Wednesday, May 31. 2006
Well, to answer the band's question posed, no I am rather bored thank you.
I liked this music better when it was new, in the 80s, and the bands that were doing it were more inventive and daring both musically and lyrically (and hair-stylistically as well I suppose). This, this just sounds like a re-gurgitation of those bands and their music into a putty colored melange of turgid bull plop. Overall I hear strains of the Cure, The Smiths, some Ultravox, a little INXS and a couple bands I just can't quite put my finger on (Simple Minds?). Don't get me wrong, I love most of those bands, that era, and those sounds, and I love new wave bands in general, but this disc just doesn't rise to the occasion.
Even the songs listed on the label as being the "feature" tracks, "Paralysed" and "Hide Away," aren't really edgy enough or distinctive enough to elicit much enthusiasm. I don't know what they did to earn "Band to Watch 2006" from Rolling Stone and Alternative Press but I hope that it was for something other than this disc. I think for this band to succeed they will need to reach beyond the 80s for their inspiration or Molly Ringwald will start having to make teen films again.
Tuesday, May 30. 2006
Being a metal head, I shouldn't like country right? Well when it is David Allen Coe, country is cool. Often referred to as "Outlaw Country", his most mainstream song is "Take This Job and Shove It" (even tho his performance isn't the one that made him famous) but anyone who has been in a hole in the wall bar with a juke box knows the song "You Never Even Called Me By My Name". I have yet to be in a bar after midnight when this song come on and not seen someone singing it, from the Punkiest Punk to the most uptight Yuppie.
If you are a fan of Pantera you will also know one other of his songs at the very least. "Jack Daniels If You Please" was often used as a warm up occasionally played during their shows. Dimebag was a huge Coe fan, and rightly so. When I heard Dime, Vinnie and Rex were releasing an album that had Coe on Vocals, I must say I got mildly excited. I love the Southern Rock Genre, unfortunately the majority of that is older than I am. What a perfect match (in my mind at least) for another great mix of Metal and a little dash of something else. This album is heavier than most southern rock you will ever hear, and it at times rivals some of the best thrash bands. Dime has some incredibly hard riffs at times.
Between the Humorous "Cowboys do more Dope", the sweet sounding ballad "Arizona Rivers", the catchy title track "Rebel Meets Rebel" and the heaviest track (featuring Hank Williams III) "Get Outta My Life" this album spans the genres of Metal, Rock, Country and Blues. And all the Genres Blend together Seamlessly. I honestly can say I really love this CD.
One side note, this may be the last recording with Dime on it, so if you are a true Die-hard CFH, you must buy this. This album defiantly comes from the hearts of 4 Cowboys From Hell. The hardest part is knowing this is a one shot album.
Track Listing
1. Nothin' to Lose
2. Rebel Meets Rebel
3. Cowboys Do More Dope
4. Panfilo
5. Heart Worn Highway
6. One Nite Stands
7. Arizona Rivers
8. Get Outta My Life
9. Cherokee Cry
10. Time
11. No Compromise
12. N.Y.C. Streets
Monday, May 22. 2006
Hank Williams III is indeed going straight to hell.
Initially I had a hard time trying to decide if this was a serious album or a caricature of the country music genre. After two or three listens I am convinced that it is a serious album. Lyrically it is as dark, destitute, self-destructive and morbid as any death metal album I have heard, and yet this album has a pure classic country sound, too far beyond alternative to be considered alt-country, done in a style that harkens back to his grandfather's era and roots.
This is not an album for minors, and in fact it might be a little rough for actual miners as well. Hank III seems to be aiming to be pegged as the blackest sheep in the Williams family and he hits that mark here. Songs abound about drug and alcohol abuse, and murder, death, and suicide. This is all of country and western's self destructiveness, compressed into one single release. Hank even takes time in the liner notes to jab a sharp stick at the Grand Ole Oprey and the Country Music Association.
If Hank lives as he writes, he is indeed going straight to hell.
I loved every song on this album. This is a must-have and needs to be place right next to Johnny Cash's final releases. Songs like "Country Heros" and "My Drinkin Problem" should be considered instant classics that cross genres. "Satan is Real/Straight to Hell" starts out like an old time gospel tune then rapidly turns into a romp & stomp hoedown. "Thrown out of the Bar" will make you want to get up and dance. "D Ray White" probably could have done without the echo effect but is excellent otherwise. "Louisiana Stripes" is just unreal. "Smoke & Wine" is a wonderfully bouncy pick fest set to a chorus of "I'm drinking & drugging, I'm having lots of fun, I always carry round a loaded shotgun," and "My drinking problem" with "My drinking problem left today, she packed up all her things and walked away" is an unbelieveable honky tonk. Hanks band is incredible, with Andy Gibson on steel, Joe Buck on the stand up bass, and Donnie Herron on fiddle.
Even if you are not a fan of country music, this is one album worth owning.
Favorites:
"Country Heros"
"Louisiana Stripes"
"My Drinking Problem"
Wednesday, May 17. 2006
Horror Sexy
Some things always amuse me. How Rob Zombie can make music sexy and scary at the same time.
He channels cheesy stripper songs and adds a dash of the Devils Rejects to make horror sexy music.
I love the intro song which is exactly that, an intro. Short, could have melded a tad better for a smooth transition in a heavier song. I must say I like "The Scorpion Sleeps." Although it can be a bit cheerleader anthem at times. But sometimes I like my music like I like my horror movies, super cheesy. "Let It All Bleed Out" is a pretty decent fast paced song and one of the heavier tracks. "17 Year Locusts" is a bit too slow for my tastes. Much like he has in the past, there are quiet intros to most every song. Nice to hear when you are listening to it loud, but at respectable tones, it tends to get lost.
Lyrically, it could be better. I like continuity to my lyrics. Some people are heavy on the instruments, but I hang on the words. Songs need some sense to them. Some of the songs actually sound like stuff off of his older songs. I hear "Living Dead Girl" in "American Witch." Sometimes its good to stay the same, and sometimes you really need to expand a bit.
One thing you can say about Rob since he went solo is that he is always Rob Zombie. Nothing changes really. If you like his stuff from before you will like this. Nothing excessively impressive, but nothing disappointing. Rob is Rob, the Zombie Man. Occasionally I wish he would go back to the heavier days of White Zombie, but this is nice relaxing super sexy tunes. Overall a decent album. Fans of the Zombie Man will not be disappointed. He sounds the same as always.
The first time I heard Stadium Arcadium, the new double CD from the Red Hot Chili Peppers, I loved it, in that way you do when everything you hear sounds really good, but you aren't listening that closely.
Then I listened again, paying attention, and thought... OK, it's not as good as I thought it was at first listen.
And then I listened again, and this time I started to fall under the spell of the pop-rock-funk thing they have going on. I was bouncingly happy to hear their funkier sound coming on strong on a number of cuts ("Tell Me Baby," "Warlocks," "Hump De Bump") because without Flea's funky bass it's not the Chili Peppers to me. Which isn't to say I don't like them getting all Jimi Hendrix or California beach pop rock on us either. It's hard to explain, sometimes, what this band is. "Make You Feel Better" is just pretty California beach pop rock (and I was born here, I know it when I hear it). And I kind of want to hate it, but I just can't, because it's just too sweet and everyone knows I'm a sucker for guitars that do that chiming thing. It blends into "Animal Bar," which goes rougher and a little sadder, but still holds you there near the Pacific Ocean, "swimming like a shark." And if there's ever been a more California song than "Dani California" I really don't know what it is. If I didn't live here already, that song would make me want to move, just like the poor doomed Dani of the title.
In some ways Stadium Arcadium plays like a greatest hits album, even though it's all new material. It covers everything about the Peppers, from their start as a sort of high school goof-off band, just stumbling around, drunk and obnoxious, with their instruments (and if you weren't around then to see it, don't get pissed off at me for telling you the truth) all the way to Californication, and then out beyond that to where all those things come together and melt and make you melt to listen to them.
And really, I don't want to melt. These guys have always been a little too testosterone-y for me, although their party til you puke and die days are behind them now. And the band is holding back a little too much, creating a radio-friendly sound instead of letting loose the way you know they can. Restrained but not in a "yeah, I have my panther on a leash, don't worry" way. More in a "if I really whale on this shit, they won't play this on FM radio" way.
And I absolutely refuse to work that last cliche, the one that says "there's a great album's worth or material here, too bad it's a double album," or even the one that says "double albums are the death knell." I won't say every track of the 28 on Stadium Arcadium is great. But whether you take the two CDs as separate albums, or mix and match your own little MP3 playlist of your favorites, or listen to the whole damn thing, it all works.
One last note... the CD comes digitally categorized as "alternative & punk," and I had to laugh - this is a rock album, folks, no matter what anyone might tell you. And it hit number one on the charts about ten minutes after it was released, so you do have to ask... alternative to WHAT, exactly?
Monday, May 15. 2006
As you can see from the picture of my neice Samantha below, born last week, our family has always considered The Ramones to be our "family band" and we indoctrinate our children early.
I may be a LITTLE BIASED when it comes to reviewing Ramones material, but so be it.
Released just in time for Christmas last year, the Weird Tales of the Ramones box set may be the ultimate collection of Ramones music assembled in one place. At 85 songs and 93 minutes long (just kidding... one, two three, four, one, two, three, four...), the set has some rarities and b-sides along with essentially all the classics spanning the band's entire career. It also includes a documentary DVD Lifestyles of the Ramones and a comic book based history of the band along with a set of 3-D glasses, with artwork by 25 comic book artists as Matt Groening, creater of the Simpsons, Sergio Argones of Mad Magazine , and of course Zippy creator Bill Griffith.
If you only have one or two Ramones CDs, this is a great package to give you a taste of their whole career. If you have all their other discs most of the music will be redundant, with the exception of a handful of special mixes and b-sides, but the documentary and history can help justify the purchase. Even at its list price of $64.98 this box set is cheaper than buying each song one at a time at iTunes.
Personally, I have not had the opportunity to replace most of my vinyl Ramones collection with CD copies so this was a great gift for me. Kudos to our editor Christie Keith on her taste in gift selection.
Favorite Songs:
All of them
Saturday, May 13. 2006
The Boys from Brazil are back with another phenomenal record. This disc could be THE perfect death metal record. Although it is a brutal assault on your senses as all Krisiun records are this one is incredibly easy to take in without being overwhelmed by its fury. The production is incredible, I mean everything sounds clear but the heaviness is just awesome. This band is known for its pulverizing drums that lead the band through intense levels of speed. There’s plenty of blasting as usual but the double bass work is really killer and song writing is top notch. These songs for me were very memorable, not just a mish mosh of parts strewn together with blazing drums in an attempt to be brutal.
These guys define brutality in the most tastefully executed form. Their instruments have been captured on this recording in a way I had hoped they would since I first heard the band in the late 90s. Each members contribution has been layered into one powerful release that will keep their loyal fans happy and most likely win over even more people. I have had the pleasure of touring with these guys when Apocalyptic Revelations was released, it was their first US tour. They were modest about their skills as musicians and so appreciative of their fans, I knew they’d become huge, and here they are one of the most respected bands in death metal. They also happen to be one of the hardest working bands I have ever encountered. They tour constantly and are always working on new material. At every single show, they take a minute to tell their fans “We hate rock star bullshit attitudes, without you our fans.....we are nothing!�. These guys mean it. They never talk shit about other bands, are always happy to have a beer with fans and friends and do not hide out until they hit the stage like many bands do. This record is not just another death metal record. It is a record some may have hoped earlier heros like Deicide would have cranked out instead of some of the mediocre releases they crapped out for a while.
Moyses is one of the best guitarists I have ever seen and his use of effects is so tasteful you must label him guitar god, as if you don’t you are only admitting your jealousy. The effects compliment his playing....and do not bury mistakes [as if he ever makes any HA!] and the shredding is always impressive. Alexs vocals are always killer and this release is no exception. Lyrically, Alex spews forth the hatred in a harsh poetic way that just emanates the powerful message of disgust with humanity and religion. Max’s drum work has only improved as this band continues to release amazing record after record. This band is like a machine, they are so over the top and brutal you wonder if they can pull it off live. The truth is, they’re every bit as impressive live as they are on their recordings, matter of fact they’re one of the greatest live death metal bands you will ever see. Just do yourself a favor and buy this disc. If there is one death metal band on the face of this Earth that deserves to be worshiped it is
Krisiun.
The line up as always:
Max Kolesne drums
Moyses Kolesne guitar
Alex Camargo bass and vocals
Friday, May 5. 2006
Lord help me but I felt like I was being pelted with a bag of oranges listening to this disc. I like Godsmack, I like the band, the sound, their lyrics, but Godsmack IV just didn't get me very excited. Yes the disc has a single, "Speak," but the album feels very much like it was rushed. The songwriting feels like it was rushed as well, and some of the songs felt like they could have been matured a little more before being committed to disc.
One song they could have kept off the disc is a "sequel" to their single "Voodoo" called "Voodoo Too." I thought "Voodoo" itself was too gimmicky and hated it from minute one, and can't say much more for the sequel other than I'm glad CD players come with track selection buttons.
There are some bone-crunching tracks that sound like Godsmack standards, like "Bleed Me" and "No Rest for the Wicked," as well as "Temptation," but none of the songs really pushed me like some of their previous stuff. I think most Godsmack fans will be pleased with and enjoy the album, but honestly I think it needed to be left in the microwave a little longer for my tastes. It's still in my CD changer so I haven't given up on it.
Favorite Songs:
Speak
Bleed Me
Thursday, May 4. 2006
For fans of the Maynard James Keenon band Tool, the title of this new release feels like the time that has passed waiting on this new disk. Tool's last disk, Lateralus, was released five years ago in 2001 and a lot has happened since then, but as evidenced by my trip to Best Buy where I was nearly trampled by a couple guys trying to get copies, they still draw a crowd. Honestly, though, after five years of waiting I was hoping for a little more.
This disk seems to take a page from Keenon's A Perfect Circle songbook, in that it is a less bone-crushing orchestrally complex piece, and has more of an ethereal, wandering, industro-metal-meets-jam-band feel. Tool fans will enjoy it, primarily because it is the first new Tool they have had in like forever, but mainstream America and certainly mainstream radio probably will be less enthusiastic. The title track itself clocks in at an astounding Pink Floyd-like 11+ minutes. Many other tracks come in at 7+ minutes and more. "Right In Two" is another long tracker, more like a Tool standard, with a long, slow build, ending in a götterdämerung-like crescendo.
Packaged in a strange 3-D stereographic package that must have caused fits for everyone involved, the disk actually includes thick hard plastic glasses to allow you to view the images in the liner notes.
Maynard also continues to offer his fans weird audio clips to try to decipher. On Ænima it was a strange Hitler-esque monologue that turned out to be a recipe for deviled eggs,"Die Eier Von Satan," proving once again that German is just not a romance language. This time it appears to be an Apache spiritual cantation, called "Lipan Conjuring." It will not so easy to deciper this one. Also on the indecipherable list is the track "Viginti Tres" which appears to consists of some kind of electronic goofing around in the studio and doesn't really add much to the disk other than another listing on the liner notes. Maybe if I wore the 3-D glasses while I listened too it...
Favorite tracks:
Vicarious
The Pot
Right In Two
|
|