Wednesday, January 22, 2014

Mastodon - The Hunter

I have this one friend that I refer to as "my heterosexual life-mate," and he's the one guy I have jammed with the most for the last 20 years. However, when it comes to music we tend to differ a bit. There are some albums we both love equally that some people would call weird like Alice Cooper's DaDa. Metallica is one of the bands that our friendship was formed around, though we like different albums. He's always been a bigger Pink Floyd fan than I am, but I've always enjoyed playing that "hippy trippy shit" more than him.

Every once and a while he'll bring me an album and say "You need to review this one." So, I throw it the CD player and give it a go. If it catches my attention on that first go, it stays in and I get to hear it mixed on random with twenty-four other discs. If it continues to grab my attention I start digging on it, and then I explore the album with repeated full length album plays.

Drew has never brought me an album that I haven't ended up doing this with. The only down side is I end up keeping the album for months, until I finally get the review done and/or buy my own copy. However this album is really thunder stompingly heavy and amazingly arranged and composed.

As for Mastodon themselves I have had limited exposure, and what I did have wasn't all good. The first time I heard anything from them was a music video that I can't remember and I thought they were a bit cliche. Then I heard their cover of ZZ Top's Just Got Paid. I really liked it, and if you want to know more I have reviewed the ZZ Top tribute album that contains that track. So, sitting down to this album I was pretty fifty fifty on what to expect. I was very pleasently surprised.

For starters there isn't just one vocalist, that growls is that almostly animalistic sounding Metal way. There were also two other guys. And not every song was basic Heavy Metal. There were tracks that got Floydian, and most of the album is what I would classify as Modern Heavy. It would be like Black Sabbath, Led Zeppelin, Deep Purple, or possibly even Jimi Hendrix recording those classic songs with todays technology.

I'll now move on to why you are are really here. Let's get to the songs themselves.

The album opens with Black Tonue. Which is this thundering intro of Jazz based drums that swing in a manner befitting the band's name. The lead guitar is little quiet in the mix in a way that reminds me of Glen Buxton, or Mick Mashbir, or Steve Hunter, or Dick Wagner depening on the track on Billion Dollar Babies. While the rest of it's sound is solid and heavy.

The second track on the album is the first one to really grab me. Curl Of The Burl is where I see the ZZ Top influence and it is awesome. This song is total Blues Metal, for those that need some sort of complex definition. I call it some really good Modern Heavy. Also, the chorus, while simple and catchy and bit commercial in it's way, is only one part of a better picture "I killed a man 'cause he killed my goat / I put my hands around his throat / He tried to reason with the sky and the clouds / But it didn't matter, 'cause they can't hear a sound / Oh / Oh oh / Oh / Oh oh oh / It's just the curl of the burl / It's just the curl of the burl / That's just the way of the world / It's just the curl of the burl / Splinters in my skin, just like needles and pins / I cut through the pine, love the feeling it gives / Been out here for days running through these trees / I'm using my hands, cuttin' through the disease / Oh / Oh oh / Oh / Oh oh oh / It's just the curl of the burl / It's just the curl of the burl / That's just the way of the world / It's just the curl of the burl / I feed the powerless / Chewed it up, spit the rest / I feed the powerless / Chewed it up, spit out the rest / It's just the curl of the burl / It's just the curl of the burl / That's just the way of the world / It's just the curl of the burl / Oh / Oh oh / Oh / Oh oh oh / Oh / Oh oh / Oh Oh oh oh". Blasteroid is the type of song you would expect to find as an album track. I wouldn't call it filler, because it is well done, and I'm sure there are many people that would and totally dig it, I find it a bit of a filler. It's like raspberry filling on top of cheese cake. Sure it's good, but it's not cherry. (Sorry, I do the Holiday baking in my house and guess what I'll be making.)

Stargasm isn't a clever name, it's an accurate description of what I would imagine celestial copulation to sound like. This is a track for the musicians, or the true music fans. Sure there are vocals, and the way they are done on this track is astounding, but it's more in a music performance and less in a lyrical performance. Fuck the words, just let the whole composition blend and take you away.

I think I'm going to do a search and see how many songs reference Octopi, because other than The Beatles, the next track it the only other one I have ever heard of, and the title makes you do a little WTF. Octopus Has No Friends, is a track that reminds me of exactly the same thing I thought about Blasteroid.

I love the sound and vibe that opens up All The Heavy Lifting. The drums have this odd little shuffle to them that seems a bit out of place, until the chorus kicks in, and then the song just turns into something magical. This song sounds like a cluster fuck of aggression for the most part, but when you hit the chorus there is this magnificent sound that sounds so uplifting and perfect. It's really like a choir of angels. Then there's the bridge section and breakdown between the second and third chorus that just keeps it going beautifully.

The Hunter continues that magical ambience, but this song is so totally Pink Floyd inspired, and if they say it isn't then, there's some type of connection that will put it all together. Hell the solo is even totally Dave Gilmour like. Think Comfortably Numb. This is seriously some of the best Rock soloing I have heard in years.

After the last two songs it makes sense that we get a song like Dry Bone Valley. This one has Alice In Chains written all over it. Not that silly Grunge sound they got looped in with. I mean the real Heavy stuff. That being said, not my first choice in songs, but I'm sure many would dig it.

Thickening opens right off the bat with this great sexy swing. I mean this is some big band standard swing, with this ultra heavy rhythm and almost ballet like lead guitar dancing about. It's absolutely beautiful, then it moves what may be mistaken as a continuation of the last track. Not in a bad way. Sort of like how Another Brick In The Wall (part I) flows into The Happiest Days Of Our Lives and then into Another Brick In The Wall (part II).

Speaking of Pink Floyd, it's time for a totally tripped out tale of cinematic fanfair, that is totally inspired by Dark Side Of The Moon. Creature Lives might be just about one of the most deligthful tracks I have heard in years. It'd just this big heavy band telling a story and filling it with instrumentation that compliments and helpd move the story along. It's like early Syd Barrett Floyd, but even could be connected back to classic King's Court music from the days of Shakespeare or maybe earlier. "I saw the creature fall / Into the swamp from which he spawned / I heard them laugh and say / They never liked him anyway / I tried to talk to them / To help you on your feet again / They laughed and said to me / The swamp is right where I should be / The creature lives / The creature lives / The creature lives / The creature lives".

Spectrelight is a track much like Blasteroid and Octopus Has No Friends. Really cool name, but sort of a basic track. All the songs that I consider fillers on this album, would be strong fillers for this band, but to me they are just your run of the mill tracks. They help fill out a mix with sturdy music, but they are pretty basic for this band.

Bedazzled Fingernails is a little more than a filler for me. The lyrics are very simple, but the performce mixed with the music gives a more impressive vibe than just the more simple songs on this album. "Give and take / We are full of pride / All is proved in time / Lay me down / Stand my ground / Lay me down / Stand my ground / Taking a life / I see it flash before my eyes / Taking a life / I see it flash before my eyes / Rule by my head / Endure test of time / Plant the seed of mind / Lay me down / Stand my ground / Lay me down / Stand my ground / Taking a life / I see it flash before my eyes / Taking a life / I see it flash before my eyes".

One of the guitarists I've worked with over the years, has a habit of calling everything sexy. If he liked a song it was sexy, if he didn't it was either cool or it didn't do anything for him. The Sparrow, is one of those song where I will have to take a page out of his book and call this song sexy. Not because I like it, but because it's really honestly sexy. This is a song that a very talented and trained erotic dancer could use as stage music and give the pole spinning, twirling, dancing performance of a life time. Or if you want something cleaner sounding, this song as the Beauty of cirque du soleil. It is a genius album closer.

While this album has a few tracks that make me go "Meh," I do really love this album. After the second full listening I knew it was an album I was going to need to own. I also knew that I was going to need to dig into some more Mastodon. The Hunter is totally my type of album.

8/10 - content

8/10 - production

9/10 - personal bias

Wednesday, January 15, 2014

AC/DC - Fly On The Wall

Every one knows that AC/DC have pretty much released the same album over and over again. There is some misconception there. Seventies Bon Scott era sounds different from eighties Brian Johnson era for the most part. Yes they are Blues based albums, but the feel is different. Fly On The Wall is the perfect example of what 1980's AC/DC had to offer. Which was polished, well arranged Rock.

The album kicks off with the album's title track. This track reminds me a lot of the album tracks off For Those About To Rock. For some reason COD comes to mind. It's a solid start to the album, but it's a pretty basic track.

Next up is Shake Your Foundation, which is a decent song. I think some people make it into a bigger track than it really is, but with very singable lyrics it's hard to knock it too much. "You gotta see me leanin' on the bar / I got my head in a whiskey jar [jug ?] / Feelin' good 'cos the city's alive / I'm gettin' ready to rock and jive / I get up and I slide across the floor / You wanna come and I'll meet you at the door / No one can stop us 'cos we're feelin' too right / We're gonna steal our way around tonight / (Alright, alright) / Aye, aye, oh, shake your foundations / Aye, aye, oh, shake it to the floor / Aye, aye, oh, shake your foundations / Aye, aye, oh, shake it / I was takin' no liberties / She's gettin' hotter off the heat on me / I was oilin', she was slick / Lickin' off the sweat, her favorite trick / She cried help me, help me, please / Tame this animal, help me to breathe / I said no, no way / You gotta come with me all of the way / (OK, I'll play) / Aye, aye, oh, shake your foundations / Aye, aye, oh, shake it to the floor / Aye, aye, oh, shake your foundations / Aye, aye, oh, shake it / Aye, aye, oh, shake your foundations / Aye, aye, oh, shake it to the floor / Aye, aye, oh, shake your foundations / Aye, aye, oh, shake it / We had the night, we had the time / She had the sugar and I had the wine / Took my hand, shook me to the core / Told her not to touch, but she was coming back for more / (You know what for) / Aye, aye, aye, aye / Aye, aye, oh, shake your foundations / Aye, aye, oh, shake it to the floor / Aye, aye, oh, shake your foundations / Aye, aye, oh, shake it".

First Blood is different for AC/DC. It's a little Pop-ish, and has a bit of that eighties commercial vibe to it. It's a solid album filler, but that's pretty much all it is.

That's followed up by Danger. This is one of those tracks that could have been a popular radio single, if it was released in another time, or by another band. It's a decent track, but when performed by AC/DC it sounds like just another song, with a commercial production. The solo on this track, brings to mind my feelings about the soloing on this album in general. It's wild, over played, and sounds more thrown in and thrashed out, than being something that compliments the song.

Sink The Pink was probably the biggest song on the album. With lyrics that are found on here it's not hard to see why. "Put your gear into fire / Lay your bullets on the ground / Turn your head to desire / There's a woman going down / She said she'll rough you up, all the way / And she gonna spit you out, count your days / She says choice is yours, casually / So why don't you do what comes naturally / Sink the pink, it's all the fashion / Drink the drink, it's old-fashioned / Gimme water, gimme wine / Gonna show you a good time / Sink the pink / Sink the pink / Got a fever runnin' high / Give you wings to make you fly / She school you like a fool / She make you break the rules / She wanna get a shot, hit the spot / Then I'm gonna rack 'em up, get that hot / She said make it good, satisfy / You know that woman got jealous eyes / Sink the pink, it's all the fashion / Drink the drink, it's old-fashioned / Gimme water, gimme wine / Gonna show you a good time / Sink the pink / Sink the pink", then it's on to one of the few solos on the album that works with the song, and followed by one last round of the chorus. "Sink the pink, it's all the fashion / Drink the drink, it's old-fashioned / Gimme water, gimme wine / Gonna show you a good time / Sink the pink / Sink the pink".

The second side of the album opens with Playing With Girls. I dig this song because it has an almost Aerosmith boogie woogie to it. I could picture this track on Permanent Vacation with no real effort. This is one of those songs that I think years from now will be thought of as a hidden gem, if it isn't already. But, only because it is a different vibe for them.

Stand Up is pretty much like fifty percent of the album fillers found in the 1980's AC/DC catalog. It sounds great on this album, but it's pretty much as you would expect. There is some experimental sounding stuff during the solo which is worth a listen, I think, but other wise I've said it already.

By the time you get to Hell Or High Water you can really start to figure out what this side of the album is really about. It's pretty much what Blues morphed into in the 1980's after Pop radio and mainstream Top 40 started sucking the soul out of music. It's the same idea of what happened to ZZ Top during this period. That twisted morph to try and stay contemporary. Which AC/DC pulled off.

I don't remember if Back in Business was ever radio friendly, or a single, and I really don't care. it always stood out on this album for me. It's one of those tracks that are just bad ass and full of a whole lot of nasty mood. "Breaking out, about to shout / Feel the need, for one more round / Don't you struggle, don't try to bite / You want some trouble, I'm the king of vice / I'm a wrecking ball, I'm a stinging knife / Steal your money, gonna take your life / You got screaming murder, lock up your door / Double dealing, gotta have more / Call me dirty, trash my name / Just tell the boys that I'm gonna be / Back in business again, back in business again / Back in business again, back in business again / Back in business / Flesh and blood, I'm a rag 'n' bone / Bad luck message on the telephone / Don't you worry, play my game / I'll do you a favour put your soul for sale / Like a cannon ball going down the track / Need good loving, but I want it back / I was born in trouble, they gave up on me / Teacher preaching what not to be / Call me dirty, trash my name / Just tell the boys that I'm gonna be / Back in business again, back in business again / Back in business again, back in business again / Back in business / Back in business again, back in business again / Back in business again, back in business again / Back in business again, back in business, back in business again / Back in business again, back in business, back in business again / Back in business again, and I'm looking for you". This is one of those songs that by the end of it, you are ready to go raise hell.

The album ends with Send For The Man, and it's a very solid and decent ending to to the album. I think I may have switched the last two tracks, but this one closes out the album well enough. It's a good angry drinking kind of song, the type that you'd expect to hear in a biker bar right before someone opens up on some stupid shmucks face with a fist or boot.

I would suggest any AC/DC fan should own this album. If you are a Bon Scott fan you may not be as into it, but if you like Brian Johnson you should enjoy this a lot. If you like both vocalists you should also get this one. It's great thrown into a mix, and still very enjoyable on it's own. You may not listen to it a lot after you first give it a few good listens, but it's one of those albums you look at from time to time and go, "Hell yeah, let's give that one a spin."

7/10 - content

7/10 - production

7/10 - personal bias

Friday, January 3, 2014

Music From And Inspired By M:I-2

The idea behind this soundtrack was clearly star power. Like the fact that Limp Bizkit performed Take A Look Around (Theme From "M:I-2"), which opens the album. It's the perfect way to describe how this album works more or less.

There are also a few tracks that I have no clue why they made this album. Then there's one track that I would consider a hidden gem.

The second track on the album is Metallica's I Disappear. I'm not sure if there is any other way to get this song than on this album. If you are a real Metallica fan you will need to have this album for that reason. Even if you hate the song, because you think it's complete commercial bullshit. As for what I think about the song, well I'm not really sure. It does what it's supposed to do. It super charges the album with a high octane track that makes you want to force your foot down as hard and as fast as you can on the gas and go. I would put this on any driving album I made.

Rob Zombie is next up with Scum Of The Earth. I'm not a fan of this song. I have no clue where it showed up first, and I care so little for the track I can't be bothered to look either. But I also understand why people like it and why it was included. This song speeds along at break neck pace.

Keep in mind that even though those bands were not the biggest bands in 2000, they weren't out of date or used up has beens either. Hell, Zombie only got better after that point, and Metallica became a lot less commercial.

Then it's on to They Came In from Butthole Surfers. Let me start by saying I know why I have never heard of this band, other than in jokes. What the hell? I think there's a space man trying to melt my brain through the computer. Although Andie may like this, because she likes that kind of screwed up music. If I have to say something nice, it's got a steady computer generated beat.

The Pimps give this album Rocket Science. Anyone else enjoying that little joke. This song sounds like early Marilyn Manson, think lunch box era, but with a more of a Korn vibe to it.

Next up is the Foo Fighters and Brian May covering Pink Floyd's Have A Cigar. This is a fantastic cover. I'm a huge fan of the original, and I love how true to that original this cover is, while at the same time totally jacking it up and making it real heavy. Much like the original, it is the soloing that really helps push this song over the top. This song to me is this album's greatest saving grace.

When it comes to Chris Cornell I have tons of respect. He's a musician that knows how to write good songs that people really enjoy. He's a really cool vocalist, and when the mood takes me the right way I can really dig what he's doing. However, that mood doesn't come often. When it comes to Mission 2000, his contribution to this album, he brings it, but it sounds a bit like a left over from the Sound Garden days. Not a bad left over, just one of those tracks that showed up towards the end and never got a chance.

Godsmack Going Down is pretty much what you would expect from Godsmack. It's not a bad track either. I've never been a fan of the band, but this track is worth a listen.

What U Lookin' At sounds a lot like what I would expect from Kid Rock and Uncle Kracker. It's not my thing, but I'm sure there are others out there that would dig on it.

By the time we get to track eleven I start to notice that I really was out of the loop with music when I picked up this album. A lot of this stuff is music that would either get lumped into Post Grunge or Industrial and while that's kind of acurate, it's not very fair. However, both those terms apply to the next track, Backwards. This is performed by Apartment 26. This is pretty stock on the whole. I'm sure some people dig on it, but I would like to think even they would find this a bit stock.

Buckcherry's Alone is one of those songs where if you have ever heard a Buckcherry song, you've heard this one as well. Tinfed's sound lives up to there name on Immune. It sounds like early Emo, if it was being spit out of the corporate machine these days. Even the lyrics are total mass produced tripe. "Can't resist, full of lies, full of it and fully deny / Couldn't risk but couldn't decided anyway / I admit I would deceive, you are hit with this disease / Another fact I just can't conceive / And the truest most pure of hearts / And the truest most pure is not / Immune to blue, immune to blue, blue / I admit I confess evil without rest / And you'd be true at any test so wise up / What was thrown down to you / Could be a crown on me, we can speak here openly / And the truest most pure of hearts / And the truest most pure is not / Immune to blue, immune to blue, blue / Immune to blue, immune to blue, blue / And the truest is / And the truest is / And the truest is / And the truest is / And the truest most pure of hearts / And the truest most pure is not / Immune to blue, immune to blue, blue / Immune to blue, immune to blue / And so soon we'll all be immune / So soon we'll all be immune / So soon we'll all be immune / So soon we'll all be immune".

I would like to point out that this album really started going down hill back around Going Down, but by this point it's a complete out of control downward spiral. When you hear or read the name Powderfinger doing a track called Not My Kinda Scene, you sure don't expect this whiny sappy bullshit that goes on here. Now I remember why I don't normally put this album in the CD player.

Okay, when I saw that Tori Amos was on this album I almost crapped myself laughing. I know that's crude and all, but really really read over the track listing again. The song is called Carnival, and pretty much makes me think of Madonna's Frozen, or a variation on the whole Ray of Light album.

The album is completed with Nyah, which is done by Hans Zimmer featuring Heitor Pereira. This is a nice little, Latin, guitar based, song. It's pretty much the only song after Backwards that's worth listening to, and one of only four songs on this album that could end up on my Mp3 player at some point.

The first half of this album isn't bad. The second half seems to be pretty much a free for all of miscellanious debris. On the whole I would probably suggest looking for the few choice individual songs off this one, unless you can find it in a nice cheap bin somewhere.

5/10 - content

7/10 - production

6/10 - personal bias