First of all, let’s drop the pretense that this is a Guns N Roses record. It’s an Axl Rose record. The album’s saga – Axl kicking everyone out of the group and recording his escalating insanity for 17 years – is pretty well-known to everyone. But pretending it’s a Guns N Roses record has caused some people to compare it to Appetite for Destruction, which is ludicrous and unfair.
I’m not actually the biggest Appetite fan out there. It’s a great record, but I’ve always preferred Use Your Illusion 1 & 2, even though I know those albums aren’t as good. (Does that make any sense?) UYI 1 was my first Guns N Roses album; my first hard rock album of any kind, really. I got it in 7th grade, when the “November Rain” and “Don’t Cry” videos were on MTV. I got UYI 2 a year later, but I didn’t get Appetite until high school. (I wasn’t paying attention to music when Appetite came out in 1987. I was too busy watching Thundercats and listening to Weird Al.) As a result, I have spent way more time listening to the bloated, uneven, grandiose, Axl-dominated UYI albums than I have listening to the lean, punishing metal of Appetite.
Chinese Democracy is the logical progression, based on the albums mentioned above. (I’m excluding 1989’s Lies, because we all need to start pretending it never happened.) On Chinese, Axl is a bit crazier, his stylistic experimentation is a little wilder, his lyrics a little more paranoid. But where I was expecting 18-minute epics about Axl’s wistful nostalgia for the warmth and security of his mother’s uterus, all the songs clock in around 5 minutes and they’re pretty accessible. Well, some of them are accessible. My favorites are “Catcher in the Rye” and “Street of Dreams”: two of the catchiest, prettiest moments on the album. I also like “Better” and “If the World.” (Some reviewer noted that “If the World” looks and sounds like a James Bond theme, and that assessment couldn’t be more accurate.)
One welcome surprise for me was Axl’s vocals. He sounds great, and has a better range than I remember. Furthermore, the vocals are recorded and processed perfectly. (Of course, he had 17 years to get the vocals exactly right, so maybe I shouldn’t be too generous.)
In general, the record is thrilling when it works and fascinating when it doesn’t. It’s worth a listen, for curiosity’s sake.
If you’re still curious about Chinese Democracy and you want a good read, check out Chuck Klosterman’s review of the album.
Friday, February 20, 2009
Friday, February 13, 2009
The Sounds – Dying to Say This to You
By any statistical measure, I should love this album. It’s indie Swedish pop-rock. (Fantastic!) It’s dripping with 80s-style synthesizers. (Fabulous!) But somehow, it didn’t come together for me.
Some of my misgivings are probably due to singer Maja Ivarsson's punky delivery. She sneers her way through lyrics and melodies that most other singers would have prettified. While that approach initially makes the songs sound sassy, repeat listens render it obnoxious.
A larger problem, however, is the songwriting. All the songs have memorable, poppy choruses, but most of them lack matching verses. “Tony the Beat,” for example, shifts through 3 lackluster sections before finding the song’s creamy pop center.
Regardless of the album’s failings, there’s still a lot to appreciate here. “Hurt You” sounds like a relic from 1982 (in the best way possible). You might know it from the Geico commercial where the cavemen are wearing colorful leather motorcycle suits. The more up-tempo version of “Night After Night” is included as a bonus track, and I prefer it to the ballad version. In either version, it’s the prettiest melody on the album.
Some of my misgivings are probably due to singer Maja Ivarsson's punky delivery. She sneers her way through lyrics and melodies that most other singers would have prettified. While that approach initially makes the songs sound sassy, repeat listens render it obnoxious.
A larger problem, however, is the songwriting. All the songs have memorable, poppy choruses, but most of them lack matching verses. “Tony the Beat,” for example, shifts through 3 lackluster sections before finding the song’s creamy pop center.
Regardless of the album’s failings, there’s still a lot to appreciate here. “Hurt You” sounds like a relic from 1982 (in the best way possible). You might know it from the Geico commercial where the cavemen are wearing colorful leather motorcycle suits. The more up-tempo version of “Night After Night” is included as a bonus track, and I prefer it to the ballad version. In either version, it’s the prettiest melody on the album.
Monday, November 3, 2008
Prince – Dirty Mind & the Symbol Album
I’m a big Prince fan, but his catalogue is intimidating. He’s famously prolific, having released 25 or so albums since the late 1970s (to say nothing of the rumors of hundreds of unreleased songs recorded at his home studio in Paisley Park). I already own 1999, Purple Rain, and Sign o’ the Times (all classic albums). I’ve read that Dirty Mind is his artistic breakthrough and should be considered indispensable, but somehow it had escaped my attention. The Symbol Album (from that period when Prince changed his name to an unpronounceable symbol and spawned a decade of “the artist formerly known as” jokes) contains two of my favorite Prince songs: “Morning Papers” and “7”, as well as a few other hits, so I figured it was a good bet. I grabbed these two CDs in the hopes that they were the last Prince I’d ever need to buy.
First, the good news: Dirty Mind is sick, twisted, brilliant, and unspeakably fun. I was familiar with the singles from this record – “Dirty Mind”, “When You Were Mine”, “Head” and “Uptown” – and I liked the early-80s New Wave/funk feel they had. I was surprised to find that 2 more songs (“Do It All Night” and “Gotta Broken Heart Again”) are stunning. The first is a funk-pop confection that favorably recalls “Why You Wanna Treat Me So Bad?” without recreating it. The second is a mid-tempo ballad that explodes into a wailing chorus of multiple Princes about 20 seconds before the end. It’s a wonderful moment in an album that’s full of them. The other 2 songs on the record are fine, if unspectacular. Played straight through, the album is bright, concise, and brimming with ideas. A terrific record.
Next, the bad news: the Symbol Album is basically the opposite. It’s overlong where Dirty Mind is lean. It’s unfocussed and messy where Dirty Mind’s concentration (on sex, parties, and sex parties) is razor-sharp. It contains annoying and incomprehensible voiceovers by Kirstie Alley where Dirty Mind includes none. But most importantly, the songs are dreary, self-indulgent, and uninteresting. This is a problem Dirty Mind does not have. To my mind, the Symbol Album represents the beginning of Prince’s 90s malaise that he’s only recently escaped. “Morning Papers” and “7” aside, this album is mostly filler. Avoid at your peril.
First, the good news: Dirty Mind is sick, twisted, brilliant, and unspeakably fun. I was familiar with the singles from this record – “Dirty Mind”, “When You Were Mine”, “Head” and “Uptown” – and I liked the early-80s New Wave/funk feel they had. I was surprised to find that 2 more songs (“Do It All Night” and “Gotta Broken Heart Again”) are stunning. The first is a funk-pop confection that favorably recalls “Why You Wanna Treat Me So Bad?” without recreating it. The second is a mid-tempo ballad that explodes into a wailing chorus of multiple Princes about 20 seconds before the end. It’s a wonderful moment in an album that’s full of them. The other 2 songs on the record are fine, if unspectacular. Played straight through, the album is bright, concise, and brimming with ideas. A terrific record.
Next, the bad news: the Symbol Album is basically the opposite. It’s overlong where Dirty Mind is lean. It’s unfocussed and messy where Dirty Mind’s concentration (on sex, parties, and sex parties) is razor-sharp. It contains annoying and incomprehensible voiceovers by Kirstie Alley where Dirty Mind includes none. But most importantly, the songs are dreary, self-indulgent, and uninteresting. This is a problem Dirty Mind does not have. To my mind, the Symbol Album represents the beginning of Prince’s 90s malaise that he’s only recently escaped. “Morning Papers” and “7” aside, this album is mostly filler. Avoid at your peril.
Neon Neon – Stainless Style
I was captivated by the idea of this album before I’d heard a note of it. (And really, who wouldn’t be interested in a concept album about John DeLorean that recreates the sound of the early 80s?) While the album as a whole isn’t all it could have been, you can create a stunning 6-song EP from this 12-song record.
The album begins with “Neon Theme,” a synthesizer instrumental that conjures images of Miami Vice. Next comes a set of pop-rock songs (“Dream Cars”, “I Told Her on Alderaan” and “Raquel”) that sound like sonic stepchildren of Toto, Men at Work, or Phil Collins. Skip the terrible “Trick for Treat”, and head for “Steel Your Girl” (cut from similar cloth as tracks 2-4) and “I Lust You”, which favorably recalls the interchangeable dance-pop songstresses of the mid-80s. Stop there. The other songs on the record, while interesting to hear once, weren’t much fun to listen to and didn’t seem of a piece with the first batch. Stylistically, there’s more of a modern rap/R&B sound that simply doesn’t mesh.
I feel that "Raquel" alone justified my purchase, but if you're the sort that doesn't like paying for song you probably won't enjoy, cherry-pick this one in iTunes.
The album begins with “Neon Theme,” a synthesizer instrumental that conjures images of Miami Vice. Next comes a set of pop-rock songs (“Dream Cars”, “I Told Her on Alderaan” and “Raquel”) that sound like sonic stepchildren of Toto, Men at Work, or Phil Collins. Skip the terrible “Trick for Treat”, and head for “Steel Your Girl” (cut from similar cloth as tracks 2-4) and “I Lust You”, which favorably recalls the interchangeable dance-pop songstresses of the mid-80s. Stop there. The other songs on the record, while interesting to hear once, weren’t much fun to listen to and didn’t seem of a piece with the first batch. Stylistically, there’s more of a modern rap/R&B sound that simply doesn’t mesh.
I feel that "Raquel" alone justified my purchase, but if you're the sort that doesn't like paying for song you probably won't enjoy, cherry-pick this one in iTunes.
Wednesday, July 23, 2008
Oasis – Definitely Maybe
A recent blog post on the Onion’s A.V. Club about mid-90’s Oasis B-sides rekindled my interest in this album. When Oasis originally hit it big stateside with What’s the Story, (Morning Glory)?, I was in high school, pretending not to like them. I remember hearing about them as though they were this amazing new band. Then “Wonderwall” came out, didn’t change the world, and everyone soured on them. (That’s not to say that no one bought their album. They won the wallets of America, but not their hearts and minds.)
The major complaint about Oasis at the time was that they were too “Beatlesesque.” But as Steve Hyden points out in that blog post, Oasis wasn’t a mere Beatles knock-off, because they stole from everybody—the Stone Roses, the Faces, the Kinks and T. Rex, to name a few. Now that I’m familiar with these bands, I can hear them in Oasis’ sound, sometimes verbatim.
I have to suspect that part of the problem with Morning Glory is that the first 3 singles were ballads and mid-tempo anthems. They were well-written songs (even if the lyrics were a bit ridiculous), but they didn’t match the “hot new thing” buzz the band was getting at the time. I have to think that if Oasis had released a scuzzy, up-tempo rocker of a single, they might have won over the fickle teenagers. Interestingly, Definitely Maybe is full of scuzzy, up-tempo rockers, and enjoys a little more respect than its massive-selling follow-up.
I don’t love the album, however. Certainly, it’s got a batch of great songs. “Rock ‘N’ Roll Star” is a statement of purpose and is a contender for best first song on a debut album ever (see my post about Elvis Costello – My Aim is True). “Live Forever” presages the lad anthems Oasis would go on to write. “Supersonic” is a keeper as well. But the execution of these well-written tracks is often self-indulgent. Only two of the eleven songs clock in under 4 minutes, and both are buried at the end of the album. The result is a lot of guitar noodling when it isn’t really appropriate. (Let’s face it – no one thinks of Noel Gallagher as a virtuoso) The guitar solo on “Rock ‘N’ Roll Star,” for instance, made me think of The Grateful Dead or Phish. I’m sure that wasn’t what the band was shooting for.
All in all, it’s an album worth owning, but I would be happier listening to Blur’s contemporaneous masterpieces Parklife and The Great Escape.
The major complaint about Oasis at the time was that they were too “Beatlesesque.” But as Steve Hyden points out in that blog post, Oasis wasn’t a mere Beatles knock-off, because they stole from everybody—the Stone Roses, the Faces, the Kinks and T. Rex, to name a few. Now that I’m familiar with these bands, I can hear them in Oasis’ sound, sometimes verbatim.
I have to suspect that part of the problem with Morning Glory is that the first 3 singles were ballads and mid-tempo anthems. They were well-written songs (even if the lyrics were a bit ridiculous), but they didn’t match the “hot new thing” buzz the band was getting at the time. I have to think that if Oasis had released a scuzzy, up-tempo rocker of a single, they might have won over the fickle teenagers. Interestingly, Definitely Maybe is full of scuzzy, up-tempo rockers, and enjoys a little more respect than its massive-selling follow-up.
I don’t love the album, however. Certainly, it’s got a batch of great songs. “Rock ‘N’ Roll Star” is a statement of purpose and is a contender for best first song on a debut album ever (see my post about Elvis Costello – My Aim is True). “Live Forever” presages the lad anthems Oasis would go on to write. “Supersonic” is a keeper as well. But the execution of these well-written tracks is often self-indulgent. Only two of the eleven songs clock in under 4 minutes, and both are buried at the end of the album. The result is a lot of guitar noodling when it isn’t really appropriate. (Let’s face it – no one thinks of Noel Gallagher as a virtuoso) The guitar solo on “Rock ‘N’ Roll Star,” for instance, made me think of The Grateful Dead or Phish. I’m sure that wasn’t what the band was shooting for.
All in all, it’s an album worth owning, but I would be happier listening to Blur’s contemporaneous masterpieces Parklife and The Great Escape.
Tuesday, July 22, 2008
Thin Lizzy – Jailbreak
A lot has been written about Thin Lizzy’s guitar sound, but I’m not sure it’s enough. The guitars are tough and muscular, but also precise and lyrical. Guitarists Brian Robertson and Scott Gorham developed a dual-lead-guitar sound that’s harmonious and intricate, and must have taken a long time to perfect.
Even if you’ve never heard of Thin Lizzy, you probably know this sound from the guitar solo in the monster hit “The Boys Are Back in Town.” Despite its use in just about every commercial aimed at men (for cars, jeans, beer, etc), the song remains compulsively listenable. Much of that is due to frontman Phil Lynott’s lyrics (supposedly written about soldiers returning from Vietnam), which have a Springsteen quality, only more kick-ass.
There are other great songs on the album, “Jailbreak” and “Cowboy Song” among them. The former is a powerful album-opener with a propulsive bassline, while the latter is an epic Western featuring soaring guitar work. The other songs are always interesting, even if they don’t reach these heights.
Perhaps the coolest thing about the album, though, is the jaw-droppingly ridiculous sci-fi story in the liner notes. Apparently, in Dimension 5, the world was ruled by "the Overmaster, whose lust for ultimate power had become an obsession.” The subjects under his rule were essentially slaves, and he imprisoned innocent people on a whim. Eventually, a rebel leader called “the Warrior” leads a jailbreak. While this might have made a good novel, it’s laugh-inducing when rendered in 3 paragraphs on a single page in the liner notes. You can’t fault their ambition, though.
Over the course of this album, Thin Lizzy became my favorite 70s rock band. Enough said.
Even if you’ve never heard of Thin Lizzy, you probably know this sound from the guitar solo in the monster hit “The Boys Are Back in Town.” Despite its use in just about every commercial aimed at men (for cars, jeans, beer, etc), the song remains compulsively listenable. Much of that is due to frontman Phil Lynott’s lyrics (supposedly written about soldiers returning from Vietnam), which have a Springsteen quality, only more kick-ass.
There are other great songs on the album, “Jailbreak” and “Cowboy Song” among them. The former is a powerful album-opener with a propulsive bassline, while the latter is an epic Western featuring soaring guitar work. The other songs are always interesting, even if they don’t reach these heights.
Perhaps the coolest thing about the album, though, is the jaw-droppingly ridiculous sci-fi story in the liner notes. Apparently, in Dimension 5, the world was ruled by "the Overmaster, whose lust for ultimate power had become an obsession.” The subjects under his rule were essentially slaves, and he imprisoned innocent people on a whim. Eventually, a rebel leader called “the Warrior” leads a jailbreak. While this might have made a good novel, it’s laugh-inducing when rendered in 3 paragraphs on a single page in the liner notes. You can’t fault their ambition, though.
Over the course of this album, Thin Lizzy became my favorite 70s rock band. Enough said.
Friday, December 14, 2007
Hair Band Throwdown!
In a bit of a departure from the record reviews, I’m going to write about a mix CD I made recently that I’m very proud of. (Hopefully, this will not disappoint any of my millions of readers.)
Chee-Zee 80s Rock
or
A Journey from Europe to Asia
1. Danger on the Track - Europe
2. Separate Ways (Worlds Apart) – Journey
3. Turn up the Radio – Autograph
4. Never – Moving Pictures
5. The Stroke – Billy Squier
6. Cherry Pie – Warrant
7. In My Dreams – Dokken
8. Heat of the Moment – Asia
9. Working for the Weekend – Loverboy
10. Cherokee – Europe
11. Don’t Stop Believin’ – Journey
12. You’re the Voice – John Farnham
The inspiration for this CD came from two sources:
1. an online essay about the most inspirational songs of the 1980s (thanks, JC): http://www.cracked.com/article_15636_10-most-terrifyingly-inspirational-80s-songs.html
2. the soundtrack to the movie Hot Rod. For those of you who didn’t see it (and I think that’s just about everyone), Hot Rod is the inspirationally hilarious story of a hapless wannabe stuntman/daredevil. Even though the film is set in the present day, the music is predominantly hair bands from 1986. Righteous.
I have to say, I was a little wary of collecting this much wanky cock rock in one place. It’s really potent, powerful stuff. I think critical mass of this sort of music is about 10 minutes, and I’ve assembled an album nearly an hour long. I grew a rat-tail just putting it together. Definitely do not let pregnant women handle the CD. Or any especially fertile women. Like I said, this is strong stuff, and I don’t want any lawsuits.
Some of the songs were included because they’re awesome (“Danger on the Track”), some because they’re ridiculously awful (“Never”), and some because they are both (“Cherokee”). But all the songs rock in that pop-metal, how-preposterous-were-the-80s kind of way. And if you’re still curious how preposterous the 80s were, here’s another link: http://www.youtube.com/watch?v=sxxOyGK1pMk
Chee-Zee 80s Rock
or
A Journey from Europe to Asia
1. Danger on the Track - Europe
2. Separate Ways (Worlds Apart) – Journey
3. Turn up the Radio – Autograph
4. Never – Moving Pictures
5. The Stroke – Billy Squier
6. Cherry Pie – Warrant
7. In My Dreams – Dokken
8. Heat of the Moment – Asia
9. Working for the Weekend – Loverboy
10. Cherokee – Europe
11. Don’t Stop Believin’ – Journey
12. You’re the Voice – John Farnham
The inspiration for this CD came from two sources:
1. an online essay about the most inspirational songs of the 1980s (thanks, JC): http://www.cracked.com/article_15636_10-most-terrifyingly-inspirational-80s-songs.html
2. the soundtrack to the movie Hot Rod. For those of you who didn’t see it (and I think that’s just about everyone), Hot Rod is the inspirationally hilarious story of a hapless wannabe stuntman/daredevil. Even though the film is set in the present day, the music is predominantly hair bands from 1986. Righteous.
I have to say, I was a little wary of collecting this much wanky cock rock in one place. It’s really potent, powerful stuff. I think critical mass of this sort of music is about 10 minutes, and I’ve assembled an album nearly an hour long. I grew a rat-tail just putting it together. Definitely do not let pregnant women handle the CD. Or any especially fertile women. Like I said, this is strong stuff, and I don’t want any lawsuits.
Some of the songs were included because they’re awesome (“Danger on the Track”), some because they’re ridiculously awful (“Never”), and some because they are both (“Cherokee”). But all the songs rock in that pop-metal, how-preposterous-were-the-80s kind of way. And if you’re still curious how preposterous the 80s were, here’s another link: http://www.youtube.com/watch?v=sxxOyGK1pMk
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