King Crimson - "Park West, Chicago, Illinois, August 7, 2008 "

King Crimson
"Park West, Chicago, Illinois, August 7, 2008 "
Discipline Global Mobile Records
Released Aug. 20, 2008 as part of the King Crimson Collector's Club

I didn't even know King Crimson was still together - the last I heard from them was about 5 years ago, and I was decidedly unimpressed.

But apparently Robert Fripp has reconvened this mighty prog band with longtime bandmates Adrian Belew and Tony Levin (returning after a decadelong absence) and the dual drum attack of Pat Mastelotto and Gavin Harrison (splitting his time with Porcupine Tree). The group was supposed to celebrate its 40th anniversary this year, but apparently busy schedules prevented a tour from happening.

So until this new/old King Crimson hits the road, we're left with this live set from last year, one of a handful of warm-up gigs the band played last August after reforming.

The set draws mostly on Crimson's '80s and '90s work - like "Indiscipline" and "Dinosaur", material that featured Levin, with a few choice cuts from the '70s ("Red", "Larks Tongues in Aspic Pt. 2") and '00s ("Level Five," "The Construkction of Light") thrown in.

The band still feels a bit loose, especially on "Red" - this was only the fourth gig of the brief tour. But Levin's return is immediately felt, from his funky bass playing on "Sleepless" to his occasional backup vocals.

The addition of Gavin Harrison also boosts the sound. Mastelotto is used to working with two drummers, he got his start in Crimson as part of the "double trio" of the '90s working with fellow drummer Bill Bruford, and Harrison's nimble playing balances his heavier hand. And the pair craft some interesting drum duets throughout the set.

But the most refreshing aspect of this show is that Crimson has retreated from the ultra-heavy abstract nu-metal of their most recent releases. This band still makes a mighty racket, but Levin and Harrison keep the sound from turning into complete sludge.

Now if they can find some time to release a new album and hit the road again...

Phish - "Joy"

Phish
"Joy"
JEMP Records
Released Aug. 25, 2009

Breaking up must have done Phish some good, because their reunion album is the most focused release in over a decade.

Credit must go to Steve Lillywhite, who produced that previous disc, 1996's "Billy Breathes." He keeps the songs tight and polished, from the bright melodies of "Light" to the bluesy guitar work of "Stealing From the Faulty Plan." Apart from a throwaway barrelhouse blues jam the album is uniformly strong.

How the material will translate to a live setting is another question - Phish is known for releasing bad albums filled with material that is great live, so what happens when the band actually releases a good one? The 15-minute "Time Turns Elastic" is the obvious candidate for "live favorite" - an eclectic prog-rock jam that nods to the Who and Yes and feels the most like Phish's early work.

Although I own several of their early albums, I'm not a Phish fan by any stretch of the imagination. It is exciting to hear something new from the band that actually captures my interest though. Maybe I'll give them a chance live the next time they come through the Valley.

Except that would mean having to deal with their fans. Ugh.

Roger Waters - "The Pros and Cons of Hitchhiking"

Roger Waters
"The Pros and Cons of Hitchhiking"
Columbia Records
Released 1984

I first encountered "The Pros and Cons of Hitchhiking" when I was in high school - a devoted Pink Floyd fan, I eagerly picked up bassist Roger Waters first solo album (second if you count his experimental soundtrack to "The Body" - third if you count Pink Floyd's "The Final Cut").

And I hated it. Formless, nearly incomprehensible, it sounded kind of like Pink Floyd, but there was nothing that immediately appealed to the 14-year-old whose knowledge of Floyd didn't extend much beyond "The Wall" and "Dark Side of the Moon." The tour was pretty freakin' awesome though.

I revisited the album a few years ago, and was pleasantly surprised.

Now I see the genius in this semi-autobiographical concept album, which acts as the dream diary of a man going through a midlife crisis. The songs are little more than vignettes documenting the various dreams - travelling across Europe, sexual encounters, escape, divorce and death.

The music is a hodgepodge of motifs from "The Wall" and "The Final Cut" (the three albums were concieved simultaneously in the late '70s) held together by a recurring melody. David Sanborn adds stunning saxophone throughout the disc - the finest playing I've heard from the veteran smooth jazz sessioneer.

But the musical star of "Pros and Cons" is Eric Clapton, who fills the spacey recording with tasty riffs and solos. It's refreshing to hear his fluid, bluesy playing outside of his subpar solo work, from countrified dobro work on "Go Fishing" to a showcase solo on "Sexual Revolution."

The only misstep is the title track, - the most radio-friendly song on the album and the only one that doesn't fit musically or lyrically with the rest. But it also contains one of Waters' finest lyrical moments - the climactic "Every Stranger's Eyes."

What a difference 25 years makes.

Genesis - "Test Pressing"

Genesis
"Test Pressing"
Bootleg
Recorded Feb. 24-25, 1973

Guess I'm on a bit of a Phil Collins kick.

Ostensibly, this bootleg is taken from a test pressing for Genesis's 1973 "Live" album.

One story is that "Live" was originally a double album and that test pressings were made before the record company decided to trim it down to a single LP. Another is that these recordings were supposed to air on King Biscuit Flower Hour and were later trimmed into the official release. It is also speculated that it was a promo LP sent to Dutch radio stations several months before "Live" was released (as the above image might indicate).

Whatever the origin, this is one of those "Holy Grail" bootlegs that had attained mythic status before the Internet and file-sharing killed the bootleg black market (thankfully). Now it is relatively easy to find through online bootleg-sharing websites.

Listening to it, it is obviously sourced from a vinyl LP - there are occasional pops throughout, although nothing particularly distracting - which gives credence to its fabled origin. And the performances are definitely the same as the official release.

In fact there are only two notable differences between "Test Pressing" and "Live":

1) It includes longer stories introducing the songs.
2) It includes "Suppers Ready."

So owners of "Live" already have 3/4s of this boot. But that last quarter makes all the difference.
There wasn't an official live release of Peter Gabriel singing "Supper's Ready" until the Genesis "Archives" box set of the late '90s, and non-audience bootleg versions were equally scarce.

And this is a tremendous performance of the epic track, complete with an hilarious introduction about worms.

Why Genesis never released the full version is unknown - why they never released this additional track as a CD bonus is equally puzzling - indeed, whether the complete tapes still exist is a mystery.

But thank goodness for the tape traders who unearthed this gem and have brought it to light.

There are several different versions of this recording floating around in trading circles. All have the same basic tracks, but are sourced from different recordings of the LPs so there are differences in sound quality, especially tape hiss.

Brand X - "Unorthodox Behaviour"

Brand X
"Unorthodox Behaviour"
Passport Records
Released 1976

Here lies proof that while Phil Collins can't dance, he can play the drums.

Brand X was a fusion side project Collins formed during Genesis's '70s heyday, also featuring guitarist John Goodsall, bassist Percy Jones and keyboardist Robin Lumley. While they never reached the success of groups like Mahavishnu Orchestra or Return to Forever, the group released a handful of instrumental albums before disbanding in the early '80s.

The group's debut, "Unorthodox Behaviour" is an excellent showcase for Collins's intricate drumming, especially on the opening "Nuclear Burn," where the interplay between him and Jones quickly overshadows Goodsall's moody yet also impressive picking, who shows off his chops later on "Smacks of Euphoric Hysteria". Lumley takes the center on "Euthanasia Waltz," both adding atmospherics and tasteful synth solos.

Perhaps the most satisfying aspect of "Unorthodox Behaviour" is that it isn't dominated by one player. The members don't spend any time showing off their chops either, making the result more democratic sounding than fellow fusion bands like Weather Report.

But this laid-back approach to soloing makes the album less dynamic than fellow 'late-'70s-famous-drummer-centered-fusion-band-from-Britain' - Bruford.

Collins would only stick around for two more Brand X albums before Genesis's success and his blossoming solo career would take up his spare time, but his brief tenure with Brand X is a wonderful introduction to his massive talents behind the drumkit.

Whitesnake - "Live... In the Heart of the City"

Whitesnake
"Live... In the Heart of the City"
Geffen Records
Originally released 1980

It was never more than a second tier hard rock band before "Here I Go Again," but Whitesnake was much more than a hairsprayed cock-rockers that Coverdale eventually hired to top the charts. Before becoming a hair-metal joke and Tawny Kitaen's biggest career boost, Whitesnake was a blues-rock workhorse, cranking out dependable if not remarkable albums since the mid '70s.

"Live... In the Heart of the City" draws from two shows recorded in 1978 and 1980 and captures the band at its pre-MTV peak. Most of the songs won't be familiar to American audiences - only "Fool For Your Loving" ever got significant airplay, and that only after it was rerecorded in the late '80s.

But the album showcases the band's stellar blues rock, thanks to guitarists Bernie Marsden and Mickey Moody, who soars on the 10-minute "Love Hunter" (both guitarists would later be fired before the band's commercial successes) and the amazing pipes of singer David Coverdale. Songs like "Walking in the Shadow of the Blues," "Trouble" and "Ain't No Love in the Heart of the City" are excellent examples of Whitesnake's early sound.

There are hints of the sleazy rock to come, however, on songs like "Sweet Talker." But those moments are quickly forgiven during the raging finale, as Coverdale leads the band through "Mistreated," a hit he recorded with his previous band, Deep Purple. In fact, fellow Purple alums Ian Paice and Jon Lord are also in this incarnation of Whitesnake (they would also leave before Whitesnake's 1987 breakthrough/sellout album).

This isn't a revelatory live album, but it does offer some pleasure, compared to Whitesnake's later work. But it proves that the band could have been much more respectable than it eventually became.

Which is a pity.

Booker T. Jones - "Potato Hole"

Booker T. Jones
"Potato Hole"
Anti-Records
Released April 21, 2009

Booker T. is back and he's still funky. But don't expect the Stax soul of "Green Onions" on this legendary organist's first solo album in 30 years.

Don't expect Steve Cropper and Duck Dunn of the MGs either. For "Potato Hole" the Memphis legend is backed by redneck rockers Drive-By Truckers, with the legendary Neil Young, who has used Booker T. and the MG's as his backup band on recent tours, adding distinctive guitar work throughout the disc.

The result is hard-hitting, funky organ jams with Booker T. leading the Truckers through seven originals plus two off-the-wall covers, Outkast's "Hey Ya" and Tom Waits's "Get Behind the Mule." If it weren't for the Truckers' grungy wall of sound and Young's jarring solos, this would probably be hailed as a great organ jazz record.

"Pound It Out" captures the seeming divergent musical styles as Jones plays a laid back groove over a wall of fuzzed-out power chords. With Young's distorted guitar duelling with Jones's B3 over a wall of noise,"Native New Yorker" sounds like an instrumental Crazy Horse track - the melody wouldn't seem out of place on Young's "Greendale" album. The Truckers' composition "Space City" brings the album to a gentle close.

"Potato Hole" was an excellent return for the 65-year-old Jones, but it doesn't seem like it will spark a complete career renaissance. He is still busy with the MG's, touring and acting as the house band for special musical events, not to mention the occasional Neil Young tour. So if you have the opportunity to catch this legend performing his solo material jump on it. You won't be disappointed by this funky organ phenom.

Wilco - "Wilco (The Album)"

Wilco
"Wilco (The Album)"
Nonesuch Records
Released June 30, 2009

Son Volt may be back and at the peak of their musical game, but Wilco has never left.

Or descended from their peak. Eight albums in 15 years and not a dud in the pile.

"Wilco (The Album)" is the latest from this idiosyncratic Chicago band and in many ways it is the summation of all of the bands restless musical experiments. Snatches of previous masterpieces like "Summerteeth," "Yankee Hotel Foxtrot" and "Being There" peek out between songs like the dissonant "Bull Black Nova" and the bright "Sunny Feeling." Even the twang of Wilco's debut "A.M." returns with occasional pedal steel guitar throughout the disc.

There are also heavy nods back to '60s pop, from the George Harrison vamp on "You Never Know" to the muted Nick Drake sound of "Solitaire."

Which makes the playful title, "Wilco (The Album)," all the more appropriate - this is Wilco, in album form. Wilco isn't an alt-country band experimenting with the aesthetic of albums like "Pet Sounds" or "OK Computer." Wilco is an eclectic band that incorporates a multitude of styles into its ambitious pop sound.

Every other musical left turn, every "Yankee Hotel Foxtrot," every "Summerteeth," was just the band circling inward to this central point.

Son Volt - "American Central Dust"

Son Volt
"American Central Dust"
Rounder Records
Released July 7, 2009

Son Volt should not be making an album this good in 2009.

The alt-country outfit, which rose from the ashes of Uncle Tupelo along with the more successful band Wilco, broke up in 1999 as singer Jay Farrar launched a solo career. When his solo career foundered, Farrar revived Son Volt in name only - none of the original band members returned.

Maybe it was purely a financial decision for Farrar to reboot the Son Volt name, but after three albums, Son Volt 2.0 is proving to be an upgrade.

The retooled lineup, which launched in 2005 with the magnificent "Okemah and the Melody of Riot" has surprisingly proven more consistent than its original incarnation. The band continued to expand Farrar's sonic palette and added a noticeably political voice, especially on "Okemah's" follow-up, "The Search".

"American Central Dust" finds Farrar retreating from the more expansive sound of "The Search." harking back to Son Volt's 1995 debut, "Trace." Filled wth mournful fiddles and pedal steel, the album carries the melancholy of Farrar's finest work, but without the reckless rock and roll to balance the mood. The only time the tempo really picks up is on the album-closing singalong, "Jukebox of Steel."

Instead the album carries a campfire intimacy on tracks like "Pushed Too Far" and "Dust of Daylight." "Sultana" tells the tale of America's first naval disaster, the 1865 sinking of a river transport ship which Farrar refers to as the "Titanic of the Mississippi."

But Farrar still maintains the political edge of Son Volt's more recent work, especially on the environmental anthem "When the Wheels Don't Move."

"American Central Dust" isn't Son Volt's best outing, but its damn close.

Next I'll look at Farrar's former partner in crime from Uncle Tupelo, Jeff Tweedy, and see how "Wilco (The Album)" stands up.

The Bad Shepherds - "Yan, Tyan, Tethera, Methera!"

The Bad Shepherds
"Yan, Tyan, Tethera, Methera!"
Self-released
2009

For years we have seen "punk rock tribute" and "bluegrass tribute" compilations. Most aren't worth the money even for laughs. Which makes the Bad Shepherds a surprise.

Conceived by British comic Adrian Edmondson (Vyvyan from the Young Ones) and former Fairport Convention guitarist Maartin Allcock, the Bad Shepherds take classic British punk songs and give them a Celtic lilt.

The results are mostly positive, and in a couple cases, astonishing. The simplicity and populist qualities of punk rock aren't terribly different from folk music at their core, so the songs translate effectively to acoustic instruments. Squeeze's "Up the Junction," which features a soaring pipe solo from Troy Donockey is revelatory, and The Jam's "Down in the Tube Station at Midnight" also shines. Unfortunately "God Save the Queen" and the Talking Heads' "Once in a Lifetime" fall flat.

Allcock's folk background assures that the instrumentals are treated respectfully and the band shows its prowess on the album's lone tune set, the title track. Allcock even throws a nod to his former band on "Teenage Kicks" when the band briefly quotes Fairport's instrumental standard "Dirty Linen."

The Bad Shepherds could be played for a joke - Edmondson has parodied metal in the past as the lead singer of Bad News - but what shines through "Yan, Tyan, Tethera, Methera!" is his love of punk and folk music. By treating the Bad Shepherds as a serious project he succeeded in paying tribute to both.

Bigelf - "Cheat the Gallows"

Bigelf
"Cheat the Gallows"
Custard Records
Released 2008

In continuing to recap Dream Theater's excellent Progressive Nation concert I saw on Saturday, here is my latest musical discovery from the show.

Bigelf is a schizophrenic, psychedelic, stoner rock band from LA - blending doom metal sludge with classic prog and Beatle-esque pop - in addition to nods to at least a half dozen bands from the early '70s.

Singer Damon Fox looks like Ian Anderson, sporting a footlong beard, top hat and cape while playing twin organs - the only thing missing was the flute and his voice is reminiscent of eccentric British rocker Roy Wood.

Indeed, much of the album is a game of "name that musical allusion," it's entirely possible there isn't an original musical idea on "Cheat the Gallows," (even the Beatles-meets-metal concept was done 20 years ago by King's X) yet it all sounds fresh when mixed together by these stoner-rock upstarts.

"Cheat the Gallows" is one of the most fun albums I've heard in quite a while, from the stomping "Blackball," which builds on a driving mellotron riff that harks back to King Crimson's first album, to "The Evils of Rock and Roll," which somehow musically marries "Black Sabbath" and "Strawberry Fields Forever" before building to a Keith Emerson-esque organ solo. "The Game" sounds like a lost T-Rex track while "Superstar" wouldn't sound out of place on a KISS album.

What's makes it all work is that Bigelf takes music that took itself too seriously in 1970 and makes it fun without making it funny. This isn't metal to bang your head, or prog to ponder the complexity of the time signatures, it's over-the-top rock and roll that is guaranteed to bring a smile to your face.

Dream Theater - "Black Clouds and Silver Linings"

Dream Theater
"Black Clouds and Silver Linings"
Roadrunner Records
Released June 23, 2009

In which prog superstars Dream Theater channel their inner Rush fanboy. Sure, there is plenty of crunch, speed and blinding solos, but the shadow of the Canadian arena rockers looms large over most of Dream Theater's new CD, from the Hugh Syme album cover to the guitar riffs and drum runs on "The Best of Times." Indeed, the final track, the epic "Count of Tuscany," almost shamelessly steals from Rush.

The disc is also Dream Theater's most mainstream offering in over 10 years, from the power ballad "Wither" to the previously mentioned "The Best of Times," a tribute to Portnoy's father, who passed away during the recording sessions.

That's not to say Dream Theater has hidden its speed metal side - the opening "A Nightmare to Remember" is one of the band's heaviest tracks, and is marred only by drummer Mike Portnoy's cookie monster vocals at the end.

In fact "Black Clouds" is probably the most "Dream Theater-esque" album they have put out in quite a while - the prog virtuosity is balanced well with the heaviness throughout the disc and the result is as strong as 2000's "Scenes From a Memory" or Dream Theater's 1992 breakthrough "Images and Words".

"The Shattered Fortress" concludes Portnoy's 12-step suite, five songs, one from each of Dream Theater's last five albums, examining Portnoy's recovery from alcoholism, with plenty of musical allusions to previous songs in the cycle.

The only real flaw is the cookie monster vocals, but they are only used in a couple of small places on the album. (Thankfully!) An aside: Can someone explain the whole cookie monster vocal thing to me? Please?

The album is also available in a three-cd version, which has a disc of instrumental versions of all of the songs, and another disc of cover tunes from inspirational bands, including Ritchie Blackmore's Rainbow ("Stargazer") and King Crimson ("Larks Tongues in Aspic Pt. II").

On hiatus until Monday...

Heading out of town for a few days, I'll be back on Monday with plenty of album reviews - plus a concert review.

Queen - "Sheer Heart Attack"

Queen
"Sheer Heart Attack"
Elektra Records
Released 1974

I've always felt that Queen was a great singles band whose albums were mostly throwaways - 2 great songs and 8 pieces of filler.

"Sheer Heart Attack" is the exception to that rule. It may not have Queen's best songs, but it has the most good ones.

On their third album, all of Queen's pieces gelled - from Brian May's bombastic guitar solo in "Brighton Rock" through Freddie Mercury's multi-tracked vocals in "Flick of the Wrist" - not to mention the band's first bona-fide hit - the sleazy, campy, "Killer Queen." And that's just the first side!

The album does lose steam during the second half, mostly because the first side is so strong. But it does kick-off with the proto-speed metal of "Stone Cold Crazy," and finish with the ultimate blast of pomp - "In the Lap of the Gods Revisited."

At least it was Queen's ultimate blast of pomp until "Bohemian Rhapsody" was released a year later.

Annuals - "Such Fun"

Annuals
"Such Fun"
Canvasback/Terpsikhore
Released Oct. 2008

The first impression of North Carolina indie-rockers Annuals' latest album is the majestic album cover, courtesy of Mr. "Happy Little Trees" himself, the late Bob Ross. And the expansive image is a great analogy for what's inside - an aesthetically pleasing effort that doesn't quite rise to the level of high art it strives for.

Annuals' philosophy for the album seems to be "throw everything at canvas, and see what sticks." Snatches of emocore, joyful orchestral pop, prog and even alt-country blend - sometimes comfortably, sometimes not so much - throughout the disc. At some points it is almost like playing "spot the influences" - that guitar solo seems inspired by Yes, that drum pattern is influenced by Peter Gabriel, that vocal is reminiscent of Elliott Smith.

There are some wonderful moments throughout the album - "Springtime" builds from a delicate ballad into a driving anthem, while "Hardwood Floor" is a relaxed example of the current indie-folk trend. Contrasting is "Talking" a rocking number with falsetto vocals from Adam Baker - it almost feels like if Jimmy Eat World was recording in the 70s.

Nothing on "Such Fun" is bad, and indeed the title is an apt description of the album. But after the final song is done, it doesn't linger.

Fairport Convention "Fairport's Cropredy Convention - Aug. 15, 2009"

Fairport Convention with special guests
"Fairport's Cropredy Convention"
Aug. 15, 2009
Bootleg

Fairport Convention's annual reunion has become one of England's must-visit summer festivals, offering a variety of musical acts ranging from classic rock to folk and punk, culminating in a mammoth performance from the venerable Fairport featuring former band members and surprise guests. Past festivals have featured diverse guests including Jethro Tull, Robert Plant and Midge Ure.

This year's performance was a bit stale, unfortunately. Much of the set was similar to Fairport's recent concerts with no real musical surprises from the current band. That's not to say the performance was bad - "Fame and Glory" the title track from Fairport's latest CD was a highlight, as well as, "Reynardine" which was ably sung by Chris Leslie. And of course the final one-two punch of "Matty Groves" and "Meet on the Ledge" never fails to please.

And only two former members participated this year - guitar legend Richard Thompson, who led the band in a pair of numbers from his solo album "Hand of Kindness" and drummer Dave Mattacks, who sat in for most of Fairport's 30-song set.

Longtime Fairport cohort Ralph McTell (who had performed earlier in the festival) also joined Thompson, Mattacks and current Fairport bassist Dave Pegg for a pair of numbers from their occasional bar band, The GP's, but mostly the rest of the guests were obscure folk musicians or performers who added ambience and a local flavor, but did not bring the crowd to its feet.

With one exception.

The lackluster Fairport performance and the dearth of guests was more than made up for by a mini-set from Yusuf, formerly known as Cat Stevens, who, backed by Fairport and Thompson, played two stunning songs from his lastest CD, "Roadsinger," as well as three classics from his pre-Islam days. The new material was strong, but the crowd gave its loudest cheers to the smash hit "Peace Train."

The recording quality of this show is generally excellent, with enough audience to set the proper ambience - the only major flaw is some onstage electrical trouble marring Yusuf's between-son patter at one point.


Singer-songwriter Yusuf, formerly Cat Stevens, performs with Fairport Convention at the annual Fairport's Cropredy Convention on Aug. 15, 2009. Photos taken by the original taper of the show.

Iron Maiden - "Flight 666"

Iron Maiden
"Flight 666"
Sony
Released June 9, 2009

Amazing the difference four years makes. After the pleasant live experience with Iron Maiden's 2005 offering "Death on the Road" comes this document from the band's 2008 "Somewhere Back in Time" tour, which aimed to introduce songs from the band's mid-eighties musical peak to a new generation of fans.

Unfortunately an album documenting the tour is completely inessential.

Focusing on tracks originally recorded between 1982 and 1987 (with the exception of the ever-present "Iron Maiden" from 1980 and "Fear of the Dark" from 1989), much of the album is a carbon copy of the Maiden's landmark live album, 1985's "Live After Death." The first four songs are the same, ten tracks appear on both albums and both use the same intro speech from Winston Churchill.

Well, almost a carbon copy - third guitarist Janick Gers, who joined the band after those classic sides, adds an additional dimension to Maiden's axe attack. Unfortunately, singer Bruce Dickinson has trouble with some of the higher notes on the opening "Aces High," the other side of revisiting songs you haven't performed in 25 years is that you may not physically be able to perform them.

Ultimately, "Flight 666" is more of an event that would have been fun to see in person, but doesn't work on disc. If you never saw Maiden perform "Rime of the Ancient Mariner" or "Powerslave," or wanted to relive your memories from the band's mid-eighties tours, the concert would have been exciting.

But if you want to hear great live versions of these tunes, stick with "Live After Death."

Note: This is now the seventh live Maiden album to feature "Run to the Hills", "Iron Maiden," "Hallowed Be Thy Name," "Number of the Beast, and "The Trooper." It is the sixth to feature "Fear of the Dark." Perhaps it is time to make the live albums a little shorter and leave some of the warhorses in the pasture.

Iron Maiden - "Death on the Road"

Iron Maiden
"Death on the Road"
Sony
Released 2005

For 30 years Iron Maiden has been churning out literate, high-energy metal for massive crowds around the globe. Apart from a couple lineup changes, the formula has stayed the same, the musicianship hasn't lost a step and the result is a remarkably long string of quality, if not great, studio albums. They may not sell in the same numbers they did during the eighties, but Maiden still fills arenas and they still put on a mean live show.

"Death on the Road" captures the band live in Germany during its 2003 tour, an is a fitting document to the group's longevity, creativity and rabid fan base. Half the songs are familar, in fact they are overplayed - "Fear of the Dark", "Hallowed Be Thy Name," "Wrathchild," "Run to the Hills", "The Number of the Beast." All have appeared on several live Maiden albums previously.

But the other half of the disc is devoted to more recent, and unexposed, work. Songs like the war chronicle "Paschendale" and the sprawling "No More Lies" fit nicely next to Maiden's classics. And more impressive, the audience knows every word to the new songs.

But the most exciting feature of live Maiden in the 21st Century is that singer Bruce Dickinson, who left the band in the early 90s, but returned in 2000, is willing to sing songs originally performed by his replacement. "Lord of the Flies," from the album "X Factor" which featured singer Blayze Bayley, is perfectly suited for Dickinson's air-raid siren howl and it is a credit to his ego that he performs the song he did not make famous.

Os Mutantes - "O 'A' e o 'Z' "

Os Mutantes
"O 'A' e o 'Z '"
Polydor
Originally recorded in 1973, released in 1992
Currently out of print

Os Mutantes were one of the most exciting bands to emerge from the psychedelic era, blending left-wing politics, garage rock, Zappa-esque experimentation and Brazilian samba and tropicalia. Unfortunately their music wasn't well known outside of their native Brazil.

Led by the Baptista brothers Arnaldo and Sergio and featuring the sweet vocals of Rita Lee, the group worked with such Brazilian legends as Caetano Valoso and Gilberto Gil before scoring a hit with the infectious "Bat Macumba."

Unfortunately, that innovative band isn't really represented on "O A e o Z," which was recorded after Lee had left. Gone are the restless experimentation and the playful melodies and, with the exception of the light acoustic "Voce Sabe," the "Brazilian-ness" is missing. Probably part of the reason the album was shelved for 20 years.

But the album is exciting in its own ways. While it is lacking in psychedelic Brazilian weirdness, "O A e o Z" is an impressive example of early '70s prog rock. The result lands close to the vintage Italian band PFM, lengthy tunes with nonsensical English lyrics and intricate instrumental breaks. Arnaldo's keyboards sparkle and trill like Rick Wakeman on the title track and new bassist Limnha has the requisite fat Rickenbacker bass sound on "Rolling Stone".

Arnaldo would leave shortly after recording this album, leaving guitarist Sergio as the sole original member. The group would continue for several more years in this prog vein, but the innovation of the band's late '60s work was gone.

If you are looking for good prog rock, check out "O A e o Z," the 12-minute "Hey Joe" (not the Hendrix tune) stands up strongly with anything from the era. But if you want to hear Os Mutantes' truly groundbreaking work, pick up the compilation "Everything Is Possible," (the bulk of the band's output was never released in the States and is out of print overseas).

And get ready - Sergio has resurrected the Mutantes and a new studio album (the first in over 30 years) is due next month. How good it will be, we'll have to see.

Daughtry - "Leave This Town"

Daughtry
"Leave This Town"
J Entertainment
Released July 14, 2009

I'm going to review this hack's concert tonight, so to paraphrase Neil Innes "I've suffered for my art, now it's your turn."

Question #1: How come the guy who finished third in "American Idol" is the superstar? Guess it pays to be a loser. Taylor Hicks is probably pissed.

This has bothered me since the beginning, when someone like William Hung can get a record contract because of his execrable performance there is something horribly wrong with America.

Granted, chrome-domed "rocker" Chris Daughtry did much better, but if he didn't win, why is he the most successful - where were the legions who bought his album when they were supposed to be calling in and voting for him? Maybe they were at a Three Doors Down concert.

Or maybe it just shows that the whole program is a sham, and the A&R powers that be will reward contracts to the ones they see the most potential in, votes be damned. Sure, the one who gets the most votes will still get the prize, but the voting public's opinion only matters when the cameras are rolling. The decision has already been made in the record label board room.

So now I have to listen to this post-grunge garbage. Competently produced and competently played with just enough distortion and volume to seem like it rocks. Truly there is nothing to say about the lyrics - they are filled with cliches and are utterly unmemorable.

In fact about the only memorable things on "Leave This Town" and the brief attempt at sounding like Tool at the beginning of "You Don't Belong" and the sensitive power ballad "Learn My Lesson," which has a chorus suspiciously similar to the Dixie Chicks' "Not Ready to Make Nice."

But I'll give it to the A&R hitmakers - they know just which strings to pull to make an utterly faceless band score a hit record.

I thought bands like Matchbox 20, Creed and Nickelback were considered jokes. Or maybe the joke is on bands that actually show some originality, since these post-grunge idiots are still climbing the charts with their bland, cliched hits.

Which brings me to question #2: When will this post-grunge bullshit go away? Isn't 12 years enough time to subject the public to this crap?

Buy "Leave This Town"

Indigo Girls - "Nomads Indians Saints"

Indigo Girls
"Nomads Indians Saints"
Epic Records
Released 1990

A common flaw with bands that experience immediate success on their debut album is the inability to follow it up. Indigo Girls's second album is a perfect example of this phenomena.

Okay, "Nomads Indians Saints" is technically the folk duo's third album - the Girls had released the indie "Strange Fire" in 1986 before their breakthrough major label debut, but "Nomads" was their second disc released under major label pressure. The pair's harmonies are still sweet, but the songwriting suffers as a result.

Amy Ray ups the punk influence on tracks like "1 2 3", while her musical partner Emily Saliers delivers pleasant folk offerings like "Hammer and Nail," but nothing on the disc equals the power of "Kid Fears" or the instantly catchy "Closer to Fine." And the album's debut single, "Watershed" is sadly unmemorable.

That's not to say the disc is a complete loss. Saliers' "Southland in the Springtime" is a gorgeous ode to the duo's Atlanta roots and Ray's "World Falls" is a strong example of the duo's spirituality and growing Native American mysticism. And the lilting, "Pushing the Needle Too Far" is one of Ray's strongest compositions, building to an angry climax, amplified by former DB Peter Holsapple on accordion.

The Girls would find their footing again with 1992's "Rites of Passage" which nearly equaled their self-titled major label debut, and casual fans who loved the harmony-drenched alt-folk of "Closer to Fine" are better served seeking out that disc.

Buy "Nomads Indians Saints"

Allen Toussaint - "The Wild Sound of New Orleans by Tousan"

Allen Toussaint
"The Wild Sound of New Orleans by Tousan"
Edsel/RCA
Originally released 1958
Currently out of print

Before he was producing hits for Patti LaBelle and Dr. John, before he was writing funk and soul classics like "Whisper to a Scream" and "Working in a Coalmine," the legendary Allen Toussaint was the Crescent City's hottest session piano player.

Recorded in 1958 with a crack band that included saxophone legend Lee Allen, Toussaint's debut album is a raucous instrumental romp through N'Awlins.

Toussaint was already a name amongst New Orleans R&B players, his dextrous ivory-tickling, heavily influenced by Professor Longhair, had earned him sessions subbing for Fats Domino and other New Orleans hitmakers. But "Wild Sound" was the first opportunity for him to show off his arranging and songwriting chops.

Tracks like "Whirlaway" and "Tim Tam," which features a tremendous solo by Allen, show hints at where Toussaint would go over the next two decades. It also features "Java," an infectious little ditty which would become New Orleans trumpeter Al Hirt's signature tune.

At 25 minutes, "The Wild Sound" is little more than a musical apertif - a chance to wet your whistle on Toussaint's beautifully funky piano playing. But it tastes so sweet it should inspire anyone to check out his later work, especially his '60s sides with Lee Dorsey and his '70s work with the Meters, not to mention his post-Katrina collaboration with Elvis Costello, "The River in Reverse."

Oysterband - "Rise Above"

Oysterband
"Rise Above"
Omnium Records
Released 2002

England's Oysterband has been plying its particular brand of politically-charged folk rock for 30 years, and this outing from 2002 stands as one of the group's strongest.

After albums like "Holy Bandits" and "The Shouting End of Life," "Rise Above" is comparatively understated - only "Wayfaring" hits the energy level of earlier classics like "When I'm Up (I Can't Get Down)," making the album a more contemplative listen. Adding uillean pipes throughout the album, courtesy of guest piper James O'Grady, gives "Rise Above" a more global feel as well, expanding it beyond traditional English folk rock.

While early works were fueled by a hatred of Margaret Thatcher, latter-day Oysters takes a more global approach to its politics, which lie slightly to the right of anarchist tub-thumpers Chumbawamba (Incidentally, Oysterband joined Chumbawamba for the song "Farewell to the Crown," a b-side to the hit "Tubthumping").

Globalization and drug over-prescribing are targets on songs like "Uncommercial Song" and "Shouting About Jerusalem." But most of "Rise Above" is geared more towards the personal than the political.

"If You Can't Be Good" and "The Soul's Electric" celebrate the sheer joy of living despite the pain and horrors around the world, while "My Mouth" yearns for improvement and the unattainable. The title track instructs the listener to "Rise where shadows fall / till the pain can't touch us all."

Oysterband hasn't forgotten its traditional roots, either. One of "Rise Above"'s highlights is an anthemic rendition of "Blackwaterside," a sad tale of love spurned popularized vocally by Sandy Denny of Fairport Convention and instrumentally by Jimmy Page of Led Zeppelin (as "Black Mountain Side"). Contrasting is "Bright Morning Star" - a spiritual performed a cappella - which brings "Rise Above" to a beautiful close.

Buy "Rise Above"

Grizzly Bear - "Veckatimest"

Grizzly Bear
"Veckatimest"
Warp
Released May 26, 2009

One of the most anticipated albums of 2009, and also one of the finest so far, New York experimental indie-rockers Grizzly Bear's third CD is a bit of a departure from the band's previous work.
On much of "Veckatimest," named after an island off the coast of Massachusetts, Grizzly Bear's spare songs are augmented by ambitious art-rock embellishments and Wilson-esque productions.

The mood of the album is set with the opening one-two punch - the jazzy "Southern Point" and the infectious "Two Weeks," which feels like the mutant child of Pavement and the Beach Boys.

The loping "Cheerleader" shimmers with added background vocals from the Brooklyn Youth Choir. On the orchestral "Ready, Able" the band channels latter-day David Byrne.

But despite the excitement and success of the sonic experiments through "Veckatimest," the album still works well at its simplest. The skeletal folk sounds of Grizzly Bear's earlier work emerges on tracks like "Dory" and "All I Ask." And the album's highest note is the plaintive ballad "Foreground," a haunting number featuring vocals and piano which brings the disc to a beautiful close.

Roy Harper - "Flat, Baroque and Berserk"

Roy Harper
"Flat, Baroque and Berserk"
Harvest/EMI Records
Released 1970

Best known for his high-profile fans like Ian Anderson, Jimmy Page (who dedicated the Led Zeppelin song "Hats Off To (Roy) Harper" to him) and David Gilmour (who invited him to sing lead vocals on the Pink Floyd hit "Have a Cigar"), folksinger Roy Harper has been a fringe figure on the British music scene for over 40 years. He has also recently been rediscovered by the current crop of "freak folk" singers like Joanna Newsom, who performed with him in London in 2007.

"Flat, Baroque" is his fourth album, a curious blend of whimsy and righteous anger, that doesn't quite hang together. The best moments on the album are the shortest and longest tracks - "Francesca" and "Davey" clock in at less than 90 seconds each and are beautiful, tight melodies.

Contrasting is "I Hate the White Man" - an eight-minute epic that examines the history and justification of prejudice in convoluted, Dylanesque wordplay. The powerful tune, recorded live for the album, is reminiscent of Phil Ochs' bleak examination of American history, "When in Rome."

In "Tom Tiddler's Ground" you can hear the roots of Jethro Tull's acoustic explorations, and the song is another high point to "Flat Baroque" despite its vaguely obscene-sounding title.

The album closing "Hell's Angels" is another interesting detour - a full electric jam with British proggers The Nice. Harper's effects-drenched guitar provides a nice contrast to some surprisingly tasteful organ playing from Keith Emerson.

The rest of the album, unfortunately, doesn't register. Songs like "East of the Sun" are pleasant, but not memorable - kind of like Donovan when he's not in his childlike hippie persona.

Harper is at his best when he's taking chances - even if they fail, they are interesting. But when it comes to a basic three-minute folk song, he simply doesn't stand out in a crowd populated by the likes of Dylan, Ochs, Mitchell, et. al.

Buy "Flat, Baroque And Berserk"

How this works...

I'm trying to make my decisions as random as possible - while still allowing for something timely or relevant (e.g. the Dylan and Les Paul reviews). I plan on hitting new releases as soon as possible, as well.

But when I'm not writing something for a specific reason I am just hitting random on my iTunes until something pops up on track one. The only exception would be a mammoth box set, although I might make exceptions for those as well. So I could end up reviewing Caravan, Indigo Girls or Abba, but probably not Miles Davis Live at Montreaux.

We'll see.

And if the reviews seem overly positive, remember these are albums I like enough to own. That's going to skew the reviews. That's not to say I don't have some dogs in the collection, but the process will be inherently biased towards the positive. I may end up ditching star ratings as a result.

Thoughts?

Chet Atkins and Les Paul - "Chester and Lester"

Chet Atkins and Les Paul
"Chester and Lester"
RCA/Legacy
Originally released in 1976, reissued in 2007
*****

In honor of Les Paul's passing on Aug. 13, I decided to give the only album of his that I own a spin.

Recorded in 1975, "Chester and Lester" is one of the guitar great's last studio albums. Semi-retired after his divorce from Mary Ford in the mid '60s, Paul was coaxed back into the recording studio by fellow guitar legend Chet Atkins for a two-day Nashville session in 1975.

Paul brought the songs, Atkins brought a swinging country backup band and the pair improvise their way through a handful of jazz standards, including "Caravan," "Moonglow" and "Birth of the Blues." Paul's clear, trilling tone contrasts Atkins' twangy fingerpicking, yet the two distinct styles marry perfectly.

The result is a leisurely jam session recorded mostly in single takes (a rarity for Paul, who often layered multiple guitar tracks on his work with Ford). Studio banter is left in, with the two guitar legends joking after takes and even complimenting each other during songs.

The laid-back feel of the record makes the jaw-dropping playing all the more amazing. When the two pickers trade solos in "Lover Come Back to Me" they almost feel out of place - so relaxed is the playing surrounding the soloists.

The album won a Grammy for best country instrumental performance, and so successful was the collaboration that the two returned to the studio the next year for "Guitar Monsters," which would be Paul's final studio album.

Sadly out of print for years, this disc is now available on disc with four additional recordings from those magical two days in 1975.

Buy "Chester and Lester"

Gogol Bordello and The Pogues - head to head!

Valley fans can see just who is the craziest ethnic punk singer as Gogol Bordello and The Pogues come to the Marquee Theatre in October. Not together, that would be too good (actually there probably wouldn't be enough Gogol since they would likely open). But they are playing back to back shows - Oct. 20 for Gogol and Oct. 21 for the Pogues.
Complete Gogol Bordello dates here.
And Pogues dates here.
Get ready for a crazy time...

Eugene Hutz from Gogol Bordello and Shane MacGowan of the Pogues meet for the first time in June 2009. From gogolbordello.com.

No album this time - just a shocking fact...

Tenacious D pointed out that Dio had rocked for a long, long time. But much longer than I ever thought.

He was in a series of rockabilly groups in the mid '50s, eventually settling on the name "Ronnie and the Red Caps." He's older than my mom. Heck, he's older than Mick Jagger!

His lyrics may be silly, but Dio doesn't sing like someone who is almost 70. And that kid on the left doesn't look like someone who would write songs about wildebeests and angels.

Caravan - "Caravan"

Caravan
"Caravan"
Verve Records
Released 1968
****

Caravan was never more than a cult act, but it was also one of the founders of the progressive rock movement in England. It's 1968 debut sits along side Pink Floyd's "Piper at the Gates of Dawn" and the Moody Blues' "Days of Future Passed" as one of the first albums of the oft-maligned genre.

But Caravan doesn't fit into the pretentious virtuoso school of prog-rock. Caravan evolved, along with the more acclaimed Soft Machine, from the Canterbury r&b band Wilde Flowers, combining child-like psychedelia with restrained jazz rock. Their jazzy style would eventually define "the Canterbury sound" to prog fans.

Imagine if Syd Barrett fronted Traffic, and you've got a general idea of what Caravan's debut sounds like. Keyboardist David Sinclair drives the band musically, his burbling organ creating dreamlike soundscapes on the beautiful "Magic Man" and forcefully leading the instrumental attack on the psychedelic "Grandma's Lawn."

For most of the album, the songs are tight with little room for Sinclair and guitarist Pye Hastings to stretch out. But they more than make up for their restraint on the album closing "Where but for Caravan Would I?", a 10-minute epic that builds to a powerful instrumental climax before abruptly shifting to the restrained, surreal vocals of Richard Sinclair.

Caravan would later get more whimsical lyrically and more improvisational instrumentally, but on its debut the group shows that great prog rock isn't always dependent on virtuoso solos or pretentious symphonic arrangements.

Note on the album's CD reissue: The disc includes both mono and stereo mixes of the album. The mono mixes are far superior - the vocals are bright and up front, while the stereo mix seems to cloud everything in an aural haze. An added bonus is the non-LP single, "Hello Hello."

Buy "Caravan"

Heaven & Hell - "The Devil You Know"

Heaven & Hell
"The Devil You Know"
Rhino Records
Released April 28, 2009
***

I'm a sucker for Dio-era Black Sabbath - I freely admit it. When I was in high school, er, junior high, we didn't have annual Ozzfest reunions, we had that little elf with the big voice singing about dragons and kings and neon knights. Sabbath's songs were tailor-made for young sci-fi/fantasy geeks.

Plus there was that really cool album cover with the angels smoking which was guaranteed to piss off parents and teachers.

So I was thrilled when Dio and his Sabbath bandmates reunited as Heaven & Hell a few years ago. Geezer and Tony hadn't done anything other than play Ozzy's backup band for about 10 years - and Geezer admitted that he was sick of it in an interview with me back in 2007. Here was a chance for me to see the Sabbath of my youth without Ozzy, or more importantly Sharon, Osbourne's presence.

And I'm excited that after two years of touring the four are still getting along well enough to record an album of new material. So in honor of tonight's concert in Phoenix (which I'm sadly missing), here's a look at Heaven & Hell's new studio album.

Geezer and Tony sound completely rejuvenated, from the doom-metal opening of "Atom & Evil" through the chugging riffs of "Follow the Tears" - there is no doubt that this is Black Sabbath. But while it's obvious that they have learned a few new tricks there are places that sound like they are simply recycling "War Pigs" and "Supernaut," especially on "Turn of the Screw."

The problem is that the lyrics that appeal to a 12-year-old boy don't really register with a 38-year-old man and Dio hasn't really found anything new to write about in 30 years. Thankfully nothing quite equals "The Devil Cried," a new track included on a 2006 Sabbath compilation which opened with the ludicrous line, "One fine day... in HELL." That doesn't make Dio's lyrics about demons battling angels and knights slaying dragons any less silly. But I honestly can't hear him singing about anything else.

Ultimately, it fits comfortably next to the three previous Dio-era Sabbath offerings, and shows the band isn't content to tour on past glories - I respect that, although I can't guarantee that I wouldn't take a bathroom break during any of these songs.

An aside - Demons, magic, dragons, angels - hmmm, maybe I could make a refrigerator poetry set for Dio lyrics?

Buy "The Devil You Know"

Bob Dylan - "Together Through Life"

Bob Dylan
"Together Through Life"
Columbia Records
Released April 28, 2009
****

Dylan was supposed to perform in Phoenix tonight, but apparently his promoters didn't realize that it was hot in Arizona in August and canceled the show. (I personally suspect that with money tight right now people weren't willing to drop $100 to see him - even with Willie Nelson and John Mellencamp.)

But that's a shame, because "Together Through Life" is his strongest album since 1997's "Time Out of Mind." The writing is sharp, and musically he's ditched his vaudeville minstrel shtick that marred his last couple albums. With help from Grateful Dead collaborator Robert Hunter, he's crafted a pleasant set of lyrics, while Los Lobos' David Hidalgo and Heartbreaker Mike Campbell help out instrumentally.

The result is a spontaneous, rocking affair that veers from Parisian jazz to messy, Tom Waits-esque blues. Hidalgo especially shines, adding accordion throughout the record - never intrusive yet absolutely essential to every tune on which he plays - especially "My Wife's Home Town" and the sultry Tex-Mex "This Dream of You."

Hunter even seems to tone down his poetic style - his work with the Dead was so distinctive, but on "Together Through Life" he plays to Dylan's strengths while ignoring his own extensive literary mythos.

I'm not going to hail this album as a "return to form" for Dylan - his work since 1976 has been wildly inconsistent, and I've especially disliked his work since "Time Out of Mind" when he grew the pencil-thin moustache and started hosting his awful radio show on XM.

I'm not interested in Dylan the personality, I'm interested in Dylan the poet and musician and by those standards "Together Through Life" is an enjoyable and accessible outing from the cantankerous folk rock icon.

And some of these tunes would've sounded wonderful under the August moonlight in a West Valley baseball stadium - especially since temperatures weren't terribly hot yesterday.

Buy "Together Through Life"

What's an out-of-work music journalist to do?

Well, after nearly ten years as a music journalist I'm now working as a freelance music reporter.

But that just isn't quite satisfying my writing bug. So I'm going to share my love of music with the world.

Here is the goal: Review an album a day from my massive music collection. It could be something new, it could be something old. It could be a bootleg recording. I'm not promising cutting edge, but I'm always interested in new music and will gladly give a listen to just about anything - send me your recommendations.

I'll say immediately there will be some lapses - I do have at least one vacation planned and I don't have a laptop to take along. But in those cases I will endeavor to catch up as quickly as possible.

And my goal is to find something relevant to talk about outside of the album - a concert I saw recently, or some other news item that may relate to what I'm listening to. I want to make this personal, but also informative and opinionated.

The one caveat is that it is stuff from my personal collection - if I don't have it I won't be writing about it. This puts a damper on current teen pop, most country music and a lot of hip-hop. Nothing personal, and as I get more familiar with this new form of journalism I'll certainly expand my scope.

So welcome to my little exercise in blogging. But to paraphrase Marty DiBergi,
"Enough of my yakkin' let's start rockin'!"