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'!"