Sorry for the long delay in writing a new post for my blog. I wish I had good excuses but I do not. Such activities as clipping my toe nails, running on a treadmill and attending Celtics games has held up my productivity. Anyways, I thought I would throw two brief reviews your way so you could be inspired to go out and buy some new music.
Pearl Jam - Back Spacer
This is the best album that Pearl Jam has released in the new millennium, no questions asked. While their last three albums (Binaural, Riot Act, and Pearl Jam) are all honorable rock records none of them stack up to Back Spacer. From the first notes of "Gonna See my Friend" to the closing track "The End" this album is packed with a vigor, creativity and punky pop flavor that has not been heard seen since the 1990's. I guess shedding their recording contract with Epic allowed them to free themselves from a cage. Highlights include "Got Some" which is a driving track that boasts rattling drums, screeching solos and inviting Veder vocals; "got some if you need it." The first single "The Fixer" has a crunchy guitar and shows the poppy side of PJ not seen since "Given to Fly" on 1998's Yield. Pearl Jam even released a music video for "The Fixer" despite their history of not doing so. "Just Breathe" is a love song with strings and pretty vocals. "Super Sonic" is the punkiest track on the album and features a break down with guitarists McCreedy and Gossard showing off their swirling fuzz grunge guitars. "Force of Nature" is a Neil Young rocker. On "Amongst the Waves" Eddie Veder sums up the album when he sings "riding high amongst waves, I can feel like I, have a soul that has been saved." Yes, folks, Pearl Jam is back and better then ever!
Them Crooked Vultures
One cannot help but feel cool when listening to Them Crooked Vultures due to the lineup and their rockin' sound. The band consists of John Paul Jones (Led Zeppelin) on bass and keys, Josh Homme (Queens of the Stone Age) on guitar and vocals, and Dave Grohl (Foo Fighters/Nirvana) on drums and backing vocals . As expected this album is filled with obvious elements of all of these musicians previous bands. Jones bass and keyboard lines are reminiscent of Zeppelin and he forms a cohesive and groovin' rhythm section with Grohl. Homme's vocals remind me of David Bowie/Scott Weliand at times and meanders from mean to pretty to creepy to sexxy. His guitar is grunge, metal and blues all packaged into one edgy sound. Dave Grohl's drums are raw and his playing is mean and John Bonham inspired. It is apparent through the sound that these three musicians are kindred spirits all sharing a love for groove and blues/metal rock and roll. Not to mention they self produced the album which I believe is the reason it has such a raw yet rich sound. The album opener "No One Loves me and Neither Do I" immediately reminds me of the Queens album Songs for the Deaf and ends with a mean drum lick. The first single "New Fang" has a bouncy "Trampled Under Foot" feel that makes one want to dance. "Warsaw or the First Breath You Take After You Give up" is a psychedelic number with wandering vocals and a wicked Zeppelin esque blues jam. "Scum Bag Blues" is exactly what the title states; a scuzzy guitar part, simple drums and overlapping solos by guitar and keys. "Gunman's" sound reminds me of a Marilyn Manson track with a dancy hi-hat slashing through the background. "Bandoliers" has a sexxy/laid back vibe that your girlfriend can definitely get down with. From beginning to end this album is definitely kick ass and worth a listen.
Sunday, December 6, 2009
Tuesday, September 15, 2009
Album of the Month - Horehound by Dead Weather
It is nice to hear Jack White rumble fearlessly through rock and roll with many a musical vehicle. While White does not take front and center in this band, Dead Weather, it is still a raw, gritty blues and garage rock explosion. Alison Mosshart of The Kills has a voice with striking resemblance to White that is both sexy (“No Hassle Night”) and rockin’ (“60 Feet Tall.”) However, she does not steal the show from White and on tracks like “Treat me Like Your Mother” they are at their best sharing the mic. Dean Fertita whom normally plays keys for Queens of the Stone Age provides some edgy guitar play and song writing on such tracks as “60 Feet Tall” and “Hang you from the Heavens.” “I Cut Like a Buffalo” is one of the best tracks on the album with punchy keys and chanting lyrics, unsurprisingly the only song White wrote on his own. “Rocking Horse” has a devilish country over tone as if it would fit in wonderfully in Quentin Tarantino’s film Kill Bill. Although this is no White Stripes album I still highly recommend it to those of you who enjoy bands such as Black Mountain and Jack White bands.
Sunday, June 28, 2009
Album of the Month - Octahedron by Mars Volta
The Mars Volta is a band that pulls from many musical styles; metal, grunge, jazz, funk, latin, psychadelic and is creating new avenues for rock and roll. Their long and epic songs/jams consist of distortion laden instruments, heavy hitting drums, solos screeching and an eagerness to test the limit. Yet, they have an uncanny ability to write a pretty pop song. They are a true progressive rock band that is led by the guitar player and songwriter Omar Rodriguez Lopez as well as vocalist Cedrix Bixler Zavala.
Rodriguez Lopez has an epic ability to write everything from a love song to a prog-metal track. His guitar snarls, bends and screeches in ways that remind one of Hendrix. His solos are trippy and artistic yet raucous and distortion/fuzz laden brilliance.
Baxler Zavala’s lyrics are poetic, strange and mystical. While his vocal pitch might be extremely high and female esque he still translates a pretty yet creepy emotion to the songs. His lyrics invoke strange and vivid imagery. “Vanished to the 5th dimentia, cables of ringworms, have hung themselves, on this I ate…communication shaped, serpent rays in prism tail rainbows escape.”
The rest of the band rotates based on the album or tour. However, recent mainstays consist of Thomas Pridgen on drums, Ikey Owens on keys, Juan Alderete on bass and Marcel Rodriguez Lopez on percussion. Over the course of Mars Volta both John Frusciante and Flea have lent a hand on their albums.
On their most recent album Octahedron they have shed the in your face drums and guitar that were featured on their previous album Bedlam in Goliath. Octahedron is much more pretty then metal and is laced with more sing along choruses, tighter song structures and shorter solo sections. Don’t worry though some tracks extend for minutes, dip in and out of strangeness and the lyrics make one think of wild visions.
Tracks like “Since We’ve Been Wrong” and “Twilight as my Guide” use keyboards, plucked strings and effect pedals to create a new landscape of sweet and eerie experimental rock and roll. “Teflon” is Radiohead and Hendrix in a blender and toughts the catchy line “Let the Wheels Burn.” “Halo of Nembutals” sounds like Bixler is having a conversation with himself and reminds me of an old track “The Widow”. Electronic drums and pianos open new doors for the band on “Copernicus.” “Luciforms” closes the album and builds from a wavering vocal and cymbals to a rockin’ guitar riff. Drums, pianos, electronics and guitar lines splatter around while Bixler Zavalla chants “Feel's like I’ve been running.”
This is a fantastic album by the Mras Volta and I highly recommend it for one and all. It is a great way to truly “get into” this band as the songs are digestable, singable and the guitar and drums rock like Zeppelin.
Rodriguez Lopez has an epic ability to write everything from a love song to a prog-metal track. His guitar snarls, bends and screeches in ways that remind one of Hendrix. His solos are trippy and artistic yet raucous and distortion/fuzz laden brilliance.
Baxler Zavala’s lyrics are poetic, strange and mystical. While his vocal pitch might be extremely high and female esque he still translates a pretty yet creepy emotion to the songs. His lyrics invoke strange and vivid imagery. “Vanished to the 5th dimentia, cables of ringworms, have hung themselves, on this I ate…communication shaped, serpent rays in prism tail rainbows escape.”
The rest of the band rotates based on the album or tour. However, recent mainstays consist of Thomas Pridgen on drums, Ikey Owens on keys, Juan Alderete on bass and Marcel Rodriguez Lopez on percussion. Over the course of Mars Volta both John Frusciante and Flea have lent a hand on their albums.
On their most recent album Octahedron they have shed the in your face drums and guitar that were featured on their previous album Bedlam in Goliath. Octahedron is much more pretty then metal and is laced with more sing along choruses, tighter song structures and shorter solo sections. Don’t worry though some tracks extend for minutes, dip in and out of strangeness and the lyrics make one think of wild visions.
Tracks like “Since We’ve Been Wrong” and “Twilight as my Guide” use keyboards, plucked strings and effect pedals to create a new landscape of sweet and eerie experimental rock and roll. “Teflon” is Radiohead and Hendrix in a blender and toughts the catchy line “Let the Wheels Burn.” “Halo of Nembutals” sounds like Bixler is having a conversation with himself and reminds me of an old track “The Widow”. Electronic drums and pianos open new doors for the band on “Copernicus.” “Luciforms” closes the album and builds from a wavering vocal and cymbals to a rockin’ guitar riff. Drums, pianos, electronics and guitar lines splatter around while Bixler Zavalla chants “Feel's like I’ve been running.”
This is a fantastic album by the Mras Volta and I highly recommend it for one and all. It is a great way to truly “get into” this band as the songs are digestable, singable and the guitar and drums rock like Zeppelin.
Monday, May 25, 2009
May's Music Picks
"When I Grow Up" – Fever Ray
Karin Dreijer Andersson writer of the project Fever Ray is originally from the Swedish band The Knife and has been writing solo music since The Knife took time off after winning a slew of Swedish Grammy’s in 2006 and playing a string of incredible live shows in 2007. This specific cut from the album is extremely accessible through its emotional lyrics, poppy keyboards and electro drums. It even floursihes a Japanese style keyboard melody towards the end. It is dark in tone and comes from the same school of thought as Bjork.
"The Last Baron" – Mastodon
This is a bruising 12 + minute prog rock metal epic. It also exemplifies Mastodon’s new ability to slow down their pace and add a bit more space to their music in order to make their riffs, rolls and vocals bigger and bolder. Don’t fret though this song still has chugging guitar sections and is completely bad ass. The guitars and drums are technical but their sound oozes classic rock more then any previous album with the help of a keyboard player and increased singing.
Wavering Radiant - Isis
Isis originally formed in Boston area in the late 1990’s but now resides in LA. They are back with a new album on Ipecac Records, Wavering Radiant, and continue to push the progressive/art metal scene. With vocals that range from sounding like 311 to the growling of classic metal you will not be disappointed. Their slow grinding guitar riffs remind me of Tool and their artsy side ventures to touch on metal music in the same mind set as Neurosis.
Karin Dreijer Andersson writer of the project Fever Ray is originally from the Swedish band The Knife and has been writing solo music since The Knife took time off after winning a slew of Swedish Grammy’s in 2006 and playing a string of incredible live shows in 2007. This specific cut from the album is extremely accessible through its emotional lyrics, poppy keyboards and electro drums. It even floursihes a Japanese style keyboard melody towards the end. It is dark in tone and comes from the same school of thought as Bjork.
"The Last Baron" – Mastodon
This is a bruising 12 + minute prog rock metal epic. It also exemplifies Mastodon’s new ability to slow down their pace and add a bit more space to their music in order to make their riffs, rolls and vocals bigger and bolder. Don’t fret though this song still has chugging guitar sections and is completely bad ass. The guitars and drums are technical but their sound oozes classic rock more then any previous album with the help of a keyboard player and increased singing.
Wavering Radiant - Isis
Isis originally formed in Boston area in the late 1990’s but now resides in LA. They are back with a new album on Ipecac Records, Wavering Radiant, and continue to push the progressive/art metal scene. With vocals that range from sounding like 311 to the growling of classic metal you will not be disappointed. Their slow grinding guitar riffs remind me of Tool and their artsy side ventures to touch on metal music in the same mind set as Neurosis.
It's May and We are still watching the NBA?
My Thoughts on Lebron James and the Cavs part II
Earlier this year I wrote about how Lebron James was quite possibly the best player in the league but how he did not have the supporting cast to win a championship. (scroll way down this page) Some of my readers thought I was crazy, some agreed and most chose not to comment. Heading into game four of the Cavs/Magic series it is becoming abundantly clear that my prediction was accurate. Lebron, Mo Williams and Delonte West are a good trio but are not as powerful as Rashard Lewis, Dwight Howard and Hedo Turkoglu.
I didn’t forget that the Cavs cruised through the first two rounds while playing great defense, outscoring opponents and dominating at home. However, the Cavs needs another allstar to compliment Lebron in winning a championship or golf season will come early for the Cavs.
Take away Lebron’s sharp shooting in game two and the Cavs are down 0-3. You can call me a bitter Celtics fan or a homer but I am sticking to my guns. Magic in seven games!
Sorry Lebron it’s the Magic’s year.
Now onto to some of my new favorite music!
Earlier this year I wrote about how Lebron James was quite possibly the best player in the league but how he did not have the supporting cast to win a championship. (scroll way down this page) Some of my readers thought I was crazy, some agreed and most chose not to comment. Heading into game four of the Cavs/Magic series it is becoming abundantly clear that my prediction was accurate. Lebron, Mo Williams and Delonte West are a good trio but are not as powerful as Rashard Lewis, Dwight Howard and Hedo Turkoglu.
I didn’t forget that the Cavs cruised through the first two rounds while playing great defense, outscoring opponents and dominating at home. However, the Cavs needs another allstar to compliment Lebron in winning a championship or golf season will come early for the Cavs.
Take away Lebron’s sharp shooting in game two and the Cavs are down 0-3. You can call me a bitter Celtics fan or a homer but I am sticking to my guns. Magic in seven games!
Sorry Lebron it’s the Magic’s year.
Now onto to some of my new favorite music!
Friday, April 10, 2009
Les Claypool's Of Fungi and Foe
A Brief History of Les Claypool
Those of you not familiar with Les Claypool then you should. His genius is far reaching and is respected on a high level across the rock and roll community. His bass playing is virtuosic that spans tapping, plucking and bowing metal, funk, punk and rock rhythms. He is best known for playing in and leading the band Primus. Songs like "Jerry the Race Car Driver", "John the Fisherman" and "Wynona’s Big Brown Beaver" are the most famous Primus songs. There last full length album was in 1999, Antipop, and they have only toured sporadically and recorded an EP once since that time. During the start of the millennium Claypool’s focus has been on his side projects (I say that because Primus is one of my favorite bands and I yearn for a new full length album). The bands/projects include Les Claypoool’s Fearless Flying Frog Brigade, his current band, the movie The Quest for Festeroo and a book coined South of the Pumphouse.
Les Claypool’s current band is Sam Bass on cello, Mike Dillon on vibraphone/percussion and Paulo Baldi on drums in which he recorded the album Of Fungi and Foe as well as being his touring band. Of Fungi and Foe was inspired by writing music for the video game Mushroom Men and the movie Pig Hunt. With a cello and a vibraphone accompanying him it allows exploration of music that is darker, creepier and earthier then past projects. The drums are muddy, his vocals mysterious, the cello eerie and the vibraphones add a cheesy yet talented element to round out the band.
Of Fungi and Foe
Of Fungi and Foe opens with the psychadelic “Mushrooom Men” that boasts the crazy four string Whammola that Claypool plays with a drum stick, dark tom based drums from Baldiand chirpy vibraphone. This track sets the tone for the rest of the album in both its lyrics, strange rhythms and psychadelic inspiration. “Amanitas” is one of my favorite tracks on the album as it reminds me of Primus and I truly enjoy the cello on this track. The lyrics on “Amanitas” draw me in because of lines like “I can feel your poison” referring to the fact that amanitas can alter your state of mind. “Red State Girl” will probably draw the ears of unlikely listeners because of its reference to Sarah Palin.
Throughout this album you can hear the influence Tom Waits has had on Claypool. Listen to Tom waits album Alice as a reference. “Booneville Stomp” features an acoustic bass that exudes a dancy tapped bass line with hi-hat rhythms and dark toms looming in the background. “You can’t Tell Erol Anything” speaks about a man who was a jack of all trades and joined a prog rock band which highlights the storytelling ability of Claypool. The cello bows in and out of “Erol” in a swirling manner with the vibraphone painting notes on the top of the song. “Primed by 29” is a bit heavier and a barely heard snare drum makes an appearance. “29” features the entire band babbling through lyric sections and on others Claypool chanting lines like “Gee what a terrible song, stinks like big wet donkey dong.”
Over all this album is fantastically original through its zany lyrics, odd rhythmic bass lines and the addition of a cello to Claypool’s already strange band.
Les Claypool @ The House of Blues Boston - The Oddity Faire
March 26, 2009
Seeing Les Claypool in Boston was the second time I was able to catch him on his current tour called The Oddity Faire. Saul Williams and The Secret Chiefs 3 opened the show and added to the mayhem of both evenings I attended. Seeing a hip-hop band, a eastern influenced metal band and Claypool was quite the experience.
Claypool’s band touted masks throughout the entire show that looked like former presidents. I noticed W. Bush on the vibes and tricky Dick on the Cello but wasn’t able to identify the third president on the drums. Claypool started the show in a mask with a long white nose and throughout the show he changed to a pig, monkey and Elvis. Claypool featured his six string bass, whammola, acoustic bass, banji bass and stand up bass.
The set opener “Buzzards of Green hill” was from his Frog Brigade days and a handful or so Of Fungi and Foe tracks were played. Including highlights like “Amanitas”, “Red State Girl” and “Booneville Stomp.” He played “One Better” from his last album Of Whale and Woe and went as far back as his Holy Mackerel bands 1996 song “Hendershot”.
In both Boston and Salt Lake City there was a drum solo interlude that blended into Mushroom Men that followed Mor. Following the drum solos in he brought out three of the members from Morphine and played one of their tunes. Throughout the set list he teased a few Primus bass lines; “Mr. Krinkle” and “Bob’s Party Time Lounge”. He started the encore by playing “Iowan Girl” solo on Banji bass and then ending the night with “Fisticuffs” from Primus’ Brown Album! What a show, I was so pumped he played a Primus track!
Track List:
Buzzards of Green Hill – Long White Nose Mask
Amanitas
Cosmic highway
Red State Girl – Mr. Krinkle tease - Pig Mask
Hendershot
Who Can Tell Erol Anything
Booneville Stomp
Drums/Vibes solos
Mushroom Men
Morphine song
One Better – Bob’s Party time tease
---- encore break
Iowan Girl – Elvis Mask
Fisticuffs
Those of you not familiar with Les Claypool then you should. His genius is far reaching and is respected on a high level across the rock and roll community. His bass playing is virtuosic that spans tapping, plucking and bowing metal, funk, punk and rock rhythms. He is best known for playing in and leading the band Primus. Songs like "Jerry the Race Car Driver", "John the Fisherman" and "Wynona’s Big Brown Beaver" are the most famous Primus songs. There last full length album was in 1999, Antipop, and they have only toured sporadically and recorded an EP once since that time. During the start of the millennium Claypool’s focus has been on his side projects (I say that because Primus is one of my favorite bands and I yearn for a new full length album). The bands/projects include Les Claypoool’s Fearless Flying Frog Brigade, his current band, the movie The Quest for Festeroo and a book coined South of the Pumphouse.
Les Claypool’s current band is Sam Bass on cello, Mike Dillon on vibraphone/percussion and Paulo Baldi on drums in which he recorded the album Of Fungi and Foe as well as being his touring band. Of Fungi and Foe was inspired by writing music for the video game Mushroom Men and the movie Pig Hunt. With a cello and a vibraphone accompanying him it allows exploration of music that is darker, creepier and earthier then past projects. The drums are muddy, his vocals mysterious, the cello eerie and the vibraphones add a cheesy yet talented element to round out the band.
Of Fungi and Foe
Of Fungi and Foe opens with the psychadelic “Mushrooom Men” that boasts the crazy four string Whammola that Claypool plays with a drum stick, dark tom based drums from Baldiand chirpy vibraphone. This track sets the tone for the rest of the album in both its lyrics, strange rhythms and psychadelic inspiration. “Amanitas” is one of my favorite tracks on the album as it reminds me of Primus and I truly enjoy the cello on this track. The lyrics on “Amanitas” draw me in because of lines like “I can feel your poison” referring to the fact that amanitas can alter your state of mind. “Red State Girl” will probably draw the ears of unlikely listeners because of its reference to Sarah Palin.
Throughout this album you can hear the influence Tom Waits has had on Claypool. Listen to Tom waits album Alice as a reference. “Booneville Stomp” features an acoustic bass that exudes a dancy tapped bass line with hi-hat rhythms and dark toms looming in the background. “You can’t Tell Erol Anything” speaks about a man who was a jack of all trades and joined a prog rock band which highlights the storytelling ability of Claypool. The cello bows in and out of “Erol” in a swirling manner with the vibraphone painting notes on the top of the song. “Primed by 29” is a bit heavier and a barely heard snare drum makes an appearance. “29” features the entire band babbling through lyric sections and on others Claypool chanting lines like “Gee what a terrible song, stinks like big wet donkey dong.”
Over all this album is fantastically original through its zany lyrics, odd rhythmic bass lines and the addition of a cello to Claypool’s already strange band.
Les Claypool @ The House of Blues Boston - The Oddity Faire
March 26, 2009
Seeing Les Claypool in Boston was the second time I was able to catch him on his current tour called The Oddity Faire. Saul Williams and The Secret Chiefs 3 opened the show and added to the mayhem of both evenings I attended. Seeing a hip-hop band, a eastern influenced metal band and Claypool was quite the experience.
Claypool’s band touted masks throughout the entire show that looked like former presidents. I noticed W. Bush on the vibes and tricky Dick on the Cello but wasn’t able to identify the third president on the drums. Claypool started the show in a mask with a long white nose and throughout the show he changed to a pig, monkey and Elvis. Claypool featured his six string bass, whammola, acoustic bass, banji bass and stand up bass.
The set opener “Buzzards of Green hill” was from his Frog Brigade days and a handful or so Of Fungi and Foe tracks were played. Including highlights like “Amanitas”, “Red State Girl” and “Booneville Stomp.” He played “One Better” from his last album Of Whale and Woe and went as far back as his Holy Mackerel bands 1996 song “Hendershot”.
In both Boston and Salt Lake City there was a drum solo interlude that blended into Mushroom Men that followed Mor. Following the drum solos in he brought out three of the members from Morphine and played one of their tunes. Throughout the set list he teased a few Primus bass lines; “Mr. Krinkle” and “Bob’s Party Time Lounge”. He started the encore by playing “Iowan Girl” solo on Banji bass and then ending the night with “Fisticuffs” from Primus’ Brown Album! What a show, I was so pumped he played a Primus track!
Track List:
Buzzards of Green Hill – Long White Nose Mask
Amanitas
Cosmic highway
Red State Girl – Mr. Krinkle tease - Pig Mask
Hendershot
Who Can Tell Erol Anything
Booneville Stomp
Drums/Vibes solos
Mushroom Men
Morphine song
One Better – Bob’s Party time tease
---- encore break
Iowan Girl – Elvis Mask
Fisticuffs
Thursday, March 5, 2009
Album of the Week - Radiohead - OK Computer
OK Computer was released by Radiohead in 1997 and was heralded as being one of the greatest rock records of all time. It hones electronic drums, psychedelic keys, and pedal box guitar to create a new wave of rock and roll. The sound on this album shows growth from their previous albums Pablo Honey and The Bends. Even the video making turns over a new leaf for the band as they delve into animation and theatrics. This album was the first step in Radiohead propelling to new levels of stardom as well give them artistic clout within the rock and roll community.
Many opinions state that OK Computer is a concept album based around themes of politics, futurism and consumerism. This was never truly confirmed by the band so why don’t you read my review and then listen to the album and make up your mind.
“Airbag” – A guitar smashes across the 1st seconds of this song and bleeds into a electronic sounding drum groove. Yorke’s vocals welcome one to this new musical experience with a pleading yet optimistic lyrical line.
“Paranoid Android”– This is one of my favorite Radiohead songs and one of the best tracks on this album. It starts with an acoustic guitar and an electric guitar wandering in and out of each other over a simple drum beat. As the song develops a serious grunge tone comes over the guitar accompanied by a screeching lead guitar and a cymbal filled drum part. After about a minute and a half of rockin’ and rollin’ interlude a dark mood comes across the song. Yorke and the other band mates break into monkish backing vocal as well as a simple drum beat and strummed guitar. Through this darkness of the song comes the line “The dust and the screaming, the yuppies networking, the panic the vomit” and the song ends.
“Subterranean Homesick Alien” – The mood changes quickly as the listener feels as though there are floating psychedelic sounds flickering throughout the air around your ears. Splashy drums, crystal clear keys and twinkling guitars run throughout this track.
“Exit Music (For a Film)”– An acoustic guitar strums while Yorke’s sad vocals cut through the remainder of the silence. A choir-esque piano crashes like a wave and muddy drums clammer in the background.
"Let Down" – This is one of the more straight-ahead tracks on this album with a verse/chorus/verse approach to lyric and guitar sections. A guitar shimmers in the beginning of this song and lasts throughout with a tom and cymbal based drum beat rounding out the track.
"Karma Police" – Many of you may know this song from its video where a man is being chased by a car in the dead of night in which Thom Yorke sits in the back seat. If that does not ring a bell then maybe you heard it on American, Dutch and British rock radio. A piano and acoustic guitar riff lays a somber intro to the song. Throughout the rest of the song piano keys play a dominant role and makes their sound more distinguished. This song is poppy yet depressing and brings a very serious mood to the middle of this album. “I lost myself” is a catchy lyric that filters through the final minute of the song and sums up the theme to this pop single.
"Fitter Happier” – Electronic gibberish about daily life habits is accompanied by an acoustic piano and random sounds.
"Electioneering" – This is one of the more rocking guitar tracks on the album and is led by Greenwood’s winding guitars and Selway’s Bonham like fills. The song then builds into a frenzy and whipping guitar lines.
"Climbing Up the Walls" – Dungeon drums, booming bass and sleepy guitar rattle around. At times the listener can forget how dark and strange Radiohead can be as Yorke is not always the easiest to decipher. Lyrics like “It's always best when the light is off, it's always better on the outside” exemplify this dark complexity.
"No Surprises" – It is catchy, simple and direct. Demonstrating their ability to dash between straight ahead pop and experimental rock songs with ease. A shiny guitar line moves in and out of this music box sounding tune while Yorke croons “no surprises” over and over.
"Lucky" – This track has wavering guitar that peaks into Yorke singing “pull me out of the aircrash.” It then rips into a little funk jam akin to something the Red Hot Chili Peppers might play. It comes to a hault upon the words “were standing on the edge!”
"The Tourist" – This is such a great closing track to an album. It is mellow, poppy and a fake saxophone drones in on occasion. Its lyrics beg one to “slow down, idiot slow down...” Beckoning the listener to realize that no one Radiohead album will ever fulfill your thirst for their music. This band will always leave something to be desired, an extra song or one more riveting lyric.
Many opinions state that OK Computer is a concept album based around themes of politics, futurism and consumerism. This was never truly confirmed by the band so why don’t you read my review and then listen to the album and make up your mind.
“Airbag” – A guitar smashes across the 1st seconds of this song and bleeds into a electronic sounding drum groove. Yorke’s vocals welcome one to this new musical experience with a pleading yet optimistic lyrical line.
“Paranoid Android”– This is one of my favorite Radiohead songs and one of the best tracks on this album. It starts with an acoustic guitar and an electric guitar wandering in and out of each other over a simple drum beat. As the song develops a serious grunge tone comes over the guitar accompanied by a screeching lead guitar and a cymbal filled drum part. After about a minute and a half of rockin’ and rollin’ interlude a dark mood comes across the song. Yorke and the other band mates break into monkish backing vocal as well as a simple drum beat and strummed guitar. Through this darkness of the song comes the line “The dust and the screaming, the yuppies networking, the panic the vomit” and the song ends.
“Subterranean Homesick Alien” – The mood changes quickly as the listener feels as though there are floating psychedelic sounds flickering throughout the air around your ears. Splashy drums, crystal clear keys and twinkling guitars run throughout this track.
“Exit Music (For a Film)”– An acoustic guitar strums while Yorke’s sad vocals cut through the remainder of the silence. A choir-esque piano crashes like a wave and muddy drums clammer in the background.
"Let Down" – This is one of the more straight-ahead tracks on this album with a verse/chorus/verse approach to lyric and guitar sections. A guitar shimmers in the beginning of this song and lasts throughout with a tom and cymbal based drum beat rounding out the track.
"Karma Police" – Many of you may know this song from its video where a man is being chased by a car in the dead of night in which Thom Yorke sits in the back seat. If that does not ring a bell then maybe you heard it on American, Dutch and British rock radio. A piano and acoustic guitar riff lays a somber intro to the song. Throughout the rest of the song piano keys play a dominant role and makes their sound more distinguished. This song is poppy yet depressing and brings a very serious mood to the middle of this album. “I lost myself” is a catchy lyric that filters through the final minute of the song and sums up the theme to this pop single.
"Fitter Happier” – Electronic gibberish about daily life habits is accompanied by an acoustic piano and random sounds.
"Electioneering" – This is one of the more rocking guitar tracks on the album and is led by Greenwood’s winding guitars and Selway’s Bonham like fills. The song then builds into a frenzy and whipping guitar lines.
"Climbing Up the Walls" – Dungeon drums, booming bass and sleepy guitar rattle around. At times the listener can forget how dark and strange Radiohead can be as Yorke is not always the easiest to decipher. Lyrics like “It's always best when the light is off, it's always better on the outside” exemplify this dark complexity.
"No Surprises" – It is catchy, simple and direct. Demonstrating their ability to dash between straight ahead pop and experimental rock songs with ease. A shiny guitar line moves in and out of this music box sounding tune while Yorke croons “no surprises” over and over.
"Lucky" – This track has wavering guitar that peaks into Yorke singing “pull me out of the aircrash.” It then rips into a little funk jam akin to something the Red Hot Chili Peppers might play. It comes to a hault upon the words “were standing on the edge!”
"The Tourist" – This is such a great closing track to an album. It is mellow, poppy and a fake saxophone drones in on occasion. Its lyrics beg one to “slow down, idiot slow down...” Beckoning the listener to realize that no one Radiohead album will ever fulfill your thirst for their music. This band will always leave something to be desired, an extra song or one more riveting lyric.
Tuesday, February 17, 2009
Lebron: You Can't Win a Championship
Recently Lebron James scored 52 points, grabbed nine rebounds and handed out 11 assists to lead his team to a win against the New York Knicks. One would think that this would be a blowout but it was only a five-point victory. This started my belief that the Cavs are a one-man show that cannot win the NBA’s championship. Yes, Lebron James has led his team to 40 wins this season and yes they have the third best record in the NBA. It is true that Lebron scores the most points a game in the league at 28.5. However, Lebron has scored 30 plus points in 19 of the teams 40 wins and under 30 points in seven of their losses. Without ‘Bron ‘Bron knocking down shots this team has holes because the cast of clowns around Lebron can’t hit shots in the clutch or support Lebron. No other player on the team is averaging 20 points a game and the next best players Zydrunas and West are both sitting out with injuries. Some of the other notable players like Mo Williams (whom should not have been on the all-star team), Anderson Varejao (who is a flopping Argentinean), Booby Gibson (overrated three point shooter) and Sczerbiak/Wallace (washed up) are all insufficient to back Lebron in a run to the championship. Additionally, Lebron is the Cavs leading scorer at 28.5 a game, but also in assists with 7 a game and 7.5 rebounds a game. There is no balance within this teams attack and must rely on Lebron to be huge every game or they will suffer.
On another note Lebron’s attitude can be suspect at times. A few weeks back when his team lost to the Pacers he committed the final shooting foul allowing Danny Granger to hit a few free throws to win the game. In disgust Lebron walked out off the court with time left on the clock. What a joke! Why would he do this? What message does it send to his teammates? I am Lebron and I am leaving for New York soon whether or not I single handedly win a championship.
To put Lebron’s current team in perspective let’s take a look back at the 1995-1996 Bulls and the 2008-2009 Celtics…
I know many of you out there will say that Michael Jordan had similar squads to Lebron but this is not true. In the 1995-1996 championship season the Bulls had Scotty Pippen whom led the team in assists with 5.9 a game, Dennis Rodman was a king on the boards with 14.9 a game and of course Michael Jordan led the team in scoring at 30.4 a game. Role players like Toni Kukoc, Steve Kerr and Luc Longley helped to round out the team. If Lebron wants to win a championship then he better start looking back at Jordan’s days and take a page from his playbook, get some help and don’t take every shot or make every pass.
Now take the Celtics who have Pierce leading the team in scoring at 20 a game, Rondo with at 8.5 assists a game and Garnett with 8.9 rebounds a game. Ray Allen is very close to historic numbers in field goals, free throw and three point shooting percentage at .50, .90 and .40 respectively. With these balanced numbers they do not rely on one player each night to carry the team to victory. They don’t have Posey or Brown on the bench any more but Powe, House and Big Baby fill in nicely. The Celtics are far superior to Lebron’s Cavs, it’s a no brainer, balanced scoring, passing and rebounding, not to mention maturity and class separate the Celtics!
Look I am not negating how good Lebron is as a player. He is fantastic, stupendous and will go down in history within the same breathe as Jordan, Johnson, Bird and Bryant. However, the Cavs are overrated and Lebron won’t win a title until he gets some help and at this rate it won’t be in Ohio!
On another note Lebron’s attitude can be suspect at times. A few weeks back when his team lost to the Pacers he committed the final shooting foul allowing Danny Granger to hit a few free throws to win the game. In disgust Lebron walked out off the court with time left on the clock. What a joke! Why would he do this? What message does it send to his teammates? I am Lebron and I am leaving for New York soon whether or not I single handedly win a championship.
To put Lebron’s current team in perspective let’s take a look back at the 1995-1996 Bulls and the 2008-2009 Celtics…
I know many of you out there will say that Michael Jordan had similar squads to Lebron but this is not true. In the 1995-1996 championship season the Bulls had Scotty Pippen whom led the team in assists with 5.9 a game, Dennis Rodman was a king on the boards with 14.9 a game and of course Michael Jordan led the team in scoring at 30.4 a game. Role players like Toni Kukoc, Steve Kerr and Luc Longley helped to round out the team. If Lebron wants to win a championship then he better start looking back at Jordan’s days and take a page from his playbook, get some help and don’t take every shot or make every pass.
Now take the Celtics who have Pierce leading the team in scoring at 20 a game, Rondo with at 8.5 assists a game and Garnett with 8.9 rebounds a game. Ray Allen is very close to historic numbers in field goals, free throw and three point shooting percentage at .50, .90 and .40 respectively. With these balanced numbers they do not rely on one player each night to carry the team to victory. They don’t have Posey or Brown on the bench any more but Powe, House and Big Baby fill in nicely. The Celtics are far superior to Lebron’s Cavs, it’s a no brainer, balanced scoring, passing and rebounding, not to mention maturity and class separate the Celtics!
Look I am not negating how good Lebron is as a player. He is fantastic, stupendous and will go down in history within the same breathe as Jordan, Johnson, Bird and Bryant. However, the Cavs are overrated and Lebron won’t win a title until he gets some help and at this rate it won’t be in Ohio!
Monday, February 9, 2009
Andrew Bird @ Orpheum Theatre January 30, 2009
On the evening of Friday, January 30th I attended my first Andrew Bird concert at the Orpheum in Boston, MA. It was one of the most unique live performances that I have ever witnessed. Being a fan of more rocking guitar lines and rowdy crowds I had my hesitations. The crowd didn’t dance until the beer started to buzz them and to my surprise the show was dominated by knowledgeable, intent and respectful fans. The music of the night was based around both complex and poppy violin folk music. By the end of the evening I was pleasantly surprised by the enjoyment I received from Andrew Bird.
Bird’s band was a bass, guitar and drums that created backing rhythms and textures. The songs had a many acoustic guitar intros and finger strumming sections on the violin. The drums range from brush stick rhythms to rim shots but never exceed their boundary of simple backing Bird and his songs. Keys trickle in and out during the show and sprinkle another element to the show. The guitar and bass were mere backing instruments that allowed Byrd’s talent to shine through with colorful violin sounds.
Andrew Bird is driven by his ability to write songs and play multiple instruments such as violin, guitar and glockenspiel. He also sings and whistles through many songs. He rolls in and out of bowed rhythms, solos, riffs and acoustic guitar. He even tapes his violin lines through pedals in order to solo and create depth to his songs. His influences run deep in rock and roll, classical, country and folk. At times you feel as though his violin is bringing you back to another era in time.
His most recent album which was released on February 2 is called Noble Beasts and is his 8th studio album, including his Bowl of Fire records and excluding his live albums. During the show he showcased songs that spanned his career and much of his new album. It was a raw show in the fact that he started a few songs over after botching the intros. He said that they were “starting tour rough around the edges”. As well as making several comments about the fact that he would remember this show due to some of the miscues that occurred. His lyrics are sweet, drunk and filled with passion. At times I felt he sung like Thom Yorke and the entire wall of music had hints of Radiohead.
He played quite a few catchy tracks from his new February release, Noble Beast, including “Oh no” and “Anoanimal”. He played a track from his old band Bowl of Fire which I am not able to place at this time. He played the classic “Table and Chairs” from the album Armchair Apochrypha in which I have listened to quite a few times and was one of the only tracks that was familiar to me. He played “Fake Palindromes” from The Production of Eggs, which is an album that one should absolutely pick up.
This gentleman has risen in popularity over the years and is finally gaining a following that suits his excellent talent. He frequents festivals such as Coachella and Bonnaroo and as recently as last summer played in front of a crowd in excess of 10,000 people. Noble Beasts may bring him to new heights because of its accessibility and his label even doubled the cash spent on marketing from his last album! Andrew Bird is definitely catching on and if you haven’t given him a listen then please do, whether you love him or hate him it will be an interesting listen!
Bird’s band was a bass, guitar and drums that created backing rhythms and textures. The songs had a many acoustic guitar intros and finger strumming sections on the violin. The drums range from brush stick rhythms to rim shots but never exceed their boundary of simple backing Bird and his songs. Keys trickle in and out during the show and sprinkle another element to the show. The guitar and bass were mere backing instruments that allowed Byrd’s talent to shine through with colorful violin sounds.
Andrew Bird is driven by his ability to write songs and play multiple instruments such as violin, guitar and glockenspiel. He also sings and whistles through many songs. He rolls in and out of bowed rhythms, solos, riffs and acoustic guitar. He even tapes his violin lines through pedals in order to solo and create depth to his songs. His influences run deep in rock and roll, classical, country and folk. At times you feel as though his violin is bringing you back to another era in time.
His most recent album which was released on February 2 is called Noble Beasts and is his 8th studio album, including his Bowl of Fire records and excluding his live albums. During the show he showcased songs that spanned his career and much of his new album. It was a raw show in the fact that he started a few songs over after botching the intros. He said that they were “starting tour rough around the edges”. As well as making several comments about the fact that he would remember this show due to some of the miscues that occurred. His lyrics are sweet, drunk and filled with passion. At times I felt he sung like Thom Yorke and the entire wall of music had hints of Radiohead.
He played quite a few catchy tracks from his new February release, Noble Beast, including “Oh no” and “Anoanimal”. He played a track from his old band Bowl of Fire which I am not able to place at this time. He played the classic “Table and Chairs” from the album Armchair Apochrypha in which I have listened to quite a few times and was one of the only tracks that was familiar to me. He played “Fake Palindromes” from The Production of Eggs, which is an album that one should absolutely pick up.
This gentleman has risen in popularity over the years and is finally gaining a following that suits his excellent talent. He frequents festivals such as Coachella and Bonnaroo and as recently as last summer played in front of a crowd in excess of 10,000 people. Noble Beasts may bring him to new heights because of its accessibility and his label even doubled the cash spent on marketing from his last album! Andrew Bird is definitely catching on and if you haven’t given him a listen then please do, whether you love him or hate him it will be an interesting listen!
Tuesday, January 27, 2009
Album of the Week: Frizzle Fry by Primus
Primus – Frizzle Fry – Caroline Records – February 1990
As I contemplated what band and album I wanted to focus on this week it became abundantly clear that I should go with a 90’s classic. That is why I settled on Primus’ Frizzle Fry their first studio album, which is nothing short of genius. Recently this album has became more known because of a 2002 re-mastered re-release with two extra tracks and a U.S. tour in which the band played the album in entirety as its second set. More recently Guitar Hero 2 slotted “John the Fisherman” as one of the featured tracks. On a side note if you can email me the track in which they mention the movie Evil Dead I’ll tip my hat.
The bass play of Les Claypool (Bass), Larry Lalonde (Guitar) and Tim Alexander (Drums) is wacky, complicated and brilliant rock and roll. This album specifically debuts their unique sound and the start of their cult following for years to come. Primus is hard to categorize but could call them alternative or funk metal. If you like Rush, Led Zeppelin or Iron Maiden you should check Frizzle Fry out.
“To Defy the Laws of Tradition” opens with a live snippet of Rush’s “YYZ” which veers into a winding bass line that is suddenly cut by Larry Lalonde’s searing guitar and topped of by hi-hat driven drum line from Tim Alexander. This track gets a quiet little interlude with Claypool singing, “to defy the laws of tradition is a crusade only of the brave”. Finally, LaLonde rips a solo that exhibits his ability to paint over Claypool and Alexander’s heavy/complicated rhythms.
“Ground Hog’s Day” starts with a lazy bass, guitar and drums that wander in and out of LaLonde mini solos and builds to a cry of “my name” by Claypool. This chant signals the band to escalate their noise and speed into a bass plucking and a guitar ripping frenzy. Metal riffs accompany the band along the first showcase of their precision Rush-esque rock and roll.
“Too Many Puppies” starts with ride cymbal hits that are cut off by a united riff and cymbal crash. Lalonde again flashes his PRS around one of the simpler tracks on the album. Claypool spouts military inspired lyrics that refer to those in service as puppies “too many puppies are being shot in the dark…we maintain our oil fields…too many puppies are trained to kill.”
“Mr. Kowitall” opens with a Claypool rant and then straight into a rhythm section of thumping bass and double kick drums. Lalonde paints guitar licks over the top and this track starts to expose Claypool’s unique voice and wily lyrics.
“Frizzle Fry” has an intro of bass and guitar strings being scratched. From the get go it is evil in its guitar/bass sounds and the strange lyrics. “I don’t believe in miracles, I don’t believe in lies, I don’t believe in hologram, I don’t believe in captain crunch, for I am the frizzle fry.” The song then gets even creepier as it winds through a plucked bass line backed by artsy guitar and drums. The band continues to grind along when all of a sudden at the 4:40 marks they erupt into a frenzy of Claypool and Lalonde strings and Alexander ripping Bonham like drums. Guitar riffs round out the final seconds and you are shown the exit door by Claypool’s bass guitar. This easily my favorite track on the album as it shows how fucking badass this trio is at playing rock music.
“John the Fisherman” was a minor radio hit and is the poppiest songs on the album. Many people know this track because it is featured in Guitar Hero 2. The band created a music video of the band playing on Les’s boat and a cartoon story about a fisherman jumbled together. This is another great song on the album and is one of the first to turn to on a first listen.
“You Can’t Kill Michael Malloy” is a 26 second circus music interlude or intro for “The Toys Go Winding” and is such a far cry from the darkness of the next track.
‘The Toys Go Winging Down” is a display of Primus’ dark side that is driven by a triplet-slap of a bass line. It features Claypool bowing his bass and Alexander laying down some rim shots. Lalonde distorts his guitar throughout the whole song and it makes his solos sound dirty and hard to decipher between his notes.
For all you dessert fans “Pudding Time” is your track as it serves up a tasty dose of ass kicking rock and roll. Claypool’s complex thumb tapping bass and Lalonde’s playful guitar mix well with Alexander’s rock solid drumming. This is yet another track that leaves you scratching your head at the lyrics.
“Sathington Willoughby” is a 20 second ditty about a character that Claypool created and later uses again for lyrics on the Brown Album. Claypool is a strange fellow and if you don’t believe me listen to this track.
Rolling tom fills and searing guitar warm you up for Claypool’s bass and lyrics on “Speghetti Western”. It is inspired both 1960’s movies and laziness. I love the way they don’t let up on this album chugging forward with aggressive tracks left and right. This nothing short of an original track, listen and weep.
“Harold of the Rocks” is a fantastic track to help close out the album. It is inspired by a drug fiend acquaintance that the band had back in the early days while playing in the Bay Area. A funk and distortion guitar by LaLonde bounces in and out of soloing. Alexander drums with intent and drives the backbone of this track. Claypool bangs on his bass in a simple fashion and this song crunches along in a rocking fashion. At the 2:23 mark the band slows and gives way to Lalonde play one of his best solos of the album. It is ambient, articulate and demonstrates Lalonde’s ability to mix it up.
“To Defy” is the last track of the album (unless you get the remastered version where the covers of “Hello Skinny and Constantinople”) and is a 40 second snippet of the first track on this album.
As I contemplated what band and album I wanted to focus on this week it became abundantly clear that I should go with a 90’s classic. That is why I settled on Primus’ Frizzle Fry their first studio album, which is nothing short of genius. Recently this album has became more known because of a 2002 re-mastered re-release with two extra tracks and a U.S. tour in which the band played the album in entirety as its second set. More recently Guitar Hero 2 slotted “John the Fisherman” as one of the featured tracks. On a side note if you can email me the track in which they mention the movie Evil Dead I’ll tip my hat.
The bass play of Les Claypool (Bass), Larry Lalonde (Guitar) and Tim Alexander (Drums) is wacky, complicated and brilliant rock and roll. This album specifically debuts their unique sound and the start of their cult following for years to come. Primus is hard to categorize but could call them alternative or funk metal. If you like Rush, Led Zeppelin or Iron Maiden you should check Frizzle Fry out.
“To Defy the Laws of Tradition” opens with a live snippet of Rush’s “YYZ” which veers into a winding bass line that is suddenly cut by Larry Lalonde’s searing guitar and topped of by hi-hat driven drum line from Tim Alexander. This track gets a quiet little interlude with Claypool singing, “to defy the laws of tradition is a crusade only of the brave”. Finally, LaLonde rips a solo that exhibits his ability to paint over Claypool and Alexander’s heavy/complicated rhythms.
“Ground Hog’s Day” starts with a lazy bass, guitar and drums that wander in and out of LaLonde mini solos and builds to a cry of “my name” by Claypool. This chant signals the band to escalate their noise and speed into a bass plucking and a guitar ripping frenzy. Metal riffs accompany the band along the first showcase of their precision Rush-esque rock and roll.
“Too Many Puppies” starts with ride cymbal hits that are cut off by a united riff and cymbal crash. Lalonde again flashes his PRS around one of the simpler tracks on the album. Claypool spouts military inspired lyrics that refer to those in service as puppies “too many puppies are being shot in the dark…we maintain our oil fields…too many puppies are trained to kill.”
“Mr. Kowitall” opens with a Claypool rant and then straight into a rhythm section of thumping bass and double kick drums. Lalonde paints guitar licks over the top and this track starts to expose Claypool’s unique voice and wily lyrics.
“Frizzle Fry” has an intro of bass and guitar strings being scratched. From the get go it is evil in its guitar/bass sounds and the strange lyrics. “I don’t believe in miracles, I don’t believe in lies, I don’t believe in hologram, I don’t believe in captain crunch, for I am the frizzle fry.” The song then gets even creepier as it winds through a plucked bass line backed by artsy guitar and drums. The band continues to grind along when all of a sudden at the 4:40 marks they erupt into a frenzy of Claypool and Lalonde strings and Alexander ripping Bonham like drums. Guitar riffs round out the final seconds and you are shown the exit door by Claypool’s bass guitar. This easily my favorite track on the album as it shows how fucking badass this trio is at playing rock music.
“John the Fisherman” was a minor radio hit and is the poppiest songs on the album. Many people know this track because it is featured in Guitar Hero 2. The band created a music video of the band playing on Les’s boat and a cartoon story about a fisherman jumbled together. This is another great song on the album and is one of the first to turn to on a first listen.
“You Can’t Kill Michael Malloy” is a 26 second circus music interlude or intro for “The Toys Go Winding” and is such a far cry from the darkness of the next track.
‘The Toys Go Winging Down” is a display of Primus’ dark side that is driven by a triplet-slap of a bass line. It features Claypool bowing his bass and Alexander laying down some rim shots. Lalonde distorts his guitar throughout the whole song and it makes his solos sound dirty and hard to decipher between his notes.
For all you dessert fans “Pudding Time” is your track as it serves up a tasty dose of ass kicking rock and roll. Claypool’s complex thumb tapping bass and Lalonde’s playful guitar mix well with Alexander’s rock solid drumming. This is yet another track that leaves you scratching your head at the lyrics.
“Sathington Willoughby” is a 20 second ditty about a character that Claypool created and later uses again for lyrics on the Brown Album. Claypool is a strange fellow and if you don’t believe me listen to this track.
Rolling tom fills and searing guitar warm you up for Claypool’s bass and lyrics on “Speghetti Western”. It is inspired both 1960’s movies and laziness. I love the way they don’t let up on this album chugging forward with aggressive tracks left and right. This nothing short of an original track, listen and weep.
“Harold of the Rocks” is a fantastic track to help close out the album. It is inspired by a drug fiend acquaintance that the band had back in the early days while playing in the Bay Area. A funk and distortion guitar by LaLonde bounces in and out of soloing. Alexander drums with intent and drives the backbone of this track. Claypool bangs on his bass in a simple fashion and this song crunches along in a rocking fashion. At the 2:23 mark the band slows and gives way to Lalonde play one of his best solos of the album. It is ambient, articulate and demonstrates Lalonde’s ability to mix it up.
“To Defy” is the last track of the album (unless you get the remastered version where the covers of “Hello Skinny and Constantinople”) and is a 40 second snippet of the first track on this album.
Saturday, January 17, 2009
Welcome
After years of contract negotiations between my agent and the blogging community I finally inked a deal that was lucrative enough to open my creative juices up to the world wide web. Posts will vary from articles, thoughts, reviews, rants and postings. The contents will range from random thoughts to music, to sports and even some politics. As you scroll down you will notice I have been posting on here since November. This was to gain thoughts, grammar and maybe even some advice from friends. In essence I wanted to test the waters before anything was solidified. Finally, my main objective was to brew up an idea of how I could hold myself to update this weekly and what I settled on was an “album of the week” post.
Read away so that you can rip on me, write me and most importantly praise me… So without further ado here it is…
-Jon
Read away so that you can rip on me, write me and most importantly praise me… So without further ado here it is…
-Jon
Album of the Week – No Code by Pearl Jam – August 1996 on Epic Records
Over the past week I dug deep into my catalog of albums, sifted through from a to z (on my ipod) and after some listening settled on No Code as my album of the week.
No Code is a departure from previous albums that were purely grunge rock. The depth of their growing sound was exhibited through experimenting with eastern influences and simple drums and guitar. “Sometimes”, “In My Tree” and “Present Tense” are the softer highlights to this album with eastern influenced drums and more simple sweet guitar lines. “Smile”, “Red Mosquito” and “Hail Hail” and “Lukin” are some of my other favorite tracks but take the heavier approach with grungier guitars, guitar soloing, driving drum beats and more of the aggressive vocals. Rollingstone gave this album four stars but I would give it three. It is definitely not as excellent in my opinion as their first three albums not because it is more experimental but because it lacked the song writing of past album tracks such as the creepy grunge of “Garden” and “Jeremy”, the heaviness/guitar soloing of “Go” and “Animal” or brilliance of “Not for You” or “Immortality”. However, through and through this is a good album, in fact if you don’t own it go and buy it.
A track by track break down continues below.
This album starts of with the soft and subtle “Sometimes”. An eerie yet pretty guitar is balanced out by some bass plucking, light drums and welcoming Veder lyrics. This track leaves you begging for more.
The rocking “Hail Hail” comes next which some would think would be a great opening track to the album. However, I tend to disagree because the quiet opening track to this album allows “Hail Hail” to have a much more dominant opening. This track is driven by swirling guitars and a straight rock beat that ends with a Veder vocal excursion.
“Who you Are” and “In my Tree” are heavy in eastern influences led by Irons drums. Veder’s vocals move from dark to happy. These two songs are a distinct departure from the grungy days of Ten and Vs and are welcomed because it sheds a new light on their maturity as a well balanced rock and roll band.
“Smile” is one of my favorites on the album and reminds me of both Tom guitars and Neil Young harmonica. It is upbeat, catchy and delivers the first mini guitar solos from McCready and Gossard.
“Off he Goes” was always a track that many loved because of its sweet lyrics, acoustic guitars and because I believe it got some radio play. You could place this in the likes of older tracks like “Black” and “Nothing Man”.
“Habit” is the heaviest track of the album so far. Veder’s lyrics are aggressive and growly in tone while blurting out “Never thought you’d habit…” It breaks at times to just a fading guitar and crash cymbal hits but brews into the first massive guitar solo on the album. McCready and Gossard wind in and out of each others guitar lines and exemplifies the ability of McCready to shred his guitar like we heard on Ten.
“Red Mosquito” which was one of the radio hits for this album is led by guitar through and through. This track opens with a ripping guitar line that fades into “Whacked out the window with a red mosquito…I was bitten it must have been the devil”. One guitar boasts a fuzzy back bone and the other a screeching tone that shines through the rest of the instruments.
“Lukin” is the heaviest, punkiest and shortest track of the album. A strumming grunge guitar lays the foundation for Veder to sing as if he is out of breathe and angry! This is an explosion in the middle of the album that helps to balance out the explorative aspects of other tracks.
“Present Tense” has a quiet acoustic guitar and pretty guitar lines the flutter through the first four minutes. A crack of the snare drum breaks the silence and delivers a much needed swinging guitar and Veder muttering in the background.
“Mankind” is written, sung and led by Stone Gossard with a guitar part that again reminds me of Neil Young. The song isn’t extremely flashy but is a nice poppy treat with the catchy line “It’s all just inadvertent simulation a pattern in all mankind, What’s got the whole world fakin”. It boasts a guitar solo that bends back and forth and is much more akin to old Pearl Jam.
“I’m Open” has a spoken word intro, a touch of piano, a plucked guitar section and is not one of my favorites.
“Around the Bend” closes out the album in the same fashion that it started soft, smooth and pretty. Brushes on the drums, a country-esque guitar part and solo twangs while tangling with a piano.
*note these reviews will be some of the first in my career as a writer and will hopefully only improve as the years build…I also believe that iPods drowned out all bass playing…
No Code is a departure from previous albums that were purely grunge rock. The depth of their growing sound was exhibited through experimenting with eastern influences and simple drums and guitar. “Sometimes”, “In My Tree” and “Present Tense” are the softer highlights to this album with eastern influenced drums and more simple sweet guitar lines. “Smile”, “Red Mosquito” and “Hail Hail” and “Lukin” are some of my other favorite tracks but take the heavier approach with grungier guitars, guitar soloing, driving drum beats and more of the aggressive vocals. Rollingstone gave this album four stars but I would give it three. It is definitely not as excellent in my opinion as their first three albums not because it is more experimental but because it lacked the song writing of past album tracks such as the creepy grunge of “Garden” and “Jeremy”, the heaviness/guitar soloing of “Go” and “Animal” or brilliance of “Not for You” or “Immortality”. However, through and through this is a good album, in fact if you don’t own it go and buy it.
A track by track break down continues below.
This album starts of with the soft and subtle “Sometimes”. An eerie yet pretty guitar is balanced out by some bass plucking, light drums and welcoming Veder lyrics. This track leaves you begging for more.
The rocking “Hail Hail” comes next which some would think would be a great opening track to the album. However, I tend to disagree because the quiet opening track to this album allows “Hail Hail” to have a much more dominant opening. This track is driven by swirling guitars and a straight rock beat that ends with a Veder vocal excursion.
“Who you Are” and “In my Tree” are heavy in eastern influences led by Irons drums. Veder’s vocals move from dark to happy. These two songs are a distinct departure from the grungy days of Ten and Vs and are welcomed because it sheds a new light on their maturity as a well balanced rock and roll band.
“Smile” is one of my favorites on the album and reminds me of both Tom guitars and Neil Young harmonica. It is upbeat, catchy and delivers the first mini guitar solos from McCready and Gossard.
“Off he Goes” was always a track that many loved because of its sweet lyrics, acoustic guitars and because I believe it got some radio play. You could place this in the likes of older tracks like “Black” and “Nothing Man”.
“Habit” is the heaviest track of the album so far. Veder’s lyrics are aggressive and growly in tone while blurting out “Never thought you’d habit…” It breaks at times to just a fading guitar and crash cymbal hits but brews into the first massive guitar solo on the album. McCready and Gossard wind in and out of each others guitar lines and exemplifies the ability of McCready to shred his guitar like we heard on Ten.
“Red Mosquito” which was one of the radio hits for this album is led by guitar through and through. This track opens with a ripping guitar line that fades into “Whacked out the window with a red mosquito…I was bitten it must have been the devil”. One guitar boasts a fuzzy back bone and the other a screeching tone that shines through the rest of the instruments.
“Lukin” is the heaviest, punkiest and shortest track of the album. A strumming grunge guitar lays the foundation for Veder to sing as if he is out of breathe and angry! This is an explosion in the middle of the album that helps to balance out the explorative aspects of other tracks.
“Present Tense” has a quiet acoustic guitar and pretty guitar lines the flutter through the first four minutes. A crack of the snare drum breaks the silence and delivers a much needed swinging guitar and Veder muttering in the background.
“Mankind” is written, sung and led by Stone Gossard with a guitar part that again reminds me of Neil Young. The song isn’t extremely flashy but is a nice poppy treat with the catchy line “It’s all just inadvertent simulation a pattern in all mankind, What’s got the whole world fakin”. It boasts a guitar solo that bends back and forth and is much more akin to old Pearl Jam.
“I’m Open” has a spoken word intro, a touch of piano, a plucked guitar section and is not one of my favorites.
“Around the Bend” closes out the album in the same fashion that it started soft, smooth and pretty. Brushes on the drums, a country-esque guitar part and solo twangs while tangling with a piano.
*note these reviews will be some of the first in my career as a writer and will hopefully only improve as the years build…I also believe that iPods drowned out all bass playing…
The Ups and Downs of the Celtics Defending their Championship
Over the past year and a half the Celtics played nothing short of intense, defensive championship basketball. They cruised into the 2008-2009 season ready to defend their championship. The championship hangover was expected but instead the Celtics won 19 straight games and were running on all cylinders. However, the Celtics had played the most games of any team going into December 2008 and were running into teams that were playing their best/reckless basketball. On Christmas the Celtics had a 27-2 record as they entered Los Angeles to play the Lakers. Once they lost to the Lakers the stretch of basketball that followed was ugly and had two different losing streaks. The three things that Celts lacked in the waning days of 2008 were; Energy, Rondo not running the team efficiently and poor bench play. The big three ran out of steam defensively in the fourth quarter, Rondo dipped in production by forcing passes, House missed every three he took for two weeks and the Celtics lost to teams like the Knicks, Warriors and Blazers. Now they were 29-9.
The good news is that the Celtics have now fought their way out of the poor play. They have played better Defensive through intensity, dedication and rotation. This allowed them to play better in the second half, Rondo started to drive more in order to create opportunities and the emergence of Scal, Pruitt and Powe the Celtics didn’t hurt. It will be interesting to see what unfolds over the next few weeks…
The good news is that the Celtics have now fought their way out of the poor play. They have played better Defensive through intensity, dedication and rotation. This allowed them to play better in the second half, Rondo started to drive more in order to create opportunities and the emergence of Scal, Pruitt and Powe the Celtics didn’t hurt. It will be interesting to see what unfolds over the next few weeks…
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