue, and "Rats in the Cellar", a spiritual successor to "Toys in the Attic" is one of the bands most energetic songs and almost justifies the bands excessive use of non-prescription drugs.

        Side 2 (Rocks can only be heard on Vinyl, shame on you!) really is where the magic starts. "Sick as a dog" is classic Aerosmith, with a swagger and smoothness that only this band can produce. The harmonica work on this song is also great, showing Tyler's prowess at "Bobo". The real highlight of the album is "Nobody's Fault", a song that can easily be considered the first true American "Metal" song (no, Raw Power is not Metal!!!!!). The song alternates from sweet to sinister in a way that only Axl Rose would successfully be able to emulate in the coming years. A true classic. The bluesy "Get the Lead Out" shows the more traditional influences of the band, and is a nice addition to the album showcasing classic Perry blues guitar.  The remaining songs are charming enough (Lick and a Promise, Home Tonight, and the classic Last Child), but lack the depth and sheer aggressiveness of the aforementioned songs.

    Rocks is a great album, and any fan of the band will love this album. Quite simply, buy it and buy it now.

Rating-10/10 

Rush-Signals Review

      Another classic from my fellow Torontonians (I might have some bias) released at the height of New Wave in 1982 (and it definitely shows). The album is a true classic, and my personal favorite in the Rush catalog. The opening track (Subdivisions) is what I believe to the band's finest moment to date. In case you have not heard this song on classic rock radio and you live in a cave, Subdivisions shows not only Geddy Lee's incredible bass virtuosity, but his very capable ability to manipulate analog synthesizer like a technological wizard. New Wave permeates the album, and Alex Lifeson's guitar work is often subdued here compared to 2112 and other earlier Rush albums. Nevertheless, Lifeson's guitar work is as great as ever, and it provides a nice and organic balance to the highly mechanical sounds that dominate the album.

    The album is a concept album of sorts about the rise of modern technological era, and all the benefits and trappings that this brings. The album is not much different from much of the band's other output in that sense, as discovery and invention are continued themes of Rush's songwriting. The album contains a number of other standout tracks, "The Analog Kid" is a great track that again shows off the electronic wizardry of the band. The political themes of the time also are dealt with, and "The Weapon" is very much a product of the Reagan-era Cold War revival that was happening around this time. "The Weapon" is mechanical and cold in nature, and like much of the album; it deals with the fear and isolation that technology can bring to humanity. Analog synths trade blows with Lifeson's guitar during "The Weapon" in a epic battle of "man" vs. "machine" that appears to mimic musically the struggles of the Cold War. Space exploration is touched on in closing track "The Countdown", which contains sampling of NASA shuttle broadcasts. "The Countdown" clearly shows that the band's appeal for geeks; as few bands can make shuttle launches sound so damn cool and ominous. The analog synths drive the shuttle skyward; and Neil Peart's drumming is truly "out of this world" during this song (sorry for the lame joke, could not resist). 

    The album contains some tracks that I would prefer to avoid. "Digital Man" and "New World Man" appear to use an almost Police-like "white reggae" sound that do not personally enjoy. These songs were a low-point for me; and their lyrics were somewhat cliche and very similar to a lot of other themes being explored at that time by others (Kraftwerk, Neil Young, etc). Overall, fans of the band will love this album. Those not familiar with Rush will certainly find something to like from this diverse collection of songs, and the sheer inclusion of "Subdivisions" alone makes this album worth a purchase.Classic Rush.

Rating-8/10

Alcatrazz-Distrubing The Peace Review

    What is there to say about this turd. Hands down one of the worst albums of the 1980s. The songs are about as deep as a kiddie pool, with songs about exotic dancers (The Stripper) and the new emerging medium of video (God Blessed Video). Other songs cover similar topics, and most is typical mid-1980s pop metal ala Whitesnake, Great White, etc. The problem with this album, is that it seems to lack the true raunchiness that made bands like Whitesnake lovable in a certain way.

    On to the music; Graham Bonnet (Rainbow, MSG,etc) is by no means a bad vocalist, and I agree with many that Rainbow's "Down to Earth" is still a great album. However, Bonnet is left with little to work with as he belts out the cheesy schlock of six-string masochist Steve Vai and his overblown brand of technical "virtuosity". The songs are really bad, the keyboards are metallic and brittle; they sound totally out of place with this style of music. The mixing is a disaster, and I can only assume the album was produced for a minimal budget. Jan Uvena is not a terrible drummer, but seems to often to be playing totally out of sync with the band.

    This album should be avoided like the bubonic plague. "Lighter Shade of Green" is a horrible song, and what I believe to be  the audio equivalent of water boarding. The album has almost no redeeming qualities, and with horrible lyrics, horrible songs, keyboards, and a maximum serving of cheese; this is a true stinker. Buy Rainbow's "Down to Earth" instead; it is a much better showcase for Bonnet and his particular vocal talent.

Rating: 1/10 

Iron Maiden- Piece of Mind

     An obvious favorite in the Maiden catalog. I much prefer their fourth outing compared to more lauded "The Number of the Beast", an obvious international success and smash hit. Impish Bruce Dickinson is again proves the power of his golden pipes and delivers a vocal performance second to none. Many of the themes explored on this album would continue to dominate the majority of Maiden's output in the years to come; dealing with topics such as war (The Trooper), human progress (Quest for Fire), and flight (Flight of the Icarus). The album in insanely cheesy, and anyone who does not have a fondness for the cartoon metal style of the band should continue to stay away. However, for fans of the band and metal in general, this album is perhaps the strongest example of an album during the bands "golden period" from 1979-1985.

     The really treat is the addition of drummer "Nicko" McBrain (not quite his real name). McBrain is one of the most solid metal drummers and the band shows renewed spirit and energy following his addition. The guitar work is obviously top form with Adrian Smith and Dave Murray trading off licks in a seamless fashion. The highlight of the album and what I believe to the band's finest moment (The Trooper) is the true highlight of this album. The sheer fear and uselessness of war is conveyed in a way that makes Metallica's interpretation of war seem fake and forced.  Overall, "Piece of Mind" is a great album, just not the best that the band has to offer. That honour falls to................ (stay tuned next week I will review my favorite Maiden album).

Rating- 8/10

Tegan and Sarah-So Jealous Review

   A vastly underrated Canadian gem of an album. The identical twin sisters produced in "So Jealous" what I consider to be one of the catchiest, most infectious, albums of 2004. The album generally received mixed reviews from critics and was panned by many outlets including the mighty (sometimes?) Pitchfork. Let's take a look at another lost classic from way back.

      So Jealous followed a series of one semi-self-released album and duo of albums on then relatively unknown Vapor Records. So Jealous shows a clear evolution from those early records and a definite maturity in terms of their songwriting. Besides containing what is possibly their biggest "hit" (Walking with a Ghost), So Jealous contains many of the sisters most beloved songs. "Take me Anywhere" is a lovely little song about the faults of someone, but also devotion in all of its ugly and beautiful splendor. " You Wouldn't Like Me" is a keyboard accentuated acoustic/electric number about self-perception and how that can skew how we perceive how we can often be our own worst enemies in terms of love and longing.

    The album contains a number of very memorable tracks. "I Know I Know I Know" is wonderful almost "new-wave" number about changes that time and seasons bring and ultimately how none of that matters compared to the love we feel for one another. The song almost reminds me of a female version of the Matt Sharp's "Rentals" and their keyboard moaning (the two have actually collaborated on several occasions).  " I Won't Be Left", an almost punk tune with a catchy progression (their forte!!) and some apprehension about the risks we take when we open our hearts to others. 

      The album does contain some songs that could have been omitted. "Where Does the Good Go" sits on a groove and lyrics that seem to "wear their heart on their sleeve" and the song is repetitive at many points. "Downtown" is not bad by any means; however, the ominous sounding keyboards and awkward chord changes left me thinking about how the song kind of meandered and never really had any serious  impact.The title track never really did appeal to me, I found its chord changes and sound changes to be too stark, it produces a kind of "disorientation" for the listener not unlike the drastic change in the Beatles "A Day in the Life". I know I am going to get in trouble for saying this, but it sounds as if two songs were patched together to create a kind of "Frankenstein" of a song.

    So Jealous is a vastly underrated album. It definitely contains more classics than filler. The songs that don't exactly work at all times are still quite good. The keyboard work is a nice addition, and the synth/acoustic combination definitely separates this album from many other acoustic driven bands. The distorted guitar provides a nice complement to the clean acoustic, and it reproduces in an aural sense the internal emotional conflict that is a hallmark of the duo's work. Overall, I would recommend this album to those who are fans of the duo and those who are looking for something that provides deep, introspective, looks at the fragile human ego and seamlessly blends machine with the human heart.

Rating:   8.5/10 

      

Metal Evolution-The Series Review

Canuck head banger Sam Dunn examines the evolution of heavy metal from the same anthropological viewpoint as his "Metal" documentary films. Metal Evolution is more of the same globe-trotting adventures of Dunn and crew as they examine the origins of the beast from the smoking cauldrons of Birmingham to the back streets of New York in the 1970s.

Dunn plays to his audience and those uninterested in metal might not really enjoy such a detailed examination of the various sub-genres of metal. For those who are more denim and leather inclined, metal evolution provides a treasure trove of interviews with such "metal gods" as Rob Halford, Geezer Butler, and even such "proto-punk"(I hate that term) legends as Iggy Pop. Dunn is entirely methodical in his examination of the genre, and this is clearly a labour (yes I am Canadian, that is a U) of love for Dunn.

What is truly great about Metal Evolution is the sheer grandiosity of the examination. Every major sub-genre is covered (Yes, even the much maligned "Nu-Metal"). If the words "Black Metal, Death Metal, and Power Metal" don't strike any chords in your hardened heart, then Metal Evolution will probably not be worth your time. I truly loved every minute of this series so far, and it is great to see such a documentary in the era of "bands" (I use the term loosely) such as LMFAO and Hedley who are about as heavy as non-alcoholic Labatt's. Yes, Metal (CAPITAL!!!) is back and Dunn's examination proves once and for all that metal is not for the weak, nor is it for the unenlightened. Dunn, a University Graduate and scholar proves that metal is an intensely complex genre full of musical diversity and a list of "characters" that are equally complex. Overall, an absolute must for anyone who has been known to throw up the horns in salute to the world's most misunderstood form of music. METTTTTTTAALLLLLLLLLLLL!!!!!!!

Metal Evolution Airs Fridays at 10:00 Pm on Muchmore Music

Rating-9.5/10 

Pinkerton: The Review

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     A lost classic, Weezer's Pinkerton was released in 1996 to less than stellar reviews and lukewarm commercial performance. Nonetheless, the album has provided inspiration to an entire generation of socially awkward teens and young adults. Let's examine this controversial classic and decide if the recent reevaluation by many outlets of the triumphs of this album is warranted.

       The year is 1996, and it has been a full two years since the onslaught of the eponymous "Blue" album. Pinkerton is a very different beast from the poppy and summery sounds of "Blue". A comparison between the two reveals as deep stylistic differences that not surprisingly, alienated many of those who found "Blue" so damn lovable. Pinkerton is an album drenched in sexual awkwardness and frustration. As a 13-year old in 1996, I was easily attracted to the laments of Rivers Cuomo who appeared to pine for the love of "half-Japanese" girls and an 18 year old with a fondness for delicate stationary.

    The first thing that strikes you about Pinkerton is the sheer "squelch" of the countless waves of feedback and crackles that appear to almost acoustically mimic what appears to be Cuomo's fragile psyche at this point. Distortion is heavy, and Matt Sharp's equally fuzzy bass cuts through the layers of nasty guitars laid on by Cuomo and guitarist Brian Bell. "Tired of Sex" suggests the emotion decay left by nights of loneliness and meaningless sexual encounters.  As the albums continues into its slight but emotional 34 minutes, we are treated to several other songs concerning sordid tales of obsessiveness (Getchoo), sexual frustration (Why Bother?), and  the fear of loneliness (No Other One).

    The true highlight of the album happens just after the 10-minute mark. "Across the Sea", a fan-favorite is a heart-wrenching tale of someone who receives fan letters from a young woman in Japan after she hears him of the radio. In what one can only assume to be at least a semi-autobiographical tale, the band produces what I believe to be their magnum opus. The songs, introduced by a fragile piano intro, kicks into a  roaring and harmonious heart-tug about the possibilities of undiscovered love. "Across the Sea" might be one of the few Weezer songs that could definitely be seen as "Emo", but only in a lyrical sense.

   The singles hit hard next. "El Scorcho", a cautionary tale about half-Japanese girls is a catchy number and perhaps the only "radio" song on the otherwise murky album. "The Good Life", a catchy number about the fleeting nature of fame its "benefits", was initially the song that drew me to buy this album. The song, and the equally lovable video show the more poppy side of "Blue" era Weezer and was a minor hit. "Pink Triangle", a promo only proposed single is a "Chasing Amy" of a song about unrequited love for a lesbian woman, shows another failure of Cuomo to "get the girl". The album closes with stunningly fragile "Butterfly", an acoustic song that acts as a closer and appears to be about the delicate nature of love for the fairer sex, and how quickly this love can turn to ugly feelings of jealously, obsession, and other feelings of despair.

    Pinkerton is an absolute masterpiece and the most important album of the 1990s for me. The band would come back in 2001 with the "Green" album and various other follow-ups that would eschew a much more poppy sound. Weezer could never hope replicate Pinkerton, it is the diary of a man falling off the edge. The story of someone broken by love, and that comes from the heart. And if that is Emo, I guess Weezer produced one hell of an Emo record.

Rating:   10/10