Kiss- Monster album review

 

Kiss

Monster

Rating: ****

For almost four decades, Kiss have been touring and making music. Their new album, Monster, is their 20^th studio album and their first album since 2009’s Sonic Boom. In recent years, critics and even fans have criticized for the band choosing to continue instead of calling it a day. Some are not comfortable with the fact that the new members are wearing the make-up of previous members. Nevertheless, Monster is a great album from Kiss. While Sonic Boom was an attempt at capturing the band’s sound from the 1970’s, Monster can be seen as Kiss taking on the music world in the 21^st century.

            Kiss formed around 1973 by bassist/singer Gene Simmons and guitarist/singer Paul Stanley. Along with guitarist Ace Frehley and drummer Peter Criss, Kiss were one of the most successful rock bands of the 1970’s. In their forty year career, the band has been through several line-up changes, with Simmons and Stanley being the two sole original members. There was even a part of their career from 1983 till 1996 when the band decided to take off their iconic make-up. Kiss currently consists of Simmons (the Demon), Stanley (the Starchild), guitarist Tommy Thayer (since 2002, replacing Frehley and wearing the Spaceman make-up), and drummer Eric Singer (1992-1996, 2000-2002, 2004-present replacing Criss and wearing the Catman make-up).

            Monster opens with the strong rocker “Hell or Hallelujah”, which is the lead single for the album. The song has “Detroit Rock City”-like lyrics and great guitar work from Thayer. Stanley’s voice sounds pretty good and that’s saying a lot considering his voice has been shot for the last few years (Stanley had vocal surgery about a year ago so it seems to have helped). This is followed by the stomping beats of “Wall of Sound”, which is the first song sung by Simmons on the album. The song is okay as the lyrics tend to fall on the weak lyrics. Luckily, the same can’t be said for Stanley’s “Freak”. The song is a brilliantly written anthem of sorts. “And I love the clothes I wear/Let them laugh ‘cause I don’t care” sings Stanley. “It’s my cross I’m proud to bear/I’m a freak”. “Back to the Stone Age” might have a corny title but the music sounds like something the MC5 could churn out back in the day.  

Thayer and Singer also get to sing on the album. Thayer’s “Outta This World” is probably my least favorite song off the album while Singer’s “All For the Love of Rock N Roll” is slightly better. Other highlights off the album include Simmon’s hard-hitting “The Devil is Me” and “Long Way Down” which might be my favorite song off the album. It’s a Zeppelin-sounding rocker with chugging guitars and great drumming from Singer.

Monster is just simply a great album from Kiss. They did really work hard on this album. Kiss fans will definitely want to check this out (if they haven’t already) but I think people who are fans of the material Kiss came out with in the 1970’s might actually like this album. 

John Cale- Shifty Adventures in Nookie Wood review

 

John Cale

Shifty Adventures in Nookie Wood

Rating: ****

Seven years after the release of his last album, John Cale has released his fifteenth studio album. For over four decades, Cale has been famous for being one of the founding members of legendary rock band the Velvet Underground and for his own solo material. In his long musical career, Cale isn’t afraid to try one genre at least once. With that being said, Shifty Adventures in Nookie Wood is a very good album. While it might not be a classic, it certainly is an impressive piece of work from the 70-year-old Cale.

            As mentioned before, Cale will try any genre at least once. This album sees Cale experimenting with electronic music. While that may sound like a turn off for most people, Cale makes it work. “I Wanna Talk 2 You” is the album’s first song and it’s great to hear Cale’s voice after all these years. Cale collaborates with Danger Mouse on the first track, which is pretty interesting. Hearing all the electronic sounds might be strange first but in the end, “I Wanna Talk 2 You” is a great track. “Scotland Yard” is a great sounding track. The song takes advantage of the electronic sounds used on this album. Cale’s voice on this track, although a bit aged, sounds like it did on his earlier albums. “Face to the Sky” might be my personal favorite song off the album. It’s interesting to hear Cale use Autotune (if not, then some other kind of sound effect makes his voice sound robotic) on one of his own tracks. The music itself makes the track even more brilliant and quiet catchy as well.  “December Rains”, at first, sounds like a weak track but the lyrics are actually quite clever. “With Google getting on your nerves/And politics left and right” sings Cale “Kiss your private life goodbye/Lights out say goodnight.” Cale also declares on this track “I’m trying to keep the noise down”. Sure you are, John. The second half of the album fall at little bit on the weak side but it’s pretty good. “Mothra” sounds like a song that could have been on Slow Dazzle, minus all the synthesizers and noises. “Living With You” is a song that’s begging to be played on the radio with its melodic feel.

            Shifty Adventures in Nookie Wood is a very good album from John Cale. I’m pretty impressed that Cale can still make great music at 70 years old. If you are new a stranger to Cale’s solo career, don’t start here. I recommend you get Paris 1919, Fear, Slow Dazzle, and Helen of Troy first (the latter three can be purchased together on the two-disc set The Island Years). As for other Cale fans, you shouldn’t be disappointed.     

Rock and Roll Hall of Fame 2013 nominees

            It took a while for the Hall to announce the nominees for next year but here they are: 15 artists have been nominated. Five of them will be inducted in a ceremony that will take place in April of next year. For the first time ever, the Hall is letting the public have their say in who they want in. The Hall will then take the top five on December 5 in the fans’ ballot and take it into consideration with the big heads. I must say this year’s list of nominees: pretty good. Like I do as usual, I will split the fifteen artists into separate categories.

Get them in!: My ballot

Deep Purple- The British hard rock legends have finally been nominated. Formed in 1968, Deep Purple are considered one of the pioneering acts in the genre of heavy metal. The band hit their peak in the early 1970’s with albums such as Deep Purple In Rock, Fireball, and Machine Head. The latter featured the hit single, “Smoke on the Water”. Deep Purple were also one of those bands that went through several line-up changes. Of the line-ups, the best of them was Mark II: singer Ian Gillian, guitarist Ritchie Blackmore, bassist Roger Glover, drummer Ian Paice, and keyboardist Jon Lord. The band split in 1976, but reunited in 1984. Since then, the band is still going on strong. As to which members the Hall will choose to induct, I think they’ll induct just the Mark II line-up. Sadly, a full-blown reunion is not possible since Lord passed earlier this year from cancer. The question is if Blackmore (who doesn’t perform rock music anymore) will be willing to join Gillian, Glover, and Paice for a one-off performance. We’ll have to wait and see.

Rush- I’m pleasantly surprised that the Hall has finally nominated the Canadian prog-rock trio. Formed in 1968, Rush have been together for a long time. While never a huge mainstream chart-topping act, Rush have managed to build a very loyal fan base as well as a cult following. The band have released 19 albums (their most recent being Clockwork Angels from this year). Albums such as 2112 and Moving Pictures are considered classics. Another thing to note is that since their second album in 1974 Fly By Night, the line-up in the band hasn’t changed. Rush consist of guitarist Alex Lifeson, bassist/singer Geddy Lee, and drummer Neil Peart. If inducted, it’ll obviously be those three getting in. The band also had bassist Jeff Jones (he was a member for a week, according to sources) and drummer John Rutsey (R.I.P.), who played on the band’s debut album.

Joan Jett and the Black Hearts- The Hall doesn’t have enough female artists in there. Joan Jett deserves to be in. After the split of the Runaways, Jett quickly got a new band together and found her own success as a solo artist. I still think the Runaways should be inducted first but if they can’t get in, Joan should.

Heart- Fronted by sisters Nancy and Ann Wilson, Heart found success in the mid-1970’s as one of the most successful rock groups of that time. The band made a comeback in the mid to late 1980’s with songs such as “Alone” and “Never”. They are still going today and deserve a place in the Hall.

Paul Butterfield Blues Band- I know very little about the Paul Butterfield Blues Band. I know that they were extremely influential and that they were one of the first rock acts on Elektra Records. Just for seniority alone, they should be in.

Okay

Procol Harum- I’m surprised that the Hall decided to pick not one but TWO progressive rock acts. In all honesty, I’m not too familiar with Procol Harum’s work but they should’ve been in a long time ago.

Kraftwerk- The experimental kautrock band has finally received a nod from the Hall. Much like Procol Harum, I know very little but I wouldn’t mind seeing them get in.

Randy Newman- I’m surprised Randy Newman isn’t in yet. He’s a great songwriter. The guy has been teased about the sound of his voice but the guy is a pro.

If you must…

‘

Donna Summer- It’s pretty much official: Donna is getting in this year. With all of her previous nominations and her death earlier this year, she’ll get in without any trouble. Still, I’m not too crazy about her music. In my previous times evaluating the Hall’s nods, I didn’t want Donna Summer in there. I don’t consider her as rock music. Still I’m going to admit it now (and I’m not just saying this just because she died): I’ve always liked “She Works Hard For the Money”. I remember at the time of her death Slash said he liked some of her music even though he doesn’t like disco. I’ll be very surprised if she doesn’t get in.

Owl convention (Who?)

Albert King, Chic, The Marvelettes, The Meters- Listen: I’ve heard of these people before and I don’t really have a problem with R&B acts getting in the Hall. Still, I feel like the Hall goes a bit gaga over the R&B acts. I mean, I think they’re at the bottom of the barrel here. The Hall should focus more on the ROCK acts that aren’t in.

PISS OFF!

Public Enemy and NWA- You all know my feeling on rap music: I hate it. Don’t preach to me about genre politics and say “Oh, well rap is rock music because of this and that”. PU-LEASE! I know what I said about R&B and whatnot. I know that Grandmaster Flash, Run DMC, and the Beastie Boys are in already but I don’t want any more rap or hip hop in the Hall. It annoys the hell out of me. Please stop.  

Turn Off the Light: The Doors' Strange Days is 45

 

The Doors

Strange Days

1967

Rating: **** 1/2

            In January 1967, the Doors has released their self-titled debut album. The album catapulted the band into superstardom and made the band a household name. Only eight months after the release of their debut album, the Doors released their sophomore effort entitled Strange Days on September 25, 1967. Much like the debut album, Strange Days was another hit album for the band. However, Strange Days is much different in terms of sound compared to the debut album: it’s much dark, moody, and depressing. Some people have gone on to say that Strange Days might be the best album the Doors ever made.

            The album starts with the self-titled track, which opens with a very spine-tingling keyboard playing from Ray Manzarek. You can tell that in between the debut album and Strange Days, the Doors have grown tighter as a band musically and even lyrically. The lyrics seem to question the hippie movement or society itself at that point in time. This is followed by the creepy “You’re Lost Little Girl”. Jim Morrison’s vocals on this song are superb and suite the darkness of the song. Much like “The Crystal Ship”, Morrison’s vocals are hypnotic almost. The bluesy “Love Me Two Times” is one of the most popular songs off the album. It’s very radio friendly (even classic rock radio stations still play it today) but still like every song on the album, it’s still pretty dark. Morrison almost shouts the lyrics while the keyboard solo from Manzarek is just wonderful. “Unhappy Girl” continues the dark feeling of the album, this time as a psychedelic rock song.

“Horse Latitudes” is different from all the other songs off the album as it’s basically a poem by Morrison. Apparently, it has been said the poem was one of the first things Morrison ever wrote. This is pretty hard to believe, even for Manzarek, who thought was “too mature”. Towards the end, the song gets a bit frantic to the point where you might just want to skip to the next song (yes, it’s that disturbing). “Horse Latitudes” segues into the calming “Moonlight Drive”. As the story goes, this was the song that Morrison sang to Manzarek while the two were on a beach. Once Morrison sang this to Manzarek, Manzarek immediately said they had to form a band. It’s a great song and the lyrics are very poetic. Morrison always thought of himself as a poet first, then a musician. Morrison’s vocals are sooth and Robby Krieger’s guitar solo fits right in there in the song.

            Side two starts with “People Are Strange”, which another highlight off the album. It’s a pretty catchy song that’s about alienation! Once again, the lyrics are almost poetic and that would be all Morrison’s doing. “My Eyes Have Seen You” is yet another moody track from the album. Krieger has an impressive guitar solo right after the “move upstairs” lyrics. Of all the ten songs off the album, “I Can’t See Your Face In My Mind” is probably the spookiest: the lyrics and even the music are downright depressing. The album wraps up with the eleven-minute “When The Music’s Over”. The song is an epic of sorts, with poetic lyrics from Morrison and even some impressive drumming from John Densmore. According to one source, Morrison found inspiration for the song from one of the clubs/bars the Doors were playing at in their early days. Apparently, he overheard the manager of the place tell someone that when the music’s over, they need to turn off the lights. Whatever the case might be, “When The Music’s Over” ends the album perfectly.

            Strange Days would be yet another hit album for the Doors. 45 years later, it’s still a great album. Still, I see that there is an argument over which album was better: the debut or Strange Days. Some might say the debut just for being the first album and for having the better songs. On the other hand, some people think Strange Days is better and really for one reason: all of the songs are dark and depressing. Sure the debut album was pretty dark but there were a few songs that were a bit pop-oriented (“I Looked At You” and/or “Take It As It Comes”). For me, the debut album is better but no matter what, Strange Days is an amazing album. 

Bob Dylan- Tempest album review

 

Bob Dylan

Tempest

Raing: ****

At 71 years old, Bob Dylan is still making music. While this is impressive, Dylan’s voice has grown weaker and weaker as the years go by. Some people think he should retire. This is what went through my mind when I heard that Dylan would release his thirty-fifth studio album. I wasn’t crazy about his last studio album in 2009, Together Through Life, and I didn’t bother getting his Christmas album Christmas from the Heart as a result. Luckily, I was wrong: Tempest is a very good album.

            “Duquesne Whistle” is the first song off the album, as well as the lead single for the album. While the song is a bit dark, it still comes out very tender and warm. In fact, I could see this as a lost cut from the Blood on the Tracks era. As for Dylan’s voice, it is hoarse and shot. Still, Dylan delivers through the strong lyrics. There are a few bluesy tunes on this album including “Early Roman Kings”, which follows a simple twelve-bar blues structure, and “Narrow Way”. Dylan also tells more tales, which I’ve always liked about Dylan: he could tell you all sorts of stories through song. “Scarlet Town” might not be a story too much but the lyrics are really well written. Like many of the songs on here, “Scarlet Town” is another dark number. “Tin Angel” is another example but it’s the self titled track that tells the best story: it tells the story of the sinking of the Titanic. At nearly fourteen minutes long, it’s an amazing track. I think “Tempest” might rank up there in terms of greatness and how long it is (his longest song his “Highlands” from 1997’s Time Out of Mind). My favorite song off the album is “Pay In Blood”, which has nice beat and feel to it. It’s a bit radio-friendly but there’s something about instrumentation that I just really like.  The album’s final track “Roll On John” is a wonderfully written song about John Lennon. Dylan goes from using lyrics from Beatles songs such as “A Day in the Life” and “Come Together” to describing Lennon’s tragic assassination.

            Tempest is a surprisingly good album. All of the songs are great as they all have this dark twist  to them, but still the outcome is very warm and soothing. Although Dylan’s voice is in bad shape, the songs on the album are so well written that it actually makes the album stronger (which is probably why I didn’t really like Together Through Life). It’s hard to say if this will rank as one of Dylan’s best albums but overall, it’s a very good album. If you’re a Dylan fan, I’m sure you’ll really enjoy listening to this album. I know I did. 

Hey Dudes!: Mott the Hoople's All the Young Dudes is 40

 

Mott the Hoople

All the Young Dudes

1972

Rating: ****

By 1972, Mott the Hoople had released four albums. Although the band did have a small following, it wasn’t enough to improve their record sales. However it was this year the band actually released a hit album. That album was 1972’s All the Young Dudes. Not only was the album a success in the charts but it saved the career of Mott the Hoople.

            Mott the Hoople formed in 1969 in England. The band consisted of pianist and lead singer Ian Hunter, guitarist Mick Ralphs, bassist Pete Watts, drummer Dale Griffin, and keyboardist Verden Allen. By 1972, the band already had four studio albums under their belts: Mott the Hoople (1969), Mad Shadows (1970), Wildlife (1971), and Brain Capers (1971). By this time, the band was pretty close to breaking up. It was around this time when David Bowie had emerged onto the music scene. Bowie was a fan of the band and offered to help them by producing their next album.

             The album opens up with a cover of the Velvet Underground’s “Sweet Jane”. For a band that was trying to redeem themselves (with David Bowie producing), opening an album with a cover song is pretty risky. However, the band does a fine rendition of the song. It doesn’t sound too different from the original except it is more glam rock. “Momma’s Little Jewel” is the first original song on the album and it’s a pretty good song. Hunter’s vocals sound a bit like Bowie’s (speaking of which, listen carefully to the beginning of the song and you can hear Bowie talking). Up next is the hit self-titled track, which was written by Bowie himself. An interesting thing to note is that Bowie offered the band “Suffragette City” but the band rejected the song. So Bowie wrote “All the Young Dudes” just for them. The song is widely regarded as one of the great glam rock anthems; although Bowie once claimed that the song wasn’t meant to be an anthem: it was supposed to go with the idea of an apocalypse which was a part of the story in Ziggy Stardust. Nevertheless, “All the Young Dudes” is a classic. “Sucker” is a simple little glam rock number while “Jerkin’ Crocus” is a full blown glam rocker. It’s just a nice, fast paced rocker and the chorus is just wonderful with the “I know” bits.

            Side two opens with “One of the Boys”, yet another rocker. There’s some great guitar work from Ralphs on this one and I believe you can hear Bowie on backing vocals. Verden Allen takes lead vocals for the keyboard-driven “Soft Ground”. Allen really shows off his skills on this one track. Mick Ralphs gets to sing on the next song “Ready for Love”. This is just a great classic rock track basically. The guitars are a bit crunchy and Ralphs is a pretty good singer. Some will know that Ralphs’ next band, Bad Company, would cover the song on their debut album in 1974 but I prefer Mott the Hoople’s version: it’s a bit heavier and it’s the original. The album closes with the ballad-esque “Sea Driver”. It’s a good song and it’s a min-epic of sorts, complete with a mini-orchestra.

            All the Young Dudes saved Mott the Hoople. The album was a hit in both the US and the UK. The self-titled track was also a hit single in both countries as well. With that, Mott the Hoople were able to continue with their career although Verden Allen quit before the band made their next album. The next album, simply titled Mott, is considered by some to be better than All the Young Dudes. Despite some line-up changes after the release of Mott, another studio album and then a live album followed before Ian Hunter quit. The remaining members would go on under the name Mott for a few years and then, British Lions. The band reunited for two concerts in January 2009 at the Hammersmith Apollo. The shows were so well received that the band did another couple of gigs before the year ended.

            All the Young Dudes is an album that speaks for itself: it’s an album that was made when glam rock was at its peak and among the dozens of albums released around that time; it’s still one of the best glam rock album ever made.

Seeking Electricity: Captain Beefheart's Safe as Milk is 45

 

Captain Beefheart & the Magic Band

Safe As Milk

1967

Rating: **** 

In 1967, Don Van Vliet (aka Captain Beefheart) would release his debut album. That album, Safe as Milk, was released in September of that year with his group, The Magic Band. The album flew under the radar and didn’t achieve any mainstream success. However 45 years later, people are still talking about Captain Beefheart as he is now seen as one of rock music’s greatest cult heroes. Safe as Milk is where it all started.

            Don Van Vliet was born on January 15, 1941. Growing up, Vliet had a love for art and sculpting. He also had a love for rock music and listened to blues records in his spare time. When Vliet attended high school, he met another music lover named Frank Zappa. According to Zappa, he and Vliet would listen to R&B records at Vliet’s house. Not too long after, Vliet took up to becoming a singer. He and Zappa recorded one or two demos until Zappa went off to join the Mothers of Invention. Vliet would eventually form his own group, the Magic Band, in 1965. Vliet also came up with his stage name: Captain Beefheart. The band was signed to A&M Records for a short time. During that period of time, they were able to gain some success with their cover of Bo Diddley’s “Diddy Wah Diddy”. The band was dropped by A&M most likely because they felt the band wasn’t conventional. The band signed with Buddah Records and began recording their debut album. While recording the album, the band found help from a young 20-year-old musician named Ry Cooder. With Buddah and Cooder, the Magic Band were able to record the album that A&M wouldn’t allow them to.

            In the wonderfully bizarre discography of Captain Beefheart, this debut album starts with a tame blues number “Sure ‘Nuff N Yes I Do”. Vliet’s vocals are very reminiscent of Howlin’ Wolf’s: it sounds bluesy and you can clearly tell that Vliet loved listening to R&B records as a teenager. This is followed by the catchy “Zig Zag Wanderer”, which could’ve also been the opening track. The bass line is great and it sounds like something that could’ve been a hit. “Call On Me” might be weakest track off the album while the psychedelic “Dropout Boogie” has a hint of humor. “I’m Glad” is a really interesting song: by the song title, you would probably think that it’s upbeat. It isn’t. Instead, you have this downbeat doo-wop track. The lyrics are a bit ironic as Vliet sings about an ex-girlfriend, saying he’s glad about the good times they had. For the irony alone, “I’m Glad” is a stand out track. The next song, however, is my personal favorite off the album: “Electricity”. While Safe As Milk is pretty tame compared to the other albums Vliet would release, “Electricity” is where we first hear Vliet and the Magic Band get experimental. The guitars are wonderfully distorted and Vliet’s vocals are just zainy. You’ve got to love the way he yells and elongates “EEEE-LEC-TRIC-ITY!!” It is quite a frantic way to close out the first side.

            Side two opens with the surprisingly calm “Yellow Brick Road”. According to the 1999 CD reissue, Taj Mahal is on percussion on the track.  This is then followed by the humorous “Abba Zaba”. The song really isn’t about anything but it is known that Abba Zaba was a brand of bubble gum. The lyric about “big baboons” is based on the packaging of the gum. The delta blues influence is quite clear on songs such as “Plastic Factory” (which features some impressive harmonica playing from Vliet) and “Where There’s Woman”. “Grown So Ugly” is another bluesy number with some clever lyrics but it’s the eerie “Autumn’s Child” that ends the album. The song is pretty dark, which is rare for songs by Beefheart. The echoing harmonies are just beautiful and I know I sound like a broken record but Vliet’s vocals are superb on this song. In fact, I think this is his best vocal performance on the album.

            When released in September 1967, Safe as Milk failed to do much of anything. It wasn’t in the US charts and it wasn’t in the UK charts. It was in Europe, however, where the Magic Band had a small following. In fact, it has been said the John Lennon was a fan of the album. In a picture of Lennon in his house, you can clearly see two promotional bumper stickers for the album on Lennon’s cabinets. Despite the album not being able to achieve any commercial success, Captain Beefheart and the Magic Band continued.  Beefheart was able to make more albums in the next 15 years including Trout Mask Replica, Lick My Decals Off Baby, and various others. In 1982, Beefheart released his last album Ice Cream for Crow. After it was released, he retired from the music business all together. Vliet devoted the rest of his life to art, which is something he did when he was younger. Vliet was also diagnosed with multiple sclerosis around this time, to the point where he was wheelchair-bound. On December 17, 2010, Don Van Vliet passed away at the age of 69.

            Decades after the release of Safe as Milk, music critics now praise the album as one of the greatest debut albums of all time. Along with Beefheart’s other work, he has been cited as an influence by artists such as Sonic Youth, Tom Waits, the White Stripes, Franz Ferdinand, and countless others. As of 2012, he has yet to be inducted into the Rock and Roll Hall of Fame. Still, it probably doesn’t matter if he gets in. Safe as Milk and all of Captain Beefheart’s other albums speak for themselves: this man was ahead of his time.