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.
Monday, November 3, 2008
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
Friday, November 16, 2007
The Fratellis – Costello Music
I stumbled onto the Fratellis’ single “Chelsea Dagger” back in March or April. I think it was mentioned in a music article on Slate online. I fell for the raucous barroom sing-along feel, and I wound up using it in a mix CD I put together in May. I was curious to see what they would do with a whole album.
Thankfully, Costello Music is more of the same. Unlike most of the music coming out of England, there isn’t a trace of the New Wave Revival here. There aren’t synthesizers, and there are no nods to the pop of the 80s. Instead, the record sounds as though it was designed to be played on a pub jukebox on Friday night. Rocking with energy and pace, rather than power chords and hair spray, the Fratellis seem to care more about enjoying themselves than making art. This is a fun record.
My favorite track is “For a Girl,” simply because I’m a sucker for a good melody, but “Flathead” and “Everybody Knows You Cried Last Night” are also standouts. Really, though, there aren’t any bad songs, and the album sounds pretty terrific straight through.
Thankfully, Costello Music is more of the same. Unlike most of the music coming out of England, there isn’t a trace of the New Wave Revival here. There aren’t synthesizers, and there are no nods to the pop of the 80s. Instead, the record sounds as though it was designed to be played on a pub jukebox on Friday night. Rocking with energy and pace, rather than power chords and hair spray, the Fratellis seem to care more about enjoying themselves than making art. This is a fun record.
My favorite track is “For a Girl,” simply because I’m a sucker for a good melody, but “Flathead” and “Everybody Knows You Cried Last Night” are also standouts. Really, though, there aren’t any bad songs, and the album sounds pretty terrific straight through.
Sharon Jones & the Dap Kings – 100 Days, 100 Nights and Naturally
I learned of Sharon Jones because she was involved in some bogus “feud” with Amy Winehouse and Mark Ronson because they’d “stolen” her band, the Dap Kings. I loved the sound of Mark Ronson’s work on his own album and Winehouse’s, so when I discovered that the Dap Kings were responsible for a lot of that sound, it didn’t take me long to find these albums.
Playing with Sharon Jones, the Kings’ sound is really something special. The production is clean, without being glossy, and you can really hear each instrument. The Kings play wonderfully together, and Jones has a classic soul voice that adds a lot to the mix.
The only drawback is the songwriting. The lyrics and melodies of many of these songs can’t match the energy, feel, and emotion that Sharon and the Kings are putting into them. That is why, I think, there aren’t many songs, and several of them are covers. (Another reason for the shorter track listing is a conscious effort to evoke the look and feel of LPs from the late 60s and early 70s.)
Songwriting aside, there are some very good songs here. On Naturally, the 1-2 punch of “How Do You Let a Good Man Down” and “Natural Born Lover” is pretty stellar. “How Long Do I Have to Wait for You” is another favorite of mine. On 100 Days, 100 Nights, there are fewer funk workouts, and one abominable duet (“Tell Me”) that’s the only track on these two albums I have to skip. But the record also contains a few gems in “Something’s Changed” and the title track. Better still, the record comes with a Daptone Records sampler CD hosted by someone named Binky Griptite. It’s almost an hour long, and it’s great. A little uneven, but great.
I can’t wait to pick up their first record, Dap-Dippin’ with Sharon Jones and the Dap Kings. Soul Power!
Playing with Sharon Jones, the Kings’ sound is really something special. The production is clean, without being glossy, and you can really hear each instrument. The Kings play wonderfully together, and Jones has a classic soul voice that adds a lot to the mix.
The only drawback is the songwriting. The lyrics and melodies of many of these songs can’t match the energy, feel, and emotion that Sharon and the Kings are putting into them. That is why, I think, there aren’t many songs, and several of them are covers. (Another reason for the shorter track listing is a conscious effort to evoke the look and feel of LPs from the late 60s and early 70s.)
Songwriting aside, there are some very good songs here. On Naturally, the 1-2 punch of “How Do You Let a Good Man Down” and “Natural Born Lover” is pretty stellar. “How Long Do I Have to Wait for You” is another favorite of mine. On 100 Days, 100 Nights, there are fewer funk workouts, and one abominable duet (“Tell Me”) that’s the only track on these two albums I have to skip. But the record also contains a few gems in “Something’s Changed” and the title track. Better still, the record comes with a Daptone Records sampler CD hosted by someone named Binky Griptite. It’s almost an hour long, and it’s great. A little uneven, but great.
I can’t wait to pick up their first record, Dap-Dippin’ with Sharon Jones and the Dap Kings. Soul Power!
Thursday, November 15, 2007
Queens of the Stone Age – Era Vulgaris
Ugh. Not impressed.
I own Songs for the Deaf, which I really like in spite of the terrible radio station skits. I passed on buying Lullabies to Paralyze because Nick Oliveri left the band and Dave Grohl (my favorite aspect of Deaf) wasn’t involved either. It didn’t help that the record got mixed reviews. I was excited, then, when most of the reviews I read raved about Era Vulgaris. The Queens’ brand of hard rock is out of fashion right now, and there’s hardly anyone doing it well, so this record was coming at the perfect time. (I must admit that playing “No One Knows” repeatedly on Guitar Hero 1 might also have primed me for the release of this album.
But it’s just a bunch of noise. Josh Homme can still play guitar really well, and his band plays some intimidating passages, but there isn’t a song on the album. Compare it to Deaf, which had “Hanging Tree,” “First It Giveth” and others in addition to the awesome singles “No One Knows” and “Go With The Flow.” Each of these was a song I could hum. There’s only one song like that on Era Vulgaris, and it’s “Make It Wit Chu.” Sorry, Queens. Not good enough.
I own Songs for the Deaf, which I really like in spite of the terrible radio station skits. I passed on buying Lullabies to Paralyze because Nick Oliveri left the band and Dave Grohl (my favorite aspect of Deaf) wasn’t involved either. It didn’t help that the record got mixed reviews. I was excited, then, when most of the reviews I read raved about Era Vulgaris. The Queens’ brand of hard rock is out of fashion right now, and there’s hardly anyone doing it well, so this record was coming at the perfect time. (I must admit that playing “No One Knows” repeatedly on Guitar Hero 1 might also have primed me for the release of this album.
But it’s just a bunch of noise. Josh Homme can still play guitar really well, and his band plays some intimidating passages, but there isn’t a song on the album. Compare it to Deaf, which had “Hanging Tree,” “First It Giveth” and others in addition to the awesome singles “No One Knows” and “Go With The Flow.” Each of these was a song I could hum. There’s only one song like that on Era Vulgaris, and it’s “Make It Wit Chu.” Sorry, Queens. Not good enough.
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