Hard Rock – Page 7 – Zachary Mule

BEDLAM: LIVE IN BINGHAMPTON 1974

(ANGEL AIR RECORDS; 2014)

Bedlam were a band more well known for the players involved than for the music they produced, though that music, in retrospect, was pretty darn good. The group was formed in 1972 when old friends Dave and Denny Ball and Cozy Powell reignited a musical spark that had begun in the ’60s with their band, the Sorcerers. Dave Ball had just left Procol Harum and had secured a spot with Long John Baldry, alongside his brother, Denny, when Cozy called, looking to “get the band back together” after the implosion of the Jeff Beck Group. Singer Frank Aiello was brought into the fold and the Beast was born. However, after being threatened with either a lawsuit or the prospect of giving a guy called the Beast a job playing keyboards in the band, they decided to change the name to Bedlam. With a Felix Pappalardi produced album behind them, they got down to the serious business of touring, first the UK, then Europe and, finally, an opening slot on Black Sabbath’s SABBATH BLOODY SABBATH tour of the States. Somewhere during that trek, the tour took them to Binghamton (misspelled on this release), New York, where Bedlam’s set was recorded for a radio broadcast. Which brings us to this release, compiled and restored by bassist Denny Ball from various bootlegs and homemade tapes made of that broadcast.

Bedlam (Frank Aiello, Dave Ball, Cozy Powell, Denny Ball) (publicity photo)

Considering that these recordings are forty years old (and of varying quality and acknowledgedly dubious sources), they sound pretty good. The guitar and bass on opening salvo “I Believe In You,” is a bit muddy; the vocals and drums are strong throughout, however. The sound on “The Beast” is brighter and clearer, with a deep, sonorous bass and some awesome, bluesy guitar solos. This time, the main problem is some issues with over-modulation on the vocals. “The Great Game” is announced as a new song, planned for the group’s second album (which never happened, as they broke up when Powell began having some solo success with the song “Dance With the Devil”). It’s a wicked ballad with some adventurous drum bashing and moody guitar work from Dave Ball, including a solid solo during the jazzy break. Denny’s bass is particularly effective here and, finally eschewing his operatic proclivities, Aiello’s vocals have a hint of danger and a bit of a growl to them. With “Set Me Free,” Dave offers up a funky little Ritchie Blackmore type riff that eventually explodes in a magnificent hard rock frenzy, complete with a manic guitar solo and an equally imaginative bass run bubbling underneath; Cozy, of course, goes about his own mad way, pummeling his kit with the reckless abandon that made him one of the (if not THE) most sought after drummers in the history of metal and hard rock.

The second half of the disc is rather a mixed bag, kicking off with one of those odd mid-show interviews that seemed to be de rigeuer at the time. The interviewer spends more than two minutes, allowing the band to indulge in their completely incomprehensible shenanigans, before asking a real question and another 45 seconds before the tomfoolery abates enough for a semi-intelligible answer. The only reason I can see to keep this totally useless piece of history is to maintain the integrity of the original broadcast, as the band spends the rest of the time goofing with the guy, each one saying that one of the others would be better equipped to answer the question and repeating the process before, eventually, begging off to return to their instruments for a mammoth take of Lee Hazelwood’s “The Fool,” clocking in at over 21 minutes. The slow groove intro leads into the first section of the tune, which is all about highlighting Aiello’s vocal gymnastics, before the guitar erupts into a fuzzed out cacophony backed by the chugging rhythm section. Dave and Cozy then slide into the familiar guitar versus drums duel. And, we’re not even five minutes into the thing yet! Denny comes in with a bass solo at about the six minute mark… well, actually, it’s kinda more of a duet with Powell; this muscular, inventive exchange lasts for nearly five minutes, which leads into a bluesy six minute solo from Dave that’s tasteful and rather mournful, with a good deal of sustain. The final five minutes returns to the original song before a short solo from Cozy to end the set. Things would have been so much more enjoyable had the interview section been placed at the end of the set (or, better still, completely removed).

A bonus studio track of “The Beast” closes the proceedings. It is part of a remix project of the entire first album by Denny Ball which, hopefully, we’ll be seeing soon. The main part of the album is hindered only slightly by the quality of the original recordings (and that interview!) but, nonetheless, really highlights the talents of a band firing on all cylinders and has me missing the firepower that these guys – especially the sorely missed Cozy Powell – could produce, whether together or separately, within the confines of another group.

KANSAS: MIRACLES OUT OF NOWHERE

(LEGACY RECORDINGS/KIRSHNER RECORDS/EPIC RECORDS/SONY MUSIC; 2015)

It was forty years ago last year when a group of struggling musicians with an ambitious sound and an unassuming name released their first album, sending them on a ten year journey of self-discovery and musical dominance in a field generally considered the exclusive realm of rather high-minded and esoteric English bands. To celebrate, all six original members reconvened to reminisce about everything from those humble beginnings to their breakthrough albums, LEFTOVERTURE and POINT OF KNOW RETURN, and the singles those albums spawned – “Carry On Wayward Son” and “Dust In the Wind.” Those reminiscences are featured in a new documentary called MIRACLES OUT OF NOWHERE, which also includes input from Garth Brooks, Brian May and ROLLING STONE scribe David Wild, among others. This special package features that documentary on DVD (or Blu-Ray), as well as a specially curated CD that covers those first five groundbreaking albums, compiled by drummer Phil Ehart and long-time producer Jeff Glixman.

Though the documentary does feature snippets of songs and rare concert footage, it’s really more about the story, which is fine with me. And, even though the guys rarely appear together on camera, there are plenty of great stories to be heard. One of the best involves Aerosmith’s Steven Tyler and how opening act Kansas thwarted his attempts to pull the plug on a particularly well-received set in their home state. When the guys do appear together, it’s on a bus, recreating their drives across the state from early in their career. There’s a certain sense of camaraderie, the type that everybody feels when you’re reunited with old friends after an extended period of time; the old problems and feuds are forgotten and things just naturally pick up where they left off before those things intruded. If you want to see a bit more of the guys discussing the old days together, there is a special edition release with an extra DVD of material of just that, available only from the band’s dedicated website if pre-ordered before the release date (March 16, 2015).

Kansas, circa 1973 (Phil Ehart, Kerry Livgren, Steve Walsh, Rich Williams, Robby Steinhardt, Dave Hope) (photo credit: DON HUNSTEIN)

The CD intersperses dialogue from the documentary with the hits and some deeper cuts from the band’s first five records. There are, of course, the group’s two biggest successes, as well as several tracks that have become staples at Classic Rock radio. You’ll recognize the ones I mean as we discuss each track individually. Now, you may be asking yourself, why do we need to discuss individual tracks that are 35 to 40 years old? Well… a couple of reasons: I really didn’t get into Kansas until their sixth release, the live album TWO FOR THE SHOW and, while I was an avid consumer of music back then, I didn’t write reviews like this one. That second reason actually leads to a third reason for an in-depth review: Cuz I wanna and cuz I can (does that make it four reasons? But, then, nobody expects the Spanish Inquisition!).

Kansas, circa 1974 (Dave Hope, Rich Williams, Robby Steinhardt, Phil Ehart, Steve Walsh, Kerry Livgren) (publicity photo)

The disc is fairly chronological, as it begins with material from KANSAS and ends with songs from POINT OF KNOW RETURN (stopping at each subsequent album in between), although each record’s offerings are re-sequenced from the order in which they originally appeared. That means that this collection starts with the sixth track on 1974’s debut release, “The Pilgrimage,” which is actually pretty standard Midwest rock ‘n’ roll from the period. Except, of course, for Robby Steinhardt’s violin. There is absolutely nothing about this tune that would lead you to believe that these guys would become the standard-bearer for American progressive music by the release of album number two. While “Can I Tell You” was Side one, Track one of the KANSAS record, this version was recorded live for DON KIRSHNER’S ROCK CONCERT. The weird thing about it was that there was no audience; the band was as shocked to discover that when they took the stage as I was when they told the story in the documentary… I mean, who knew? Anyway, “Can I Tell You” is Kansas with their prog roots starting to show and, it’s one of those tracks that you’re likely to hear on the radio when the DJ is sick of playing the hits. “Journey From Mariabronn” is eight minutes of progressive pomp, beautifully constructed and symphonic in its scope. This is the song that really had the other guys in the band standing up and taking notice of Steve Walsh’s vocal abilities.

Kansas, circa 1977 (Kerry Livgren, Phil Ehart, Rich Williams, Robby Steinhardt, Steve Walsh, dave Hope) (publicity photo)

“Song For America,” the title track to the second record, sees chief songwriter Kerry Livgren upping his game. The ten minute piece strays a bit into Yes territory with its elegance and power, its intricate time signatures and arrangement. A straight forward rocker, “Down the Road” features a heavy Dave Hope bass line and some wicked duels between Steinhardt and guitarist Rich Williams (or, is it Livgren… or, maybe, both?). There is a section where guitar, bass and violin are playing in harmony that is absolutely magical! The prog-rockery was ratcheted up another notch with MASQUE and its centerpiece, the doublet of “Icarus” and “Borne On Wings of Steel.” The track features a pumping organ from Walsh and some heavy guitar riffs and solos, with the main solo sounding kinda like something that Steve Howe woulda played. With all of that happening, the highlight of the song is found with the amazingly tight harmony vocals. “The Pinnacle” is a majestic, symphonic number, with several musical and emotional levels… and, that’s just in the nearly three minute intro. Phil Ehart’s drums thunder and swell just below the vocals as the song continually threatens to explode in a rock ‘n’ roll fury but, sorta like something by ELP, it’s reined in right before everything blows. The tension, searching desperately for a release, is the driving force until the second, muscular guitar solo (at about the 7:45 mark), but that’s only a tease. The song is a great exercise in dynamics.

Kansas (Rich Williams) (photo credit: VICTOR PETERS); (Phil Ehart, Kerry Livgren, 2009) (photo credit: LAURIE LARSON)

LEFTOVERTURE is where record sales finally caught up with the inherent talent of Kansas. This time out, Kerry Livgren’s songs, while not being overtly religious, are much more… spiritual, looking inward and reaching upward. Three of the first four songs on LEFTOVERTURE are presented here, beginning with “The Wall,” another slow, symphonic piece with great harmony guitars and a hymn-like keyboard coda. “Carry On Wayward Son” is THE song that Kansas will forever be remembered for. The release that never came during “The Pinnacle” finally arrives… in spades! With one of the most recognizable choruses and riffs in the history of music, not just rock, “Carry On…” still receives as much airplay as “Stairway To Heaven” or “Free Bird.” That middle section is stunningly powerful, with evocative organ and guitar solos. The song that gave this collection its name, “Miracles Out of Nowhere,” reaches Dennis DeYoung heights of pomposity, with welcome flourishes of late-period King Crimson (before they broke up the first time) mixed in during the instrumental break.

Kansas (Robby Steinhardt, Steve Walsh) (video still); (Dave Hope) (photo credit: DAVID CARSTENS)

“Point of Know Return,” from the album of the same name, is probably the most well-known number from Kansas’ early oeuvre that isn’t “Carry On…” or “Dust In the Wind.” A nifty bass line from Dave Hope underscores some fairly progressive keyboard, violin and guitar parts on what is pretty much another rather Styxian sounding rocker. “Dust In the Wind” is another brilliant, subliminally spiritual song from Kerry Livgren. The beauty of the piece – aside from the lyrics – lies in its simplicity. Stripped down to the vocals of Steve Walsh and Robby Steinhardt, the guitars of Rich Williams and Livgren and Steinhardt’s violin, it’s a beautiful, sentimental tune that all of the girls wanted to slow dance to at the end of the high school dance for years to come. The final track here is “Nobody’s Home,” another elegant ballad, highlighted by a delicate piano and a rousing finale. It’s an absolutely fitting end to a great look back at a band that, at the time, stood tall among the rock elite. Unfortunately, though the guys remain friends, there are no plans for a reunion album or tour. Too bad. I, for one, would love to see that old fire and passion rekindled… if only for little while.

DO THE ARCHITECTURAL WATUSI DVD/Blu-Ray Music Reviews Streaming Video | Darren Tracy | February 28, 2015 | Bonus Material Brian May Classic Rock Compilation Dave Hope David Wild Documentary DVD/Blu-Ray Garth Brooks Hard Rock Jeff Glixman Kansas Kerry Livgren Limited Edition Music Phil Ehart Progressive Rock Rich Williams Robby Steinhardt Rock and Roll Steve Walsh Streaming Video

WHAT’S IT TO ME, ANYWAY?: THE 25 ALBUMS THAT MOST INFLUENCED MY LIFE, PART 1

(Ruminations of a music junkie, by KEVIN RENICK)

Hey everyone, it’s 2015! Didja notice? Yep, it’s a symmetrical year three fourths of the way through the first fifth of the new millennium! I find that this is making me, and plenty of other people I’ve spoken to, think about numbers, halfway points, anniversaries, etc. For me, this year marks the major anniversary of a lot of key things in my life and career, and I plan to write about some of those right here at the Mule. It’s gonna be fun, so saddle up and take this trip with me, through the past, smartly! Not that I feel like acknowledging my age or anything, but I would say I have been a true “music fan” for 50 years now. As a bonafide baby boomer, I grew up in the ’60s listening to all that classic stuff that makes the “Best Ever” lists these days. Sometime in 1965, probably after the Beatles’ RUBBER SOUL album came out, I became aware of music in a bigger way than before. It was no longer just the radio hits my sisters were listening to incessantly on AM, now they were buying albums (mostly the Beatles at first), and the repeated playing of these began to affect my young ears with increasing intensity. I love melodies and good singing, and everyone at the time was into the Beatles. A new era was upon us, and it was exhilarating.

What I thought I would do to celebrate my 50 years of being an active listener, is pick the 25 albums that influenced me the most. Here at the Mule, we like to take things personally, that’s why a conventional list of “Best of All Time” or “Best of the Decade,” that kinda thing, is not much fun to do. Stuff like that is all over the web or in your latest issue of ROLLING STONE. And though fun, that kind of clinical exercise can get tedious. But if I tell you I’m going to make a list of 25 albums that truly affected my life, that either set something in motion, changed me or altered my musical taste in some way, well, I get all tingly just thinking about that. The list could be much longer, of course, but it’s important to have parameters. And I like the symmetry of “25 in 50,” ie: The 25 recordings that had the greatest personal impact in 50 years of listening. You will encounter some of the great classics in here, and you’ll also read about stuff you never heard of. Maybe you’ll be shocked that there are no Dylan, Rolling Stones or Beach Boys albums on my list. I’ll say it again, this is NOT a list of the most influential albums, period. It’s a list of what most influenced ME, and made my musical life what it is. This is a thoughtful, personal exercise, and I hope you’ll enjoy sharing it with me. Maybe it will encourage some of you to think about what music most made a difference to YOU, and affected your personality the most. Fun, right? Making something all about YOU is more honest and real than those tedious “Best of” lists. So, here we go. These albums will roughly be listed in the order that I encountered them, although I can’t absolutely swear to that. But… all of these works helped make me whatever and whoever the heck I am today. Enjoy!

1. THE BEATLES: REVOLVER

Although SERGEANT PEPPER… is usually cited as the greatest Beatles album, the 1966 classic REVOLVER had a bigger impact on me. It was the Fabs entering their psychedelic period, and my sisters, Therese and Pam, played this album all the time. I was fascinated by the unusual sounds on it (“Tomorrow Never Knows” was utterly hypnotic, as were the strings on “Eleanor Rigby”), and classic gems of songcraft like “Good Day Sunshine,” “I Want To Tell You” and “Got To Get You Into My Life” became lodged firmly in my young mind. I feel sad for people who never know the experience of growing up with a classic album like this.

How it influenced me: Gave me perhaps my first experience of enjoying an album all the way through, with melodies and sounds that seeped deep into my brain.

2. THE BEATLES: THE BEATLES (WHITE ALBUM)

Barely two years after REVOLVER, the Beatles had evolved so much that it was almost dizzying to a budding music fan at the time. By 1968, only my sister Therese was still home among my siblings, and this album got constant play. It was a weird, unsettling, enthralling experience to listen to it back then. I vividly remember a couple of times when I fell asleep on the extra bed in Therese’s room absorbing the strange, diverse tracks on this album. Each side had a unique flow; some songs rocked out (“Back in the USSR,” “Glass Onion”), some songs were folksy and pretty (“Mother Nature’s Son,” “Julia”) and some were scary and from a place I yearned to know more about (“Long Long Long,” “Revolution 9”) What a remarkable sonic journey this double album took fans on! Nobody at the time talked about the “divisions” within the Beatles, or how “self-indulgent” the album was. We simply ate it up, listened with fascination, and marveled at the new age of rock that was now dawning.

How it influenced me: The first massive song collection I ever lost myself in, with unforgettable moments across the musical spectrum, including the first moments on record to scare the crap out of me (the moaning sounds at the end of “Long Long Long” and the entire “Revolution 9”). Hearing dark, weird sounds on a record began for me, oddly, with the Fab Four.

3. THE MONKEES: PISCES, AQUARIUS, CAPRICORN AND JONES, LIMITED

PISCES, AQUARIUS, CAPRICORN AND JONES, LIMITED (COLGEMS RECORDS, 1967)

In the late 60s, the Monkees were the OTHER band that captured the lion’s share of attention in my circles. We all knew the hits like we knew the shrubs in our front yard, and we watched the MONKEES TV show faithfully. This 1967 album was a superb collection of tunes that got constant play in my neighborhood. The previous Monkees albums seemed more like collections of big hits, but this one headed into some new territory. “Star Collector” was downright psychedelic, and Davy Jones sang it! “Pleasant Valley Sunday” was simply one of the best songs ever, ever, ever, one of the first songs to become a solid favorite for me. And many others stood out, like the minor-key laden “Words,” the Nesmith classic “What Am I Doing Hangin’ Round” and the Nilsson gem “Cuddly Toy,” which, decades later, would become a song I would sometimes perform live when I became a musician myself.

How it influenced me: A solid soundtrack to my childhood, full of innocence, whimsy and suburban dreams.

4. TOMMY JAMES AND THE SHONDELLS: THE BEST OF…

THE BEST OF TOMMY JAMES AND THE SHONDELLS (ROULETTE RECORDS, 1969)

From 1967 to 1970, Tommy James was a fixture on radio, with classic hit after classic hit. They were often in the summer, becoming wondrous summer classics like “Crystal Blue Persuasion” and “Crimson and Clover.” At every swimming pool where radio was in the background, Tommy James was a part of the atmosphere. And the first song I ever declared to be my personal favorite, was “Sweet Cherry Wine.” This song absolutely captivated me, and I would sometimes wait for it to come on the radio, getting very emotional when it did. It was a beautifully produced song, with background vocals that got under my skin and never left my memory. THE BEST OF TOMMY JAMES AND THE SHONDELLS was, I believe, the first album I bought with my own money. It’s possible a Monkees album preceded it in that regard; memory can be sketchy. But it was unquestionably the first hits collection I ever bought, and the first non Beatles or Monkees music to get repeat play in my life. A soundtrack for the year 1969 in particular.

How it influenced me: The sound of the last year before I became a teenager. The first record to actively make me aware of the magic of background vocals. A collection of songs I truly, truly could listen to over and over.

5. SIMON AND GARFUNKEL: BOOKENDS and BRIDGE OVER TROUBLED WATER (tie)

BOOKENDS (COLUMBIA RECORDS, 1968); BRIDGE OVER TROUBLED WATER (COLUMBIA RECORDS, 1970)

If you become a musician, some influences don’t become apparent to you right away; you might have to work on developing your style and think about the kinds of songs you want to do, before the stylistic touchstones become obvious. I grew up with Simon and Garfunkel, and all but their first album were regular spins at our home in Kirkwood. Most of their songs struck me as sad, intimate and evocative, and the musical personality they presented… the tight harmonies, the sometimes quirky lyrics… was vivid and powerful. These two albums affected me about equally, the former for its melancholy musings on the passing of time (“Old Friends,” “Bookends”) and quirky sing-alongs (“Hazy Shade of Winter,” “At the Zoo”), the latter for its epic production and exhilarating musical dramas (“Cecilia,” “El Condor Pasa,” “The Boxer,” the title track). This was one of a clutch of albums I listened to a great deal with an early girlfriend in 1972; such things stay with you. Years later, I fell in love with a girl actually NAMED Cecilia, and that song became significant in a very personal way. More importantly, Paul Simon’s songwriting stood out for me as artful, impactful stuff, and he is one of the composers I always mention as an influence on my own music and aesthetic.

6. CROSBY, STILLS, NASH AND YOUNG: DEJA VU

They were called the “first big supergroup,” “the American Beatles” and more. Crosby, Stills, Nash and Young were not destined to sustain the kind of impact such lofty labels created expectations for, but they made this one incredible studio album as a foursome. It was a 1970 classic, and that year they were omnipresent. Every song was amazing, and the potency of their musical personalities was overwhelming if you were a fan of singer/songwriters. I was, and this album, plus the live album FOUR WAY STREET, essentially planted the seeds of my own desire to write songs. From the iconic cover photo to the peerless harmonies to the counterculture sass, this was an unmissable classic of its time. And that guy Neil…

How it influenced me: The songwriting. The personalities. The times!

7. NEIL YOUNG: HARVEST

It’s really not easy picking one Neil Young album for my list. Considering that Neil Young is one of the two most important and influential musicians in my entire life, it seems inadequate to talk about one album. It actually could have been ANY of his first four: the NEIL YOUNG debut, the epic Crazy Horse workout EVERYBODY KNOWS THIS IS NOWHERE in 1969, the popular fan favorite AFTER THE GOLDRUSH from 1970. All had an impact, but HARVEST was one of my high school soundtracks. I listened to it with my first real girlfriend. I was profoundly affected by Neil’s singing and arrangements throughout, and, quite simply, I was a different person by the time I fully absorbed this album. Neil Young was the first singer/songwriter I claimed as my own, the first to pervade my life and shift my understanding of the craft of songwriting. I memorized everything on this album; it became a huge soundtrack for me. I even liked the orchestration on “There’s a World,” which some reviewers lambasted. Everything in my music life changed after Neil Young; he’s even the artist that got me interested in reading reviews, which then led to my writing career. His influence was profound.

8. PINK FLOYD: MEDDLE

If you were in high school in the early to mid-’70s, Pink Floyd were a staple. FM radio played them all the time, and the longhairs and tokers were ALWAYS talking about them. DARK SIDE OF THE MOON was one of the first albums to become a genuine phenomenon, and it was absolutely everywhere when I was in high school. I was intrigued enough by the band to research all their earlier work, and I found their 1971 classic MEDDLE. That’s the one that burrowed into my brain. The trilogy of atmospheric gems on side one: “A Pillow of Winds,” “Fearless” and “San Tropez” stirred me with their smooth vocals, melancholy arrangements and haunted romanticism. I found these tracks more than a little compelling. And, as for “Echoes,” the spacey side-long excursion that graced side two, well, it was the first immersive space rock spectacle I had encountered, a headphone extravaganza for many of us buying our first stereo systems at the time. Progressive rock had arrived, and so had a plethora of mysterious sounds we’d never heard the likes of before, us teens.

How it influenced me: The dawn of headphones-ready space rock, David Gilmour and Rick Wright creating a perfect sonic template to serve Roger Waters’ lyrical ideas, and the important notion that something could be epic and intimate at the same time in music.

9. YES: CLOSE TO THE EDGE

CLOSE TO THE EDGE (ATLANTIC RECORDS, 1972)

And they WERE, too. Close to the edge of sonic possibilities at the time, as evidenced by the side-long title track that pretty much blew everyone’s mind. I didn’t truly listen to Yes with any depth until 1973, but CLOSE TO THE EDGE became a staple. Progressive rock was becoming one of the most popular genres, with Yes, King Crimson, Pink Floyd and others dominating the talk among hardcore music fans at the time. With musicianship on a scale hardly imagined before, Jon Anderson’s soaring voice and “out there” lyrics, and passages of music that were so hypnotic and evocative that they could be said to represent the beginning of the power of “ambient sound” (which would transform my life a few years later), Yes were unrvaveling layers of new possibilities in music. I ate it all up, shared it with friends, and even began trying to memorize some of the more interesting lyrics.

How it influenced me: The mystical, far-reaching “subjects,” the compelling lyrics, the incredible purity of Jon Anderson’s voice, the early ambient sounds.

10. BLACK SABBATH: SABBATH BLOODY SABBATH

SABBATH BLOODY SABBATH (WARNER BROTHERS RECORDS, 1974)

I was never much into what was called “heavy metal,” although both Led Zeppelin and Black Sabbath were huge during my teen years. I have no idea what first got me into Black Sabbath, but I listened to MASTER OF REALITY pretty often with the same girlfriend I mentioned in an early paragraph, and it had a lot of mystery about it. The heaviness of the riffs and the darker themes were quite compelling to me. I started reading some of the reviews of Black Sabbath, and by the time their fifth album came out, I was a senior in high school and a budding amateur musician. There seemed to be something of real substance to SABBATH BLOODY SABBATH to my ears at the time, and I even liked Ozzy Osbourne’s shrill voice. The oddest thing that happened, though, is that I began trying to play a couple of the songs on piano. I’d had a year or so of lessons, and I would occasionally try to just “pick out” chords or melodies from popular songs. Came up with my own versions of Neil Young’s “Southern Man” and, inexplicably, “Sabbra Cadabra” from the Black Sabbath album. I was playing controlled double octaves, and I was doing it with all the energy I possessed. I had the structure of this song down pretty well! It got to the point where this was pretty impressive, I suppose, because I played it at a couple of parties and for a number of friends, who always seemed to clap. Inadvertently, Black Sabbath had given me my first taste of what it might be like to be a musician. That’s influential, ain’t it?

11. BRIAN ENO: DISCREET MUSIC

In a month or two, I’ll be doing a piece on Brian Eno for this site, so I don’t want to go into undue detail right now. But… people who know me, know that Eno is the single most influential musical artist of my life, just a shade more than Neil Young because of the differing STREAMS of influence he had. This 1975 album was a game changer, to say the least, and of earthshaking importance in my life. Try to imagine what it would be like to have your actual dreams and subconscious memories represented in musical terms. That’s what Eno’s first true “ambient” recording did for me. Consisting of wispy, ethereal, repeating and interweaving synth melodies, what Eno came up with was so new and different that no one really knew what to do with it at the time. I did, though. I listened to it late at night both through headphones and without. I played it any time I had a hangover, and the hangover would miraculously go away. I listened to it when I felt depressed, and I felt that, somehow, there was a force out there that understood me. “Miracle music,” I began to call this stuff, and it launched my lifetime love affair with ambient music. How did it influence me? In every possible way as a music listener. It asked questions that many people are STILL trying to answer. And a whole new world had opened up that I walked into with an open mind and open ears…

12. JONI MITCHELL: HEJIRA

By 1976, the legendary Joni Mitchell was exploring jazz stylings more and more in her music, and she was well past the stage of having conventional “hits” (1974’s COURT AND SPARK was her last album to feature anything like that). I’d been a fan, but HEJIRA was more than just a new album by a songwriter I loved; it was a restless travelogue by an artist at the peak of her powers. Songs such as “Amelia” (which referenced ill-fated pilot Amelia Earhart), “Song for Sharon” and “Refuge of the Road” really stirred me with their ruminations on life, memories and uncertainty, and furthered a growing desire I had to write meaningful things myself. If that weren’t enough, I fell in love with a girl not long after this that looked very much LIKE Joni Mitchell, and kind of worshipped her. So, me with my Neil Young obsession and this girl with her Joni fixation, began comparing notes and trading insights on our idols. It was heady stuff, and although it ended badly, this Joni Mitchell album in particular captured something emotionally potent that was not only on the recording itself, but echoed through my own personal life. And the lyrics of that “Refuge of the Roads” song are brilliant and sobering.

13. TELEVISION: MARQUEE MOON

Something strange and mysterious was going on in New York City in the mid ’70s, and my cousin Roxanne, who lived there, started talking to me about it. There were a lot of new bands playing at a club called CBGB’s, and Roxanne and I, who were already close partially due to shared letters and phone calls about relationships and the music we loved, began going to that club and others in NYC, regularly. A band called Television was getting a great deal of attention, and I didn’t think too much about this until I went to New York myself in 1977 and got to see them, with my cousin and my brother Kyle along for the experience. There’s a thing that happens when you see a band that sounds like nothing else you’ve ever heard. You get transported, you have your mind blown, and it expands your reference points for the old sonic vocabulary. Television had two incredible guitarists, Tom Verlaine and Richard Lloyd, and the mesmerizing interplay of the two lead guitars, coupled with bizarre, evocative lyrics and Verlaine’s charisma on stage, was unforgettable for anyone who saw the band. The term “new wave” was created to try to label bands like this; “punk” just wasn’t cutting it. These guys were musicians, and they were reaching for something out there that the punk bands couldn’t care less about. Roxanne sang me her favorite lyrics from the band over and over, even my snobby brother was affected, and I was left reeling by yet another brand new rock sound. The MARQUEE MOON album came out later in 1977 and took the indie music scene by storm. Some of the best guitar work ever played was on this album.

How it influenced me: By generating understanding of the far-reaching drama that two electric guitars could generate, seeing the experience of people getting swept away by music in the dingiest of dingy Bowery clubs (at a legendary time in rock music history), and by raising the stakes for underground music, which was also to generate so much press that the mere READING of reviews and articles at this time became an experience unto itself.

DO THE ARCHITECTURAL WATUSI Music Features/Interviews | Kevin Renick | January 28, 2015 | Acoustic Music Alternative Rock Ambient Music Black Sabbath Brian Eno Classic Rock Crosby Stills Nash and Young Electronic Music Folk Music Hard Rock Heavy Metal Influential Records Jazz Joni Mitchell List Music Neil Young New Wave Music Pink Floyd Pop Music Progressive Rock Psychedelic Rock Psychedelic Space Rock Punk Rock Rock and Roll Simon and Garfunkel Singer/Songwriter Television The Beatles The Monkees Tommy James and the Shondells Yes

SLEATER-KINNEY: NO CITIES TO LOVE

(SUB POP RECORDS; 2015)

What an astounding return for this wonderful grrrl-punk band from the Pacific Northwest. It’s been ten years since their last album, THE WOODS, came out; then the trio went their own ways. Still good friends, they stayed in touch and decided last year to do something together again. The fact that they have returned in a blaze of glory with ten hard rocking songs about everything – beliefs, relationships, fame, caring about others – is proof positive that they made the right decision. Carrie Brownstein, Corin Tucker and Janet Weiss said, “Let’s let it all out,” and they certainly did. My favorite songs are actually towards the end of the album: “Bury Our Friends” (which is getting airplay), “Hey Darling” and the last song, “Fade,” are among the best, but the band rocks the whole way through, taking no prisoners. To sound this good after a long absence is just fine.

Sleater-Kinney (Janet Weiss, Corin Tucker, Carrie Brownstein) (photo credit: Brigitte Sire)

These gals aren’t afraid to “let it all go.” There’s a great spirit surrounding these tunes. NO CITIES TO LOVE opens with “Price Tag” and you can tell immediately that they mean business. The amazing Janet Weiss joined Sleater-Kinney way back in 1996, saying she came from the “heavy hitters” drum school, listing the great Zeppelin basher, John Bonham as one of her influences. She absolutely hits hard, but also plays with soul and verve. With people like Sonic Youth no longer in the game, it’s nice to have this great white noise from Sleater-Kinney again, sounding better than ever. The album has received raves from every corner and I wish them nothing but the best, adding my praise to the ever-growing list of ravers.

DO THE ARCHITECTURAL WATUSI Music Reviews | Bill Winer | January 21, 2015 | Alternative Rock Carrie Brownstein Corin Tucker Garage Rock Hard Rock Janet Weiss Music Noise Rock Punk Rock Riot Grrrl Rock and Roll Sleater-Kinney

JAMES WILLIAMSON: RE-LICKED

(LEOPARD LADY RECORDS; 2014)

By 1972, the Stooges were collapsing in upon themselves; the band were two years removed from their second album, FUNHOUSE; they were dropped by their record label, Elektra, and bassist Dave Alexander and guitarist Ron Asheton were gone. James Williamson was the new hot-shot guitar-slinger but, without a record company to back them, Iggy Stooge (now Iggy Pop), drummer Scott Asheton and Williamson were on the verge of packing it in. Then, David Bowie stepped in, convincing his management team, MainMan, to take a flyer on the down-and-nearly-out Detroit bad boys and securing a record deal with Columbia; with Bowie taking a hand in the studio and Ron back in the fold (as a rather disgruntled bass player), the group gave us the seminal 1973 album, RAW POWER. Iggy and Williamson had been writing and demoing material for their next record but, not seeing the kind of return they were expecting, Columbia dropped the band. Williamson and Pop released the KILL CITY album, a live record (METALLIC KO), as well as a couple of EPs of demos before Iggy, with Bowie’s help, went on to a long and erratic solo career. Over the years, other demos have cropped up on various bootlegs. Williamson was said to have been in retirement when the Stooges came calling again, in 2009, after the death of Ron Asheton; in 2014, with the band on hiatus following Scott Asheton’s death, Williamson decided it was time to give those now-ancient songs a proper unveiling. Though Iggy declined to participate on the project, he did give James his approval to re-record the tunes, utilizing a core group of Cat Power’s Gregg Foreman on keyboards, Primal Scream’s Simone Marie Butler on bass and uber-drummer Michael Urbano, as well as the Stooges’ touring band and a string of punk and alt-rock heavy-hitters to bring Iggy’s lyrics to life. Forty years in the making, RE-LICKED is the result.

James Williamson; Alison Mosshart; James Williamson (photo credits: HEATHER HARRIS)

If I were going to fire an opening salvo across the bow of the enemy, I think that shot would probably be loaded with the demented warble of activist and former Dead Kennedys vocalist, Jello Biafra; apparently Williamson thought the same thing with Biafra’s frantic howl leading the charge on “Head On the Curve.” The tune kinda has a “Stooges meets the MC5 at a mixer hosted by the New York Dolls” vibe, with Foreman’s barely-controlled tack piano coda, massive fuzzed-out bass from Simone (with additional low-end from Mark Culbertson’s contra bass) and – of course – Williamson’s typical slash-and-burn guitar. “Open Up and Bleed” is a sweltering, stormy Blues track. It features an inventive lead from Williamson, alongside another nice solo, as well as some minor key piano from Stooges drummer Toby Dammit; the real highlight comes from the throat of under-rated Blues wailer, Carolyn Wonderland, who also adds a dose of her unique guitar sound. Primal Scream vocalist (and former Jesus and Mary Chain drummer) Bobby Gillespie offers his usual ragged, snotty voice to “Scene of the Crime,” a loud, sloppy piece of raunch with the tack piano (provided by Butler) and lo-fi rhythm section (Butler again, with Urbano banging away on the drums) that was the hallmark of RAW POWER. Steve Mackay offers some sludgy sax work, while James adds a stinging solo. While the majority of the songs here are Pop/Williamson compositions, “She Creatures of the Hollywood Hills” was co-written by Iggy and original Stooges guitarist, Ron Asheton. The tune is a jazzy blast of swampy Doors Style rock and roll, with Manzarek-like keyboards from Foreman and Ariel Pink, ably abetted by Petra Haden, offers up a weird James Brown meets Jim Morrison vocal scat, as Dammit and bassist Mike Watt add a perverse rhythmic swing to the proceedings. There’s also a skronking kind of sax solo from Mackay that is of a variety that wouldn’t sound out of place on an early Mothers album. On what is probably the best track on the album, “’Til the End of the Night,” Alison Mosshart’s (of the Kills and the Dead Weather) atmospheric moaning is delivered over Williamson’s sparse acoustic and Urbano’s heavy, orchestral percussion. The tension builds to about the 3:15 mark when everything explodes, collapsing into a jagged electric solo before reverting back to form for the final minute or so.

James Williamson (photo credit: HEATHER HARRIS)

Iggy’s “I Got a Right” crashes Stooges punk into Mother’s Finest rockin’ soul with vocals from the wildly talented Lisa Kekaula (of the Bellrays) wailing away over the Dammit/Watt rhythm section, Petra Haden’s oddly non-verbal backing vocals and a full horn section that includes Allison Gomer, Steffan Kuehn and Aaron Lington. Of course, the master of ceremony holds court with another dose of raunchy rock guitar on a song that woulda made Wendy O and the Plasmatics smile. “Pin Point Eyes” has a dirty, 1920s bawdy house feel, with Foreman’s ragtimey piano and the same horn section as “I Got a Right” dominating the rhythm. The Icarus Line’s Joe Cardamone’s vocals fall somewhere between Berlin-era Iggy and Johnny Thunders’ drugged-addled slurs. All of this, along with a rather restrained solo from James makes the track one of my favorites… this is the type of thing that I think Stiv Bator would be doing if he’d stuck around. The magnificent Alison Mosshart returns for “Wild Love” and she brings Mark Lanegan (Screaming Trees, Mad Season, Queens of the Stone Age… you get the idea… the guy’s got quite a pedigree!) along for the ride. With a butt-load of snarling guitars and the retro sound of Urbano’s drums and Butler’s bass, it’s a love song, Stooges style, and may just be the closest approximation to the band’s first Williamson era. There’s kind of an abstract Bowie-ness to “Rubber Leg.” The stomping rocker features a nifty, gravelly vocal from Little Caesar’s Ron Young amid a miasma of sound with Rolling Stones-like backing vocals and a weird, distorted sax from Steve Mackay that’s buried deep in the mix, coming up for air on an odd Farfisa run from Foreman; the whole thing is very noisy and quite disjointed and… I like it! “I’m Sick of You” is an archaic, American Gothic tune for the first half, with moody guitars and keyboards oozing underneath atmospheric vocals from the Orwells’ Mario Cuomo. It turns into a classic Stooges blast of intensity, with Williamson’s massive power-riffing tolling the death-knell of a broken relationship.

Lisa Kekaula; James Williamson; Mark Lanegan (photo credits: HEATHER HARRIS)

Now… with apologies to the Chairman of the Board (c’mon… you all know who I‘m talking about) and lyricist Paul Anka, there’s this: “And now, the end is near. Bonus tracks? We’ve got a few, but then again too few not to mention.” Carolyn Wonderland returns on vocals and guitar a funky blast of punk (or, is that a punky blast of funk?) called “Gimme Some Skin,” the first of six CD bonus cuts. Buoying Carolyn’s soulful voice are ragged, frenzied guitar blasts from both she and Williamson, as well as a wicked harmonica run from Walter Daniels and some James Chance post-punk sax bleats from Mackay. The first of two takes of “Cock In My Pocket” features typically raunchy Iggy lyrics, delivered with throat-throttling fervor by former Hellacoptors and current Imperial State Electric singer Nicke Andersson. The track also highlights some brilliant baritone sax from Aaron Lington. Another welcome return is featured on “Heavy Liquid.” Lisa Kekaula’s Paul Stanley-like howls carry the wicked Detroit-centric melding of the Stooges with the MC5, Death, Alice Cooper and Mitch Ryder over a muddy RAW POWER sound, with trashy horns from Kuehn, Lington and Gomer. Expanding the rock and roll pool to more of a world stage, the underlying riff is quite reminiscent of Budgie’s “Nude Disintegrating Parachutist Woman” and about half-a-dozen other hard rock classics, not to mention a bit of Devo and a sniff of Talking Heads. Other than lead singer Shea Roberts and guitarist Jesse Nichols, the Richmond Sluts (Chris B, Justin Lynn, John Tyree) seem to be relegated to the role of vocal support on “Wet My Bed,” with James, Simone, Gregg and Michael doing all of the heavy lifting, instrumentally. The arrangement works really well, with a shambolic free-for-all that sounds like the Dolls channeling Chuck Berry at a ROCKY HORROR SHOW revival; Williamson does his best Johnny Thunders doing his best Chuck and Foreman offers up a great tribute to the late, great Johnnie Johnson (the TRUE King of Rock and Roll)… this one’s a lot of fun. There’s not a lot difference between the first and second versions of “Cock In My Pocket,” other than the punkier voice of Gary Floyd, giving this version a Handsome Dick Manitoba/Dictators vibe. An alternate version of “Rubber Leg” sounds closer to RAW POWER than the regular album version, especially with the Iggy-cum-Joey Ramone yelps of JG Thirlwell, the alter-ego of the extreme artist known as Foetus. RE-LICKED is essential listening for rockers the world over, reminding us all why we started listening to rock and roll in the first place. The album is available in two physical formats: The first is a vinyl version with the first ten cuts… no bonus tracks, but it does come with a CD version that does feature all sixteen tunes; the second version is a standard release of the sixteen track CD. Both versions feature a cool “Making of… ” feature on a bonus DVD, a very nice addition to the entire experience.

DO THE ARCHITECTURAL WATUSI DVD/Blu-Ray Music Reviews | Darren Tracy | January 17, 2015 | Aaron Lington Alison Mosshart Allsion Gomer Ariel Pink Blues Rock Bobby Gillespie Bonus Material Carolyn Wonderland Chris B Classic Rock Dave Alexander David Bowie Documentary DVD/Blu-Ray Garage Rock Gary Floyd Gregg Foreman Hard Rock Iggy Pop James Williamson Jello Biafra Jesse Nichols JG Thirlwell Joe Cardamone John Tyree Justin Lynn Lisa Kekaula Mario Cuomo Mark Culbertson Mark Lanegan Micahel Urbano Mike Watt Music Nicke Andersson Petra Haden Psychedelic Rock Punk Rock Rock and Roll Ron Asheton Ron Young Scott Asheton Shea Roberts Simone Marie Butler Steffan Kuehn Steve Mackay The Richmond Sluts The Stooges Toby Dammit Walter Daniels

NEAL SMITH: KILLSMITH AND THE GREENFIRE EMPIRE

(KACHINA RECORDS; 2014)

As I’ve undoubtedly mentioned elsewhere, anyone who has read any of the various publications that I’ve been involved with over the past twenty years, knows that I am a huge Alice Cooper fan; anyone who has known me personally for the past 42 years (give or take), knows that I have a particularly soft spot for the band, especially drummer Neal Smith. I own a copy of virtually every recorded project that Neal has been a part of. Most recently, the Rock and Roll Hall of Fame drummer (class of 2011) has recorded the KILLSMITH trilogy, including the slutty KILLSMITH: SEXUAL SAVIOR (2008), the slightly more approachable KILLSMITH TWO (2011) and the final installment, the brand-spankingly new, progressive-leaning (in a totally non-political, musical sense) rock opera, KILLSMITH AND THE GREENFIRE EMPIRE. The album shows an amazing growth in the writing and arrangement skills of the solo Neal Smith entity, with keyboards, ballads and even a Christmas-themed tune to close the proceedings. Neal has expanded his own instrumental involvement on these albums, too, adding guitar and keyboards to his standard repertoire of percussion instruments and vocals.

Neal Smith's Rock and Roll Hall of Fame induction speech, flanked by Michael Bruce, Alice Cooper and Dennis Dunaway, 2011 (uncredited photo) — Neal Smith’s Rock and Roll Hall of Fame induction speech, flanked by Michael Bruce, Alice Cooper and Dennis Dunaway, 2011 (uncredited photo)

“Blessings and Curses” introduces the character of Diablos, the Emerald King, a South American drug lord from lowly beginnings who discovers an ancient drug known as GreenFire, as deadly as it is addictive. The song itself is full-on Alice Cooper, Billion Dollar Babies (the band), PLATINUM GOD down and dirty rock ‘n’ roll. Neal’s gravel-throated voice has aged quite well over the course of his solo career and, of course, he is THE man as far as rock drummers go. The guitars (Doug Wahlberg on lead and Smith on rhythm) definitely have that old Buxton/Bruce fire that made those original seven Alice Cooper records so great. Neal steps out of the spotlight for “Good Morning Blue Soul Land,” casting Hubert Martin, of the What Up Funk Band, in the lead as a ’30s crooner. The track is a very cool and unexpected divergence from the hard rock that the boys from Alice Cooper are best known for; think “Crazy Little Child” (from MUSCLE OF LOVE) without all the crime and death. It has it all: A bluesy tack piano (courtesy of Pete “Keys” Hickey), some doo-wop style vocal backing and a snaky Joe Meo sax part that comes in for the last minute or so. “Screaming Bloody Murder” features a chiming, piercing Wahlberg lead, a direct contrast to the heavy, pounding drums and dark subject matter, with a chorus of “Screaming bloody murder/It was a murder, murder Christmas/Screaming bloody murder/For Christmas.” The song ends with Neal intoning those famous words of ol’ Saint Nick himself (well, kinda): “Merry Christmas to all and to all, a deadly night.” Listen for a wonderfully sloppy solo (Wahlberg again) as it slices and dices its way through the bridge.

With “The KillSmith Overture,” Neal shows his guitar-slinging chops with a reverb-drenched intro that also features some very cool flamenco guitar from Mister Hickey, who also adds some very progressive sounding synthesizer parts. Neal provides the castanets and Lady Elizabeth Dellinger (of the upstart soul/jazz conglomerate Snooty Garland) offers a dream-like vocal intonation, somewhere between humming and scatting. There are points where the cut almost has the feel of a field recording, with wind, thunder and rain intermingling with the music. This is definitely one of the more effective pieces on the album. The showers that end “The KillSmith Overture” bring new life on “Palacio de Esmeraldas,” with birds, frogs and crickets all chirping away. Despite the exotic name, the song is far less Latin sounding than the previous track; there’s a distinct Blue Oyster Cult vibe, with tales of a lost South American treasure, voodoo spells and zombie slaves. Neal’s vocal growl is back out front, with his heavy, chunky rhythm guitar and rock-steady drumming driving the tune. And, lest we forget, there’s another great solo from Wahlberg. “Greenfire Born of Poison” is total ’90s hair metal bombast, with absolutely brilliant soloing from Doug and Kevin Franklin (on loan, like Hubert Martin, from the What Up Funk Band)… think of a heavier version of Damn Yankees. The tune features a typical Alice Cooper meltdown at the end, as everything collapses in on itself.

Gigantic, Leslie West worthy power chords open “I Want Money” before Smith’s massive drum sound comes in; Lady Elizabeth is back on vocals, dueting with a slightly subdued Neal. Pete Hickey’s synth is featured more prominently here, with a weirdly effective solo dropped in mid-song. This tune is where we learn the Emerald King’s true motives behind the decisions he’s made in his life: “I Want Money.” On “Pandemonium,” the frantic drums, frenzied feedback-heavy guitars (this time, with leads by Rick Tedesco), and heavily processed vocals really do have the sound of the number’s title; sound effects and a crazed, backward Tedesco solo add to the vibe. Even though we haven’t called his name yet, the bass work of Peter Catucci (who has become Neal’s rhythm section partner of choice, as Dennis Dunaway has increasingly busied himself with other projects) is the rock that anchors the groove here and throughout the record; the bass/drum interplay – especially here – actually rivals that of Dunaway/Smith… no small feat.

Neal Smith with Alice Cooper and Dennis Dunaway at Rock and Roll Hall of Fame rehearsals, 2011 (uncredited photo)

A beautiful acoustic guitar from Tedesco opens “I Remember Blue Soul Land,” with a much more subdued Smith vocal (showing that his voice is much more than the growl we are most familiar with… the guy can actually SING!) and Hickey’s piano adding to the overall balladic sense of the song. As the drums, bass and electric guitars are introduced, the track takes on more of a metal power ballad feel; the number really takes a stratospheric leap with the introduction of a choir (compliments of a synthesizer, perhaps?), led by Catucci’s solo voice as a counter to Neal’s lead and a Wahlberg guitar solo that’s definitely worthy of the great Dick Wagner/Steve Hunter tandem from Alice’s early solo career. “Death To the King” is a kind of slow blues with Lady Elizabeth again sharing vocal duties with Smith; while Neal sings, “Hail to the king,” Lady E counters with “Death to the king.” This is the song where Diablos gets his just desserts, as a vengeful “subject,” KillSmith, takes revenge for the death of his wife, Noelle. Aside from a great Joe Meo sax line weaving in and out of the mix, this is a classic type of early ’90s HEADBANGERS’ BALL tune, with power chords, sound effects and keyboards aplenty. All in all, a catchy little number. I went to great extremes to tell you the name of the wife from the last cut because it directly relates to the final piece of the album, the Christmas song, “Noelle No Wonder.” It would appear that Neal really was paying attention to those first two or three solo outings from Alice, as he softens the feel with an orchestra (synthesizers again), a very nice piano lead by Pete Hickey and not a lot else… except, of course, those drums! I think that Neal’s decision to feature Peter Catucci as the lone vocalist was brilliant, as Peter delivers one of the greatest performances you’re likely to hear on a Christmas song this year. Billion Dollar Babies could have rode this one to the top of the charts about 35 years ago, though I’m not sure that Michael Bruce could have done it justice, vocally.

KILLSMITH AND THE GREENFIRE EMPIRE is available at nealsmithrocks.com, in CD and digital versions. Neal has also written a story of the exploits of KillSmith, available in a limited edition 30 page book that also includes the CD version of the album; he personally autographs each copy of either version of the CD purchased from his site.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Darren Tracy | December 29, 2014 | Alice Cooper Billion Dollar Babies Classic Rock Concept Album Doug Wahlberg Hard Rock Hubert Martin Joe Meo Kevin Franklin KillSmith Lady Elizabeth Dellinger Music Neal Smith Pete "Keys" Hickey Peter Catucci Progressive Rock Rick Tedesco Rock and Roll Rock and Roll Hall of Fame Streaming Video Theatrical Rock

TRIGGER HIPPY: TRIGGER HIPPY

(ROUNDER RECORDS/CONCORD RECORDS; 2014)

So, what’s a fella to do when his band is prone to rather lengthy bouts of inactivity based on the whims and hubris of the brothers that front the band? Well, if you’re the Black Crowe’s drummer, Steve Gorman, you form a band of your own, enlisting the group of musicians with which you would most want to collaborate. That’s exactly what Steve did in 2009, when he founded Trigger Hippy with fellow Crowe member, guitarist Audley Freed, Widespread Panic guitarist Jimmy Herring and Nashville session bassist Nick Govrik. Herring and Freed eventually departed (as did Freed’s replacement, Will Kimbrough), due to outside commitments, and the group solidified around Gorman, Grovnik, ace session guitarist Tom Bukovac and the duel lead vocal powers of Jackie Greene (who also provides guitar and keyboards) and Joan Osborne… a veritable super group of seasoned, in-demand players. The sound on their debut record is solid Southern Rock ‘n’ Soul (think Lynyrd Skynyrd – or the post-crash offshoot, Rossington Collins Band – spiced with a touch of Wet Willie and Little Feat and a whole lot of Stax Records funky rhythm and blues), a true band effort, as Gorman relates: “Sure, you can see this as a ‘player’s band,’ but it really is a BAND, in the true sense of that word.”

Trigger Hippy (Tom Bukovac, Steve Gorman, Nicj Govrik, Joan Osborne, Jackie Greene) (photo credit: JACOB BLICKENSTAFF

The album kicks off with the celebratory, anthemic “Rise Up Singing,” a gospel-tinged song driven by a vibrant organ and hand claps. Aside from the previously mentioned influences, you can also hear touches of Delaney and Bonnie and even – believe it or not – a little Three Dog Night and latter day Fleetwood Mac. “Turpentine” is a Black Crowes type rocker with a deep, pumping bass, powerful drumming, smooth harmony vocals and Skynyrd-esque double lead guitars, with an unforgettably cool harmonic riff. The slow, plaintive “Heartache On the Line” marks the end of a deep love and a long relationship, with Jackie’s organ infusing just the right touch of melancholy to the song. That melancholy is matched by the vocal performances by Greene and Joan Osborne; especially effective are the lyrics in the chorus: “You and me, babe/We got history/It ain’t everything we asked for/But it’s everything we need/You and me, babe/We got nothin’ but time/Well, the kids are grown/And the money’s all gone/It’s heartache on the line.” Steve’s drumming, as usual, is spot on and Bukovac’s solo perfectly relates the feeling of dissolution. “Cave Hill Cemetary” features a solo Joan’s rather ragged sounding vocal over a funky guitar/organ groove. The pumping rhythm, supplied by Gorman, Nick Govric and Greene, and the blistering leads and solo from Tom catapults this one into the rarified air occupied by Al Jackson Junior, Lewie Steinberg (and, later, Donald Dunn), Booker T Jones and Steve Cropper (uh… Booker T and the MGs, if you didn’t know). “Tennessee Mud” is a swampy, muscular number that sonically evokes such acts as Mountain, Mother’s Finest and a bit of Ram Jam’s version of Huddie “Leadbelly” Ledbetter’s Blues stomp, “Black Betty.” The second, primarily instrumental, half of the track absolutely screams “jam band” but, in a totally cool, acceptable way. There’s a great give-and-take from Joan and Jackie on the ballad “Pretty Mess,” that pays off beautifully with the harmony vocals on the chorus. Bukovac’s semi-acoustic guitar adds to the depth of the number with its ringing tone.

Trigger Hippy (Jackie Greene, Joan Osborne, Steve Gorman, Nick Govrick, Tom Bukovac) (photo credit: JACOB BLICKENSTAFF)

“Pocahontas” is one of the funkier tunes here, with a slithering, snaky guitar coda, kinda like Gary Rossington and Stevie Ray Vaughan fronting Sly’s Family Stone. Greene’s clavinet brings a Stevie Wonder-esque funk to the proceedings, while another solo vocal performance from Osborne proves why she is one of the preeminent ladies of this type of soulful rock ‘n’ roll. While I was rather expecting a cover of the Blackfoot tune, “Dry County” has the quintet firing on all cylinders as they build off of the David Bowie/John Lennon groove of “Fame.” As the song progresses, the guitars toughen up as the deep bottom end from Steve and Nick seems to gain new momentum into the instrumental section; with guest Ian Fitchuk providing keyboard support, we are treated to a harmonica solo from Jackie Greene, while his and Joan’s singing are lifted to new heights, teasing each other with lines like: “I know you got it/But you can’t spare it/What I gotta do to get you to share it/It’s like living in a dry county/Trying to get a little bit of your love.” The spry playing and almost joyful singing on “Nothing New” belies the hurt in the lyrics. There’s a lot happening here that could easily go unnoticed if left in the hands of another producer (Bukovac co-produced with input from the rest of Trigger Hippy): The track starts with a guitar signature that’s right out of the Derek Saint Holmes playbook as a prudent use of the cowbell marks time before the vocals come in; a great boogie woogie piano cuts through at times, augmenting the continually stellar guitar work. Another slinky groove propels “Ain’t Persuaded Yet,” as Osborne’s character pleads her case to a jealous lover: “’Oh, I never would step out on you/Now what you heard, it just ain’t true/Baby, don’t something you’ll regret.’/He said, ‘Your words are sweet/But I ain’t persuaded yet.’” As wicked sounding guitars and organ weave in and out of the mix, a buoyant, rock steady bass holds the groove, allowing Gorman to get a little adventurous with the percussion. Sounding like the flip side to the last cut, “Adelaide” is a sad, rootsy lament, with Greene’s high lonesome voice; the emotions seem genuine and are definitely effective. The almost dirge-like music comes together with a rolling drum beat, steady, solid bass, and grief-stricken harmonica, organ and banjo (though not credited, I would imagine that the banjo is courtesy of Tom Bukovac).

Trigger Hippy (Tom Bukovac, Steve Gorman, Nick Govrik, Joan Osborne, Jackie Greene) (photo credit: JACOB BLICKENSTAFF)

I’ve always been a fan of the Black Crowes but, honestly, if Trigger Hippy can continue producing the type of music presented on their debut, I won’t be too sad if the Robinson brothers permanently retire the group. The vocal interplay between Joan Osborne and Jackie Greene is exceptional, the rhythm section is tight and I can certainly see why Bukovac won the MUSIC ROW Session Guitarist of the Year award for five consecutive years; the man is absolutely brilliant… a true player’s player. The songwriting by the band, collectively and singularly (and, occasionally augmented by former guitarist Audley Freed), is superb. If I were to do a Top 10 of 2014, TRIGGER HIPPY would undoubtedly be near the top of the list.

DO THE ARCHITECTURAL WATUSI Music Reviews | Darren Tracy | December 28, 2014 | Audley Freed Blues Rock Classic Rock Country Rock Funk Music Hard Rock Ian Fitchuk Jackie Greene Joan Osborne Memphis Soul Music Nick Govrik Pop Rock Rock and Roll Roots Rock Southern Rock Steve Gorman The Black Crowes Tom Bukovac Trigger Hippy

BIRTH OF JOY: PRISONER

(LONG BRANCH RECORDS/SPV MUSIC GROUP;2014)

Birth of Joy is a Dutch trio that takes all of the best parts of ’60s garage and psychedlic, ’70s metal and progessive, all slathered with liberal doses of funk and the blues. The new record, PRISONER, introduces touches of punk, experimental percussion and Ska. So, how does such a melting pot of musical styles sound? Uh… AWESOME! Here’s the breakdown…

Birth of Joy (Bob Hogenelst, Gertjan Gutman, Kevin Stunnenberg) (uncredited photo)

“The Sound,” on first listen, is a heavy, organ-driven blast of Purplish rockin’ blues; give another listen and Gertjan Gutman’s organ parts may be a bit closer to Larry Tamblyn and the Standells than to Jon Lord and Deep Purple. With one of those riffs that gets stuck to the roof of your mouth, “How It Goes” features punky drums, more garagey Farfisa and Ska-tinged guitar work from Kevin Stunnenberg, kinda like a mash-up of Madness and the Ramones on something from an early Iron Butterfly record. “Keep Your Eyes Shut” is a funky, fun groove with a percolating bass (played, like Ray Manzarek of the Doors, by Gutman) and an organ part to match. Stunnenberg’s world-weary and ominous vocals really stand out on the track, almost as a counter-balance to the music. A slight stylistic shift defines “Three Day Road.” It’s kind of a slow burn blues thing with some cool slide work. The eerie psych feel comes from the echo and the reverb on both guitar and organ. The final two-and-a-half minutes features quite a lot of Floydian tomfoolery that really shouldn’t work, but does. I can very easily imagine this tune being a highlight in a live context.

Birth of Joy (Kevin Stunnenberg, Gertjan Gutman, Bob Hogenelst) (publicity photo)

The group is starting to get more adventurous on “Grow.” There’s a definite prog rock lean in the sound with an inexplicably memorable descending groove, seemingly a direct dichotomy to the song’s title. There’s more trashy garage punk on “Rock and Roll Show,” with some amazing guitar work throughout. The number has some serious 1960s swing over a nasty sorta Stranglers rhythm bubbling underneath. “Longtime Boogie” kicks off with some acid-tinged Hendrix-like guitar. The track is highlighted by a distinct Deep Purple rhythmic vibe (mostly due to the playing of drummer Bob Hogenelst), a funky organ solo (think of a heavier Booker T Jones) and a stinging guitar, especially on the solos. Even though the vocals are quite strong on the album, lyrics are not the band’s strong suit, as evinced here: “Can ya handle my love tonight,” in reference to the title, leaves very little to the imagination. “Mad Men” has a great Southern soul vibe, with a majestic, churchy organ from Gutman and psychedelic guitar from Stunnenberg. It’s the Standells meets Stax Records meets Uriah Heep meets Iron Butterfly, all in one killer three minute blast.

“Holding On” is the dreamy, trippy, trance-inducing piece. It’s a nice change of pace, with soothing, repetitive vocals and rolling drums from Hogenelst. The title cut, “Prisoner,” is a clangorous, metal-as-percussion chain gang kinda thing. There are sporadic, brutal blasts of organ and guitar in the 2:30 that the tune lasts, alongside some slightly haunting vocals. I like it… it reminds me of two of my favorite bands, Wisdom Tooth and Skeleton Key. “Clean Cut” features a swirling, Rick Wright organ sound, powerhouse drumming and an odd Spaghetti Western feel from the guitar. There’s also a pretty neat vocal melody line… the words don’t matter, the melody is top notch. The song is the heaviest of the heavy and a fantastic capper to a blistering rock and roll record.

DO THE ARCHITECTURAL WATUSI Music Reviews | Darren Tracy | December 14, 2014 | Birth of Joy Blues Rock Bob Hogenelst Classic Rock Garage Rock Gertjan Gutman Hard Rock Keven Stunnenberg Music Progressive Rock Psychedelic Rock

JOHNNY WORE BLACK: WALKING UNDERWATER, PART 2

(DEAD CHERRY RECORDS; 2014)

Johnny Wore Black is the musical alter-ego of a stuntman who prefers to be called simply, “Jay” (his most recent stunt work is currently on display in FURY, with Brad Pitt). Considering his day job, is it any wonder that the music Jay creates is adventurous, risky and maybe even a little bit scary? WALKING UNDERWATER, PART 2 (PART 1 was released earlier this year) is a balancing act of hard rock, progressive metal and pop sheen, all laced with a dollop of blues and soul. Jay’s backing band are on point throughout the ten tracks on the album, maybe kicking things up a notch with the presence of bassist (and co-writer on several tracks) Dave Ellefson of metal giants, Megadeth. So, without further ado, let’s get into some of the specifics that make this record so cool.

Johnny Wore Black (Dave Ellefson and Jonathan Cohen) (uncredited photo) — Johnny Wore Black (Dave Ellefson and Jay) (uncredited photo)

The album kicks off with “Firefly,” a progressively melodic blast of hard rock. The track features great guitar work from Pete Mathers and James Coppolaro (a theme we’ll see repeated throughout the album) and a very “progressive” rhythm (it sounds like synthesizer, but there are no synths or keyboards credited). “A Cut Above” has a heftier guitar and vocal sound, as Ellefson’s bass drives the tune along quite nicely. There’s a certain groove that kinda reminds me of mid-era solo Alice Cooper and a stinging, dark progressivity that gives it the feel of a Floydian outtake from THE WALL. With a brighter, somewhat jangly guitar, “Comfy Slippers” features an overall more high-end – bordering on shrill – sound. The song is highlighted by the melodic, slightly jazzy drumming of Simon Hutchby.

Even though the lyrics on this record are, as the second song’s title implies, a cut above, “Fallen Angel” features some of the best: “Like a fallen angel/You spread your wings and cry.” The scope of the lyrics and the music are very theatrical, giving it a definite prog rock concept album feel. “Gift of Desperation,” the final co-write from Ellefson (he also co-wrote the record’s first two tracks), is a heartfelt prayer for forgiveness, wrapped in a very dark, nearly Gothic musical soundscape. Ellefson’s bass has a sort of bubbling quality beneath the atmospheric stabs of guitar doomary. Probably my favorite song on the whole album. The title and ambiguous lyrics of “I Do Dissolve” reminds me of my fave dark romanticist, Gary Numan (an utterly fantastic use of the words “dissolve,” “absolve” and “evolve”). The funky, skittering guitars and bass line also have a quality reminiscent of SHORT BUS era Filter (the one with “Hey, Man, Nice Shot”). “Noise” is, overall, a creepy sounding punk pop thing with some exceptionally eerie guitar. It’s kinda like the Damned’s Dave Vanian or Rob Zombie fronting Good Charlotte or Fall Out Boy (but with better music… so, I guess it ain’t like that at all).

Johnny Wore Black (Jonathan Cohen) (photo credit: MATT BROWN) — Johnny Wore Black (Jay) (photo credit: MATT BROWN)

“Shine On” is a spooky, horror movie power ballad. It’s a truly beautiful number with a stirring, charging second half. Sara Renar, a talented Croatian singer of great depth and feeling, guests on the song. “Whose Children” is all about the groove, with evocative guitar, pulsating bass effects-drenched vocals. The sole cover on the album was originally recorded in 1990 by a dance band called Bomb the Bass, with vocals by the song’s co-writer, Loretta Heywood. The band adds heft to “Winter In July,” which, in its original version was a rather lightweight quasi-disco affair. Johnny Wore Black’s heavier, more rocking take still manages to maintain the basic groove of the track. As an added bonus, Ms Heywood supplies her voice to the proceedings. You may have noticed that all through this review, I’ve managed to speak about the excellent musicianship from the band and the guest vocalists, but haven’t really mentioned Jay’s voice. Why? Well, this review features enough redundancies without adding more by talking about what a talented and emotionally adept singer he actually is. Coming in to this thing, I wasn’t sure what to expect; I certainly wasn’t expecting to be blown away, as I was, from the very first note to the final fade.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Darren Tracy | December 11, 2014 | Dave Ellefson Hard Rock James Coppolaro Jay Johnny Wore Black Loretta Heywood Music Pete Mathers Pop Punk Power Pop Progressive Metal Rock and Roll Sara Renar Simon Hutchby Streaming Video Theatrical Rock

MEDICINE: HOME EVERYWHERE

(CAPTURED TRACKS; 2014)

After a brief, 18 year respite, Medicine’s original core trio (Brad Laner, Beth Thompson and Jim Goodall) reconvened in 2013 for the TO THE HAPPY FEW album (Laner released an album in 2003 called THE MECHANICAL FORCES OF LOVE, but it was a Medicine album in name only). Rather than tour to hype the new material, the band immediately began work on a new record; now, a little over a year later, comes HOME EVERYWHERE. My first true exposure to the band came with the 1995 release of HER HIGHNESS, their third (and final) record of their original run, and the ensuing tour; the record was okay, the live show was an exhausting lesson in feedback and noise that I’ve never forgotten and have never seen repeated in the ensuing 18 year gap (although Sons of Hippies do come close). The band handed me a copy of their second album, THE BURIED LIFE, which still receives frequent plays at home and in the car. HOME EVERYWHERE seems to pick up where that release left off in 1993.

Medicine (Jim Goodall, Beth Thompson, Brad Laner) (publicity photos)

The album’s opening salvo, “The Reclaimed Girl,” is wicked noise-mongering at its finest… just like I remembered; it kinda sounds like it was recorded in a toilet… just like I remembered. There’s an odd, bubbling bass thing and a weird tack piano part that come to the fore oduring the breaks. What a great way to start an album! “Turning” is a prototypical Medicine track, with a really dirty sounding, fuzzed-out bass, a funky guitar signature, vocals buried deep in the mix (as usual) and drums that Jack Black would call “gut-bucket.” A two-headed behemoth of uncontrolled abuse, “Move Along” and “Down the Road” features guitars that are strangled to within an inch of their metaphorical lives. The vocals, again, have a rather syrupy sweet sound, even if they are buried under tons of near-white noise. This pop music at its best. “Don’t Be Slow” kinda sounds like a girl group run through a blender with Brian Wilson at a Big Country kegger. Translation: Quite melodic and utterly dissonant. Sort of a clunky rhythm propels “Cold Life” along, under a bed of feedback enhanced guitar repetition. This is the type of headache-inducing noise that we all wanna hear from Medicine. “They Will Not Die” closes out side one of the vinyl version, for those so inclined, of HOME EVERYWHERE. It’s an oddly haunting tune – a little bit of a New Orleans voodoo vibe – with rather unique instrumental choices for this group. The number is a well-placed (mid-album) change of pace and very enjoyable.

“It’s All About You” opens side two and is probably the poppiest that you’ll ever hear the group play. An echoey piano from Laner truly enhances Thompson’s dreamy vocals. The song actually got stuck on “replay” in my head! Has anyone ever been able to say that about a Medicine song? A percussion-heavy non-tune, “The People,” has Jim Goodall out front while stabs of vicious guitar feedback punctuate the mayhem before everything falls away into a spooky soundtrack of low noises and weird voices. “Home Everywhere,” aside from providing the record with a name, is also its piece de resistance. It starts out as a happy, hippie pop thing with a bass line that gets stuck in the cranial cavity, turns into a swirling cauldron of imaginative percussion and feedback, has a break with sort of a hypnotic hymn vibe at about the five minute mark and finishes up with four minutes of what can only be called a “droning hippie-fest… all with amazingly up-front vocals. As awesome as it is here, this eleven-and-a-half minute minimalist workout would be great live!

Medicine (Brad Laner, Jim Goodall, Beth Thompson) (publicity photo)

So, there you go… a really solid album with some truly great songs. It’s like the band has never been away. Now, if we can just get ’em back on stage!

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Darren Tracy | November 26, 2014 | Alternative Rock Beth Thompson Brad Laner Hard Rock Jim Goodall Medicine Music Noise Rock Pop Rock Rock and Roll Streaming Video

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