Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
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 Posted: Saturday Feb 14, 2004 |
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SOME CD REVIEWS…
I’ve been stockpiling CD reviews since last year, and will be posting them within the next several weeks, starting with these. Some of these you might have read in the Altoona Mirror or heard me do on Q94; others you haven’t. And a few of them might be dated; I figured I’d better post them before they become more dated…
FIRST: SOME LOCAL/REGIONAL CD’S
(VARIOUS ARTISTS) – ROCKSBURY: MUSICIANS FOR KIDS (no label) Dylan Andrew Owens of Johnstown was born on December 18, 2000; and faced adversity from heart problems in his short time here. Dylan “slipped the surly bonds of Earth” on March 9, 2001. He touched many lives for the better during his brief life, and inspired Dylan’s Heart Fund, which benefits children with health concerns and their families. Dylan’s father, Denny Owens, a musician in the Johnstown area, conceived the idea of a CD project in spring of last year; and a number of area musicians rallied in support of the idea. The result is Rocksbury: Musicians for Kids, a compilation CD featuring a dozen songs from five different area bands. Proceeds from sales of the CD benefit Dylan’s Heart Fund. The Rocksbury album (named after the Roxbury section of Johnstown, where Owens and several of the musicians hail from) features a lively variety of flavors, spanning blues and blues-rock, funk and even progressive rock sounds. John Charney with White Mojo, whom Denny Owens plays harmonica with, contributed four blues remakes to the album: an uptempo country-geared version of Ann Cole/Muddy Waters’ “I’ve Got My Mojo Workin,’” hard-driving renditions of Willie Dixon’s “Back Door Man” and “Evil,” and a dark and swampy treatment of Screamin’s Jay Hawkins’ “I Put A Spell On You.” Johnstown blues-rock trio Frankie & the Nomads offer three original songs: “Fool for Your Love,” “Blues In The Key of I” and “The Way It Goes.” Altoona-based trio Fat Vinny & the Wiseguys introduce two new songs on the album: the ZZ Top-flavored “Like A Mule” and a robust update of Johnny Cash’s “Folsom Prison Blues.” John Charney’s other band project, Wine Of Nails, donates two diverse instrumental compositions: the tranquil “Buddy” and the 11-minute-plus ode to the old West, “John Wayne Ethic.” And Johnstown singer/guitarist Dave Distefano teams with southwestern PA-based jam rockers Grinning Mob to offer the rapidfire funk-rocker “Light The Fire, Get Down.” Ten of the tracks were recorded at Zenfonic Soundwerks in Johnstown, and mastered at Audible Images in Port Matilda. The performances here are strong, impassioned, and heartfelt; and as compilations go, this album flows along well and is an upbeat, uplifting listen. Rocksbury: Musicians for Kids is a triumph of area musicians, banding together and contributing their talents to help out a worthy cause. (The album can be obtained for a $10 or greater donation to Dylan’s Heart Fund. The album can be purchased at various Johnstown locations, also at the Q94 offices in Altoona, or by visiting the website www.cfalleghenies.org.)
FELIX & THE HURRICANES – TRAVELERS NOT FORGOTTEN (no label) According to singer/guitarist Felix Kos’ liner notes, he and his Hurricanes – bassist/singer Jeff Clapper and drummer Bob Watters – have yearned to grow, and achieve the ultimate high in their expression of music. Both goals are achieved on the group’s second album, Travelers Not Forgotten. Altoona’s favorite blues rockers have taken the foundation established on their debut CD, The Feeling, and expanded upon it. Felix & the Hurricanes still proudly tip their hats to traditional Southern rock, summoning the Allman Brothers on the title instrumental and “Walking a Straight Line;” recalling the classic Lynyrd Skynyrd sound on “Grow;” and sampling some Stevie Ray Vaughan Texas-styled blues on the instrumental “The Rest of September.” But the trio experiment with jazz flavors on “Moonlighting” and a progression of flavors on “Sabra;” deliver muscular hard rock on “Issues,” “Little Ears,” the funk-geared “It’s Not Me” and “Slug In a Puddle;” blend several textures and effects on “The Love We Share;” and offer a Latin flavor on their ode to a Sunday night Altoona area local music radio program, “Backyard Rocker Rocks.” The group also fleshes out a patriotic acoustic ballad, “Lady Liberty,” written and sung by Beyond Reason singer/guitarist Dan Myers II. A number of guests help Felix & the Hurricanes’ quest for growth on this album, including keyboardist Dave Villani (who also engineered the album at his Data Music Services studio in Altoona), guitarist Jeff Wallach, sax player Bob Scholl, flutist Kent Martin, percussionist Dave Wessels, and singers Ryan Clapper and Betsy Cardiff. With their strong blues-rock foundation and superb musicianship tying it all together into a cohesive set, Felix & the Hurricanes demonstrate the eagerness to grow and experiment on Travelers Not Forgotten, resulting in a bright and colorful album well worth checking out. (The album can be obtained at the group’s shows and at Music Emporium in Altoona.)
POPTART MONKEYS – SECRET DECODER OUTFIT (Solution 6 Records) Very few bands can turn the page between lead singers as smoothly as the Poptart Monkeys recently did. With Paul Reddon exiting and Tyson Clark entering the group’s ranks on lead microphone, the Berwick-based group didn’t miss a beat on their new album, Secret Decoder Outfit. Newcomer Clark’s presentation is less aggressive and softer-spoken than his predecessor, but his smooth voice and ability to emote at the right moments works just as well with the Poptart Monkeys’ style and sound. The Poptart Monkeys continue to deliver quality modern-flavored rock on Secret Decoder Outfit, with a slightly less metallic bite than on their previous two albums. Clark, guitarist/singer Chris Kurtz, bassist/singer James Balogach and drummer Rob Hampton offer a wider variety of material in this set, mixing punk-edged melodic rockers like “Hooked,” “What Can I Do,” “7:30” and “Life;” acoustic-driven tracks like “Dreams” and “Who You Are;” and the hip-hop-fueled “Sunshine.” The group retains several songs that originated under Reddon’s watch, including the Police-inspired “Stung,” and the darker-flavored “Adore Me” and “Enemy.” Recorded at Sound Investments in Scranton and Sony Studios in Nashville, and produced by Wade Perry and the band, Secret Decoder Outfit sounds clean, full, and busy; with the group’s variety of flavors and studio enhancements guaranteeing that the album never stays in one place for too long. While their sound is consistent with much of the current generation of rock on the airwaves; the Poptart Monkeys successfully infuse their own distinct personality, sass and signature into the mixture offered on Secret Decoder Outfit, in the process distancing themselves from the sea of Lit/Blink 182/Good Charlotte bandwagon bands currently making the rounds. (The album can be purchased at the group's shows, at FYE and Coconuts Music & Movies in Altoona, or through their website, www.poptartmonkeys.com.)
SPINEBELT – BEAUTIFUL SONGS FOR UGLY CHILDREN (DRP Records) Since their beginnings in 1997, Harrisburg's Spinebelt has steadily evolved their own dark, harsh musical landscape over the course of one full-length CD and two EP's. On their second full-length album, Beautiful Songs for Ugly Children, the group's signature cyber-metal sound becomes even more clearly focused. Spinebelt's musical identity continues to be defined by the terse, rigid guitarwork and anguished vocal bark of Butch Lloyd; the volatile, rapidfire drumming of John K.; the sinister keyboard underscore and bleak electronic backdrops of Josh Warsteiner; and the rumbling basswork and bestial backing growls of Bill Atkinson. While Spinebelt has established a distinct style and sound here, the group continues to experiment, with Warsteiner's varying electronic backdrops and textures providing counterpoint to Lloyd's incendiary vocals and guitar, and Atkinson's primal groans. On Beautiful Songs, the group comes up with its strongest melodies yet, without sacrificing rawness and aggression. Spinebelt uses their brash, hard-hitting musical landscape as the canvas to paint Orwellian-styled lyrical images of lives – and mankind itself – pushed to the edge, and coping with struggle. After the barren electronic/keyboard prelude "The Inevitable Downfall," the torrid assault "Change Adapt Evolve" warns that "There's no safety in conformity," and that people and society must adjust to changing times to survive. "Buckle and Strap" and "Lotus Under Glass" also rage against control and conformity, both societal and self-imposed. Other songs here deal with life at the brink; such as "It's All Running Out," the uptempo "Motherblood and Moving Earth," the regional radio single "Losing All" and "The Politics of Breaking Down." Produced, mixed and mastered by Marshall P. Deasy IV at Stressfree Studios in Mechanicsburg, the album sounds suitably raw and hostile, yet full and balanced. Beautiful Songs for Ugly Children is a cohesive, powerful set that takes the listener into Spinebelt’s desolate, uncompromising musical world; but offers hope of survival through non-conformity and standing one’s ground. It is a logical progression of Spinebelt’s signature style and sound, and their strongest offering yet. (Can be purchased at the group’s shows or by visiting the group’s website, www.spinebelt.com.)
NEXT: SOME LIVE ALBUMS
RUSH – RUSH IN RIO (Atlantic) According to drummer Neil Peart's liner notes, Rush hadn't intended to release a new live album for several more years. But hearing the rough mixes from their concert video Rush In Rio convinced the group otherwise. And in releasing the 3-CD set Rush In Rio, Rush's fifth live album, the Canadian power trio has issued their strongest live concert document yet. Recorded in November of 2002 during the finale of Rush's Vapor Trails tour, Rush In Rio captures the total energy and enthusiasm of a seasoned band entertaining 40,000 screaming fans in a Rio de Janiero soccer stadium on a magical night. (This was Rush's second-biggest audience ever, topped only by the previous night's concert before 60,000 fans in Sao Paolo.) The fans themselves are almost the fourth member of the group here, buzzing with electricity and singing along with every song; even the instrumental "Red Sector A." Rush themselves were in top form this night; Peart's drumming and Geddy Lee's basswork were aggressive and intense, and Alex Lifeson's guitarwork was fiery yet precise. The trio fed off the audience energy and the sense of urgency with the tour's final show, making every performance count. Each CD has its highlights. Disc One picks up with the explosion of band and audience on the opener "Tom Sawyer," and carries that energy and vibe through "Distant Early Warning," "New World Man" and "Roll The Bones." Later on the disc, the crowd's adoration and participation lift "The Trees" and "Closer to the Heart" above and beyond the typical concert setting; this was indeed a special night. Disc Two's highlights include Rush's torrid treatments of newer songs like "One Little Victory" and "Secret Touch;" the aforementioned instrumental "Red Sector A;" Peart's drum solo extravaganza "O Baterista" with its big-band finale; and "2112." Disc Three's strongest moments are the epic instrumental "La Villa Strangiato," the medley of "By-Tor and the Snow Dog" and "Cygnus X-1," and the encore performance of "Working Man." This disc also includes two bonus live tracks, "Between Sun & Moon" and "Vital Signs," recorded during concerts in Phoenix and Quebec City, respectively. The recording and mix by "Jimbo" Barton and Alex Lifeson are crisp and vibrant as live recordings go, especially impressive given there was no time for a sound check before the Rio concert; and no overdubbing or production enhancements afterward. Rush In Rio captures Rush on an unforgettable night, when charged atmosphere, electricity and synergy between band and crowd resulted in sheer magic.
TRIUMPH – LIVE AT THE US FESTIVAL (TML Entertainment) Canadian power trio Triumph first rose to prominence in the late 70's, and enjoyed their peak success with the 1981 studio album Allied Forces and its successor, 1982's Never Surrender. A highly successful touring act, Triumph became part of the bill at the 1983 US Festival, which took place in Glen Helen Park near Los Angeles during Memorial Day weekend. The group performed during "Heavy Metal Sunday," May 29; sharing the bill with Ozzy Osbourne, Judas Priest, The Scorpions, Motley Crue, Quiet Riot and Van Halen. The audience this day was estimated to be around half a million people; and Triumph took the stage in early evening, just as that day's audience was reaching its peak. Their riveting performance that evening was one of Triumph's finest hours onstage; and the group celebrates the 20th anniversary of that historic performance with the release of Live at the US Festival, issued both on CD and DVD. The CD captures Triumph at their strongest; giving heated, inspired performances of many of their best-known songs. The album rides a feverish high as the group performs classics like "Lay It On The Line," "Never Surrender," "Magic Power," "A World of Fantasy," "Fight the Good Fight" and more. Both guitarist Rik Emmett's and drummer Gil Moore's voices were in good form here, ringing out high, powerful and clear. Emmett's guitarwork this night was fast, fiery and concise; setting the stage for this album's only major flaw. Shortly into his solo during "Rock and Roll Machine," three spoken soundbytes from the concert are played over top, overshadowing the guitar fireworks only briefly, but disrupting the vibe of that part of the concert. Otherwise, Live at the US Festival is still an impressive memento of Triumph's live firepower during one of the 80's most legendary concert events; and a set that Triumph and 80's heavy rock fans should savor.
LED ZEPPELIN – HOW THE WEST WAS WON (Atlantic) It may have taken over 20 years after their demise, and over 30 years after first being recorded; but Led Zeppelin's finest live album is finally upon us, on the triple-CD set How The West Was Won. According to Jimmy Page's liner notes, he re-discovered these performances – from June 25, 1972 at the LA Forum and June 27, 1972 at Long Beach Arena – while searching through archives for visual and audio material for the Led Zeppelin DVD. According to Page, "This is Led Zeppelin at its best and an illustration of How The West Was Won." Alternating songs from the two performances, this set captures a strong overall picture of the emerging superstar juggernaut that was Led Zeppelin. We hear Led Zeppelin breathe fire and enthusiasm into live renditions of future classic rock staples like "Immigrant Song," "Black Dog," "Stairway to Heaven" and "Rock And Roll." We experience acoustic Zeppelin on the first disc with versions of "Going To California," "That's The Way" and "Bron-Yr-Aur Stomp." The experimental and indulgent Led Zeppelin triumphs on the second disc, with Page's guitar histrionics achieving full meltdown on the 25-minute-plus "Dazed And Confused;" and John Bonham giving new meaning to the term 'drum solo' on the 19-minute-plus "Moby Dick." And Led Zeppelin's blues and early rock roots surface on the third disc, as the midsection of the 23-minute version of "Whole Lotta Love," and on Willie Dixon's "Bring It On Home." Interestingly, since these concerts took place months before the 1973 album Houses of the Holy was released; "Dancing Days" and "The Ocean" were both introduced as songs "from the new album." This is Led Zeppelin at their zenith, at the point in history where they were firing on all cylinders creatively and crafting their most enduring work, and bringing that energy and enthusiasm to the live stage for their skyrocketing fan base to experience. And while we have memorized many of the songs from radio airplay over the years; these passionate, full-throttled live performances reinvent the songs for us, giving them renewed freshness. How The West Was Won is destined to supercede The Song Remains The Same as the quintessential Led Zeppelin live concert document; it convincingly portrays the excitement and grandeur of a legendary rock band just reaching their prime. This is a must for any serious Led Zeppelin fan.
QUEEN – LIVE AT WEMBLEY STADIUM (Hollywood Records) During their glory period from the mid 1970's through the mid 1980's, Queen received constant accolades as a stellar concert act. Like their music, Queen's live show was theatric and grandiose, and gave lead singer Freddie Mercury the forum to build his reputation as one of rock's premiere showmen. Nearly twelve years after Mercury's death, Queen has released a posthumous concert set, Live at Wembley Stadium. The two-disc set features one of Queen's final concert performances in its entirety, recorded on July 12, 1986 during one of two sell-out nights at London's Wembley Stadium near the close of their A Kind of Magic tour. This was Queen at their peak popularity in their British homeland, and the mood of the concert is constantly festive and jovial between Mercury, his bandmates and the stadium crowd. The first disc quickly erupts as Queen greets the hysterical crowd with the metallic thunder of "One Vision" and "Tie Your Mother Down," and then celebrates with songs from throughout their career. They perform an early British hit, "Seven Seas of Rhye," along with early album classics like "In the Lap of the Gods" and "Now I'm Here;" also a rousing version of the then current hit "A Kind of Magic;" and a feisty version of the mega-hit "Another One Bites The Dust." In an oddly ironic moment, Mercury comments on rumors of the group's breakup, stating that the group will stay together until they die; before then introducing the song "Who Wants To Live Forever." On the second disc, Queen has fun tapping their early rock'n'roll roots, before celebrating some of their biggest hits with performances of "Bohemian Rhapsody," "Crazy Little Thing Called Love," "Radio Ga Ga" and "We Will Rock You/We Are The Champions;" before Queen follows tradition and ends the concert with "God Save The Queen." The second disc then concludes with extra footage; including three songs from the previous night's Wembley show, and a song from a concert in Budapest several weeks later. The entire concert gives the listener a good representation of the scope and majesty of Queen's live performance; as the group takes concertgoers on a rollercoaster journey from rock to ballads, from hits to deep cuts. The concert set also serves as a memorial to Mercury and his colorful onstage persona, varying between energetic rock singer and playful, witty concert emcee. More then anything, Live at Wembley Stadium freeze-frames a moment in time, catching one of rock's legendary acts during two of its finest – and final – hours onstage. This set is a must for any true Queen fan.
HEART – ALIVE IN SEATTLE (Epic/Legacy) There's no place like home. Twenty-seven years after their debut, and after spending much of the last decade involved in side projects and individual endeavors, Ann and Nancy Wilson arrive back home, both musically and geographically, on the new double-CD live set from Heart, Alive in Seattle. Recorded on August 8 of last year in Seattle's Paramount Theater during the final hometown gig of their 2002 "Summer of Love" tour, the Wilson sisters celebrate Heart's history and preview its future. All the essential classics from Heart's 1970's and 80's peak period are performed here: "Crazy On You," "Straight On," "These Dreams," "Alone," "Dog & Butterfly," "Magic Man," "Love Alive," "Barracuda" and "Dreamboat Annie." Heart also introduces several new songs, such as "Sister Wild Rose," "Break the Rock" and the Far Eastern/New Age flavored "Heaven." The group reprises their admiration for Led Zeppelin with versions of "Battle of Evermore" (which the Wilson sisters covered in their mid-90's acoustic side project, The Lovemongers) and "Black Dog;" interprets Elton John's "Mona Lisas and Mad Hatters;" and even pulls out a regional garage rock gem, the Sonics' "The Witch." The Wilson sisters are backed by a new incarnation of Heart, featuring former Alice In Chains/Ozzy Osbourne bassist Mike Inez, guitarist Scott Olson, keyboardist Tom Kellock and drummer Ben Smith. The new players sound perfectly at home here, providing a strong and muscular backdrop for Ann Wilson's vigorous and passionate voice and Nancy Wilson's crisp guitarwork. The two sisters sound content and almost too laid back at times during this performance. But then again, this was a homecoming concert in front of a supportive and appreciative hometown crowd. And this show was a celebration of Heart's mega-successful career; not the urgent, hunger-driven performance of a young band from 27 years ago trying to make it. Ultimately, Alive In Seattle celebrates the legacy of classic rock's premiere sister duo, and previews the new era of Heart as the group prepares to record a new studio album later in the year. As live albums go, this is a well-mixed, clean-sounding account of a special night, and fans of Heart in particular will find this well worth checking out.
SAMMY HAGAR – LIVE HALLELUJAH (Sanctuary) After four studio albums under his belt since leaving Van Halen in the 90's, Sammy Hagar felt the timing was right to issue a live album, Live Hallelujah. According to the liner notes, Hagar originally wanted to use his 2001 St. Louis concert for the album, but discovered that it was too lengthy for a single CD. He then decided to include some footage from last year's tour with David Lee Roth, which included guest appearances from his former Van Halen bandmate, bassist Michael Anthony. Hagar pieced together the footage, with mistakes and without overdubs, into Live Hallelujah. For the most part, this is a bristling, action-packed album that captures the energy and enthusiasm of Hagar's onstage party; and also compiles many of the 'Red Rocker's' best-known songs from his solo career and stints with Van Halen and Montrose. Hagar and his present band, the Waboritas – keyboardist Jesse Harms, guitarist Vic Johnson, bassist Mona and drummer David Lauser – play for keeps on every song (even the ballads), and the synergy between band and audience lifts this collection above the typical live album. The majority of the footage is culled from the aforementioned St. Louis concert, a particularly strong performance that shows Hagar and his bandmates at their most energetic – especially the sequences of "Three Lock Box," "There's Only One Way to Rock" and "Give To Live;" and "I Can't Drive 55" (updated by Hagar to "65"), "Mas Tequila" and "Heavy Metal." Also noteworthy is a performance of Hagar's Van Halen hit "When It's Love," taken from a show in Boston last year. On this version, Hagar shared lead vocals with the man who replaced him in Van Halen, former Extreme vocalist Gary Cherone; Michael Anthony played bass, and former Boston members Fran Sheehan, Sib Hashian and Barry Goudreau sang backing vocals. The album contains one studio track, the title song "Hallelujah," which first appeared on Hagar's 2002 studio album, Not For Sale. Live Hallelujah is unapologetically loud and glorious; its mood upbeat and celebratory. Even though it segues and fades between performances, the overall energy and excitement are consistent throughout the album's course; and the album ultimately captures the unbridled electricity of Sammy Hagar's live presentation.
THE MARSHALL TUCKER BAND – STOMPIN' ROOM ONLY: GREATEST HITS LIVE 1974-76 (Ramblin' Records) First surfacing from Spartanburg, South Carolina in the early 1970's, The Marshall Tucker Band built their initial popularity while touring with the Allman Brothers Band; and in 1977 achieved major chart success with the Top 20 single "Heard It In a Love Song," from the album Carolina Dreams. The initial game plan was for the group to release a live album, Stompin' Room Only, hot on the heels of Carolina Dreams in 1977. But since the group was in the midst of moving from Capricorn Records to Warner Brothers Records, Capricorn held off releasing the album. Stompin' Room Only sat on the shelf for 27 years, until now. Culling concert footage from The Marshall Tucker Band's mid-70's European tour plus some bonus footage from a 1974 Milwaukee concert and Charlie Daniels' 1975 Volunteer Jam, Stompin' Room Only offers frequent reminders of the various elements that made this group legendary. The performances here are all inspired, with the band members demonstrating a live energy their studio recordings never quite captured. Like the Allman Brothers, The Marshall Tucker Band also could smoothly fuse together various musical styles into colorful, extended jams; that talent is vividly displayed several times here. On the group's version of B.B. King's "The Thrill Is Gone" from Volunteer Jam, the group deftly segues between rock, blues, jazz, funk and country, assisted by guest guitarists Dickey Betts and Charlie Daniels, pianist Chuck Leavell and others. Likewise, the 13-minute workout "24 Hours At A Time," from the Milwaukee show, showcases a hot fusion of rock, country and honky-tonk; highlighted by the instrumental nip-and-tuck fireworks between guitarist Toy Caldwell, saxophonist Jerry Eubanks and guest Charlie Daniels, this time on fiddle. The album also features passionately performed renditions of several Marshall Tucker Band staples, such as "This Ol' Cowboy," the country-folk ballad "Fire On The Mountain," "Take The Highway;" and especially the FM radio classic "Can't You See," highlighted by Toy Caldwell's excited, fiery vocals. As live recordings go, the mix here is very clean, and every ingredient of The Marshall Tucker Band's sound is clearly heard. Stompin' Room Only is well worth the 27-year wait; as it captures The Marshall Tucker Band at the top of their game; and vividly illustrates how the group helped forge the blueprint for Southern and jam rock.
(VARIOUS ARTISTS) – CONCERT FOR GEORGE (Warner Strategic Marketing) On November 29, 2002, the first anniversary of the passing of George Harrison, a special memorial concert took place at Royal Albert Hall in London, featuring his family and closest friends. A souvenir of that special night is Concert For George, a two-CD set. Disc 1 focuses primarily on compositions and performances involving Harrison's spiritual mentor, Ravi Shankar and his daughter, Anoushka; including the sitar solo "Your Eyes" and the lengthy "Arpan," performed with a 16-piece orchestra of Indian musicians. The musical director of the evening, Eric Clapton, performs on "Sarve Shaam" and "Arpan;" while Jeff Lynne sings on a version of "The Inner Light." Disc 2 features performances of many of Harrison's best-known songs by a number of his famous friends; including his former bandmates Ringo Starr and Paul McCartney, plus Clapton, Lynne, Tom Petty and the Heartbreakers, Billy Preston, Gary Brooker, early British rock and roller Joe Brown, Harrison's son Dhani and more. The most memorable moments on this disc include Starr's heartfelt performance of his hit "Photograph," which Harrison wrote; McCartney's ukulele rendition of "Something;" the McCartney-Clapton performance of "While My Guitar Gently Weeps;" and Preston's uplifting and spiritual treatment of "My Sweet Lord." What elevates Concert For George above most all-star performances is that all of these performers had close associations with Harrison; thus their performances are warm and heartfelt. And while this was a memorial concert, the prevalent mood was more celebratory of Harrison's life and music than somber and eulogistic. Concert For George nicely captures the highlights of a special show; when some of rock music's most famous names donated their talents to remember their famous fallen friend. Proceeds from the concert, its theatrical release and accompanying DVD benefit The Material World Charitable Foundation, which was founded by Harrison in 1973.
A SPOTLIGHT ON JETHRO TULL…
JETHRO TULL – THE JETHRO TULL CHRISTMAS ALBUM (Fuel 2000 Records) According to Jethro Tull singer, flutist and lead minstrel Ian Anderson, the idea of an improbable Jethro Tull Christmas album sat on the group's back burner for a few years until Fuel 2000 Records boss Len Fico renewed a suggestion for the album last holiday season. In blending Christmas standards, updated Tull pieces and several new compositions; Anderson and his bandmates have come up with their most traditional-sounding Jethro Tull album since the 1970's. The Jethro Tull Christmas Album reverts to the more folk-geared sound of Jethro Tull's mid-70's Songs From The Wood and Heavy Horses period, with acoustic instruments such as flute, mandolin, accordion and acoustic guitars playing a prominent role. This particular aspect of Jethro Tull's sound lends itself nicely to a Christmas holiday theme, and the album's flavors range from Celtic to folk-rock to jazz. "Ring Out Solstice Bells," originally the title song of a 1976 Tull Christmas EP that also first appeared on Songs From The Wood, is updated and sounds perfectly at home here. The group also updates "Fire at Midnight" from Songs From The Wood and "Weathercock" from Heavy Horses; and although both songs are not specifically holiday-themed, the group's arrangements on both enable them to fit the album's context comfortably. Of the new material; "A Christmas Song," "Another Christmas Song" and "Jack Frost And The Hooded Crow" all offer reminders to slow down and remember charity and the true spirit of the season. "Last Man At The Party" ponders the other 'spirits' celebrated and consumed during the holidays; while "First Snow on Brooklyn" explores the sad side of holiday reminiscence. Jethro Tull offers a jazz-flavored treatment of "God Rest Ye Merry Gentlemen" reminiscent of their popular 1969 Johann Sebastian Bach adaptation "Bouree," which itself is updated later on this album. The group also translates two other holiday standards into their own unique voice on "Greensleeved" and "We Five Kings." Tull's instrumental artistry is also nicely demonstrated on their interpretation of Gabriel Faure's "Pavane" and guitarist Martin Barre's composition "A Winter Snowscape." Not only has Jethro Tull managed to capture the warmth and mood of the holiday season with this traditional-flavored album; they have managed to reinvent themselves in the process. For fans who miss the trademark Jethro Tull sound of their youth, The Jethro Tull Christmas Album is a welcome return to form, as well as a delightful holiday season listen.
IAN ANDERSON – RUPI'S DANCE (Fuel 2000 Records) Since Ian Anderson is the principal songwriter, singer and flutist for Jethro Tull, it shouldn't at all be surprising that his fourth solo album from last fall, Rupi's Dance, sounds much like a Tull album; not far removed from the concurrently-released Jethro Tull Christmas Album or 1999's J-Tull Dot Com. But a further examination of this album exposes a broader picture of Anderson the musician and personality. While the Jethro Tull-like blend of folk, rock, Celtic and classical flavors underscores much of this release, Anderson continues his exploration of international musical flavors, particularly Eastern European and Mid-Eastern. His European fascination shines most on the instrumental "Eurology," where flute, accordion and traditional percussion blend into a colorful blast of old European-styled folk. Anderson blends Celtic and baroque styles on "Griminelli's Lament," a gentle instrumental ode to Italian flutist Andrea Griminelli. But ultimately, Rupi's Dance is more about Anderson the person, and many of the songs are Anderson's observations about life, people, animals and himself. The folksy title song "Rupi's Dance" is about Anderson's new kitten; conversely, "Old Black Cat" is a memorial to his recently-departed feline companion. The harder-edged "Lost In Crowds" and "A Hand of Thumbs" deal with Anderson's insecurities in social situations; while "A Raft of Penguins" muses about Anderson's often awkward encounters with formal orchestras and ensembles. Other highlights include an ode to Anderson's dream vacation, "A Week of Moments;" his observations on zoo life in "Pigeon Flying Over Berlin Zoo;" and his fascination with a CNN reporter on "Not Ralitsa Vassileva." Outside of a bonus track sampling from The Jethro Tull Christmas Album, only one member of Jethro Tull appears on the album outside of Anderson himself; keyboardist Andrew Giddings. Otherwise, several studio musicians help out through the course of the album. But ultimately, this is Ian Anderson's show. Anderson's voice is in fine form; distinct and authoritative. And Anderson's expressive woodwind work on several flutes acts as an extension of his personality, baring his musical soul for the listener to hear. Rupi's Dance accomplishes what a solo album should; enlightening the listener to more of Ian Anderson's world outside the scope of his work with Jethro Tull. Anderson's eclectic blend of musical styles and his witty observations make this album a colorful and intriguing listen.
MARTIN BARRE – STAGE LEFT (Fuel 2000 Records) When most people hear the name Jethro Tull, they immediately think of that group's most visible figure, minstrel-like lead singer and flutist Ian Anderson. But guitarist Martin Barre has been a vital part of the Jethro Tull equation since 1969; and on his third solo album, Stage Left, he clearly illustrates his role in helping to shape the Tull sound. A mostly instrumental album, Barre mixes hard-edged rock, blues, folk and acoustic stylings over fourteen tracks, and demonstrates his skill on a variety of electric and acoustic guitars, mandolins, bouzoukis, and even flute on one number ("Stage Fright"). The CD sleeve even indicates the guitar Barre used in each track. Stage Left is not your typical guitar player solo album because the emphasis here is on texture and composition rather than hyperspeed soloing and shredding displays. On the album's harder-edged numbers like the blues-rock geared opener "Count The Chickens," "Murphy's Paw," "After You, After Me" and "Nelly Returns," Barre favors detailed composition, mood, finesse and instrumental tone over solo fireworks. Barre experiments with various folk and traditional sounds and arrangements on acoustic tracks such as "As Told By," "Favourite Things," "D.I.Y." and "I Raise My Glass To You!" He dabbles in Spanish flamenco styles on "Spanish Tears," and classical leanings on "Winter Snowscape." The album also features one vocal number, the hard-rocking closer "Don't Say A Word," with Simon Burrett furnishing the singing voice. Two Jethro Tull bandmates, bassist Jonathan Noyce and keyboardist Andrew Giddings, help Barre out on the album. Stage Left reveals Martin Barre as a skilled and calculated guitarist with a knack for detail and elegance. While similarities can be drawn between Barre's compositions here and his work with Jethro Tull, Stage Left still displays Barre's individuality and flexibility outside of the Tull framework. Yet this album; especially the acoustic-geared tracks; clearly demonstrates what Barre brings to the table as a partial architect of Jethro Tull's traditional folk-rock identity.
JUST A FEW MORE…
ZZ TOP – MESCALERO (RCA) After a career that saw them rise from Texas blues rockers to hot-rodding MTV video pioneers, ZZ Top has come full circle with their latest album, Mescalero. The bearded Texas trio sheds more of their MTV-era sheen, and moves yet another step closer towards the type of bold, heavyweight three-chord blues-rock of their pre-Eliminator heyday. ZZ Top sounds dirty again. Billy Gibbons' guitar and Dusty Hill's bass again display that trademark fuzzy distortion; and Frank Beard's drums are loud and resounding. But unlike other recent ZZ Top releases like XXX and Rhythmeen, the trio doesn't sound like they are trying to mediate their 70's blues-rock and 80's cyber-boogie sounds; they instead fully re-embrace the three-chord Texas blues-rock swagger of their Tres Hombres/Fandango period. The group sounds sassier here as well, and seem to be having more fun through the course of Mescalero's 16 tracks. Song highlights like "Two Ways to Play," "Alley-Gator," "Buck Nekkid," "Me So Stupid," the first single "Piece" and "Punk Ass Boyfriend" are the most brazen that ZZ Top has sounded in several years. The group performs a country-styled ballad on "Goin' So Good," and presents their own version of heavy Texas swing on "What Would You Do." The trio also openly celebrates their Tex-Mex heritage, with the mariachi/heavy rock fusion of the title song "Mescalero" and the Spanish-sung ballad "Que Lastima." The group tacks on a lighthearted bonus track rendition of "As Time Goes By" from Casablanca. While the overall sound is similar to the 70's early period of ZZ Top's career, modern-day recording and studio technology results in a cleaner-sounding brand of the group's heavy distortion-laden blues rock. While the album bogs down in its latter stages with more cumbersome-sounding fare like "What Is It Kid," "Tramp" and "Dusted;" Mescalero is still the strongest set ZZ Top has given us since Antenna. And fans of the group's pre-MTV sound will find plenty to celebrate on this album, as the Texas trio returns to their roots and beginnings, and delivers their grittiest-sounding set in years.
WARREN ZEVON – THE WIND (Artemis) Not too many people ever have the chance to write the final chapter of their lives before they check out of this world. After being diagnosed with terminal lung cancer in 2002, Warren Zevon put his house in order and came to grips with his fate on his final studio album from last year, The Wind. Like most of his discography, The Wind is a bittersweet affair; as Zevon contemplates his impending fate, both with seriousness and his trademark wit and sarcasm. He opens with some lighthearted reflection on his own "Dirty Life and Times;" and on "Disorder in the House," acknowledges something is not well: "Disorder in the house/There's a flaw in the system/And the fly in the ointment is gonna bring the whole thing down." Zevon comes to peace with the present and readies for the next chapter on his inspired treatment of Bob Dylan's "Knockin' On Heaven's Door;" but he savors one last good memory on "The Rest of the Night," realizing "We may never get this chance again/Let's party for the rest of the night." There are tender moments of hindsight on "She's Too Good for Me," "El Amor de mi Vida" and "Please Stay;" as well as bold defiance on the hard blues-rocker "Rub Me Raw." Zevon addresses friends and fans on "Numb as a Statue," and makes a tender farewell wish on the closer "Keep Me In Your Heart." Perhaps the most sobering song on the album, though, is the bluesy dirge "Prison Grove," in which Zevon compares his own fate to an impending execution, and ponders that moment when he ultimately faces his own mortality. Never soliciting pity for his situation or waxing overly philosophic about life and death, Warren Zevon addresses the hand he has been dealt with simply and directly on The Wind. And although an all-star cast of guests – including Bruce Springsteen, Don Henley, Timothy B. Schmit, Joe Walsh, Tom Petty, Jackson Browne, Emmylou Harris, Ry Cooder, Tommy Shaw, Dwight Yoakum and more – helps him out on this final go-round; this is clearly Warren Zevon's platform to make his final stand and say what needs said. The sadness of The Wind is, obviously, the finality of Warren Zevon's fate. But the honest and direct manner in which Zevon confronts and accepts that fate makes The Wind a fitting epitaph to the artist, his personality and contribution; as well a lesson on how to face life's final harsh reality.
LYNYRD SKYNYRD – VICIOUS CYCLE (Sanctuary) Over their lengthy career, the name Lynyrd Skynyrd has not only come to symbolize a whole genre of rock music; but also survival, heart and tradition. Few bands could have weathered the adversities that have befallen Lynyrd Skynyrd over the years; from the plane crash and deaths of key members to band member feuds and lawsuits. The group endured additional hardship during the creation of their latest album, Vicious Cycle; original Skynyrd bass player Leon Wilkeson died of liver and lung disease last summer (but performed on two songs prior to his death), and guitarist Gary Rossington underwent open heart surgery early this year. But on Vicious Cycle, Lynyrd Skynyrd doesn't mourn or lick their wounds; they instead deliver a spirited set in their best Southern rock tradition. Several songs here cover familiar ground, from bad guys and lawmen ("Dead Man Walkin,'" "Jake") to motherly wisdom ("Sweet Mama," "Hell or Heaven") to life on the road ("Rockin' Little Town"). But Lynyrd Skynyrd often waxes philosophical on this album, even offering social commentary and analyzing the state of the union. The album-opening track "That's How I Like It" and the first single "Red White & Blue" are the group's statements of purpose and patriotic solidarity, respectively. Meanwhile, "The Way" and "All Funked Up" observe that all is not perfect in our nation and world. The group tips their hat to fallen comrade Wilkeson on "Mad Hatter," and joins forces with current-day rap rocker Kid Rock for a spicy bonus track update of their 1976 classic "Gimme Back My Bullets." Nine members strong these days, the current edition of Lynyrd Skynyrd performs with a fire and intensity similar to the legendary 1970's incarnation. Singer Johnny Van Zant, who has now sung for Skynyrd longer than his legendary late brother Ronnie, sings these songs with ample passion and grit. Gary Rossington, Rickey Medlocke and Hughie Thomasson demonstrate fiery and inspired guitarwork throughout the album; even if Rossington did recycle a "Free Bird" lick on "Red White & Blue." And Billy Powell's sparkling piano work still offers a tasty balance to Lynyrd Skynyrd's guitar-driven edge. Lynyrd Skynyrd have proven once again that they are survivors, and on Vicious Cycle, the legendary Southern rockers not just survive, but thrive. This album is a triumphant set that carries on the Skynyrd tradition proudly.
NEIL YOUNG & CRAZY HORSE – GREENDALE (Reprise) Neil Young, through his lengthy and illustrious career, has proven time and again that he boldly follows his own muse, with no apprehension as to where that muse may lead. Young's boldness has yielded both legend and folly through his discography, making him one of rock's most compelling entities. Young's latest offering, Greendale, is another bold step in his career, an intriguing musical novel that examines small town America, the media, idealism and accountability. The album's storyline loosely follows the soap opera happenings in Greendale, a small western coastal town; and the trials and tribulations of a family, the Green's. During the course of the album, one family member kills a police officer and ends up in jail ("Leave The Driving"), the family patriarch expires during a television interview (Grandpa's Interview"), and another family member eventually turns eco-activist ("Sun Green," "Be The Rain"). The story itself is haphazard and unpredictable; Young even concedes in the liner notes that he does not know exactly what is happening with his own story. Yet as confusing as the storyline may be, Young succeeds in giving his characters some depth and development, and illustrating the domino effect of how one person's actions can impact a whole community. He paints a picture of small-town America gone awry and innocence lost. Young and his band, Crazy Horse, paint that picture as only they can; constructing a raw-sounding cacophony of fuzz-guitar distortion and stripped-down chord progressions, riding atop a blues-rock foundation. The group effectively uses this noisy and unpolished musical backdrap to enhance the album's lyrical themes of life's tragedies and twisted ideals. The album also features a bonus DVD, featuring Young’s acoustic live performance of the Greendale album at Vicar St. in Dublin, Ireland. Greendale is best appreciated as a whole album. Its ten songs are most effective in tandem as a complete story; but lose some meaning when separated outside the context of Young's elaborate story. Neil Young reprises his stature as a storyteller on Greendale, an imaginative and compelling set that again establishes Young as an adventurer unafraid to indulge his whims and reassess his feelings and ideals.
METALLICA – ST. ANGER (Elektra) Ever since Metallica's self-titled 1990 'black' album escalated them to superstardom, the group has found itself torn between two opposing fan bases. One fan base champions the group's earlier, angrier sound and has been decrying Metallica as commercial sell-outs ever since that pivotal 1990 release turned them into MTV poster children. The other fan base is the one that has embraced the group since that vault to superstardom, who regards hits like "Enter Sandman" and "Until It Sleeps" as Metallica's best work. With the rift between both schools of Metallica fans growing wider with each release since 1990, the group has found itself increasingly under siege, and at a crossroads between the two factions as they release their latest album, St. Anger. Does Metallica continue to appease the nu-metal/alternative generation, or do they attempt to win back their older fan base with a return to an angrier, hungrier sound? The answer offered on St. Anger leans toward the latter. St. Anger is easily the group's fastest and most aggressive album since 1985's Master Of Puppets, with songs featuring numerous fast breaks, machine gun-like double-kick bass drum battering by Lars Ulrich, and frontman James Hetfield's rawest snarling since the 80's. The prevalent theme of St. Anger is Hetfield's soul-searching and explorations of inward and outward anger. Songs like “Dirty Window” and “My World” appear rooted in Hetfield’s recent bout with alcoholism; while the multi-speed, unpredictable title song "St. Anger" explores the anatomy and roots of Hetfield’s anger. “Invisible Kid” seems to reflect on Hetfield’s own childhood, while the closer “All Within My Hands” violently lashes out at his mistakes. Another multi-speed assault, “Some Kind of Monster,” defines personal fear and adversity as a beast to be conquered. Metallica’s apparent return to aggression doesn't come without a price. Perhaps in their zeal to convince everyone that they are back to their old selves again, producer Bob Rock and Metallica went for a less-polished, raw sound. They overdid it, particularly with Ulrich's snare drum sound, which more often than not comes across as a distracting pie-pan 'ping,' and comes off as sloppy on the faster numbers. Hetfield's voice is more aggressive, but also more weathered and worn. And guitarist Kirk Hammett’s trademark lightspeed solo displays are notably absent; their presence might have made some of the lengthier numbers more effective. Ultimately, Metallica’s ability to create compelling, intelligent compositions wins the day, and even with its production flaws, St. Anger is at least an intriguing set. But while Metallica offers an olive branch to their old-school fan base on St. Anger, the production flaws prevent this album from being the knockout punch the group needed. Some fans will embrace the album, some fans from both old and new schools will dismiss it; and the album ultimately raises more questions than answers about Metallica and where they are headed.
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