Artist: Fleetwood Mac
Album: Then Play On
Release Year: 1969
Genres: blues rock, roots rock
1) Coming Your Way; 2) Closing My Eyes; 3) Showbiz Blues; 4) My Dream; 5) Underway; 6) Oh Well; 7) Although the Sun Is Shining; 8) Rattlesnake Shake; 9) Searching for Madge; 10) Fighting for Madge; 11) When You Say; 12) Like Crying Like Dying; 13) Before the Beginning.
Not many people know that Fleetwood Mac's career began in the late Sixties, when they played blues clubs and the like, barely managing to pay the bills. Yeah, the band went through quite a few incarnations, and Then Play On is a snapshot of the first- long before Christy McVie or Lindsey Buckingham came aboard. We're still in the band's blues period here, although in a few songs you can hear the artsy pop element within, struggling to emerge. That ounce of pop tendency, added to nine parts aggressive blues guitar, moaning vocals, and handclaps, makes for a nicely strange listen (even though some of it bores me to death).
I like to pick out the overarching mood of every album, and this one is rather dark. Not doom and gloom per se, but "dusky," as George Starostin puts it. Though the lyrics might sometimes contradict it, there is a general pessimistic feel to the whole thing, as if each song is only a futile afterthought. It's an interesting mood, and I like it. Unfortunately, this is also the era of folksy hippie crap (not that all hippie music was crap), and we get a healthy dose of it on tracks 7 and 11. Seriously, that pseudo-spiritual "la, la, la, laaa lala la" on "When You Say" makes me wanna puke- good thing it's short.
But! On track six we get the real treat, and the centerpiece of the album: the fan favorite "Oh Well." What begins as a bitter, rip-roarin' heavy blues chant suddenly morphs into a mystical, medieval-sounding acoustic piece. The second portion may not go anywhere musically over its six and a half minutes, but I'll be damned if it's not worth every second anyway. Love it! Then you have your straightahead blues numbers, and they're solid, with "Rattlesnake Shake" being my favorite of these. Some people hate the "Madge" jams, but they're downright ferocious, and I like them. I only wish they'd cut out that guy calling "Yaaadz? Yaaaadz?" (no, not "Madge") in the middle. Otherwise, I don't usually mind a band padding an album with stuff like this.
So all in all, a good effort from the early Mac, even though it wouldn't have killed them to break a little more from contemporary conventions. But then again, these guys eventually became a platinum album-writing band, so I guess we can't ask too much. Not two thumbs up, but certainly one.
Thursday, November 17, 2011
Monday, November 7, 2011
Villains
Alright, time to try out the new style. No more "good song-bad song," no more rating scale. I'm not the all-knowing deity of musical quality, after all, so I'll settle for just posting my personal thoughts on whichever album appears first on my shuffled playlist. This way I can account for subjectivity instead of perching atop that cursed ivory tower of "high art," and we may focus more on the effect of a given album rather than just the same old "form, fluency, and composition" approach I favored before.
Artist: The Verve Pipe
Album: Villains
Release Year: 1996
Genres: alternative rock, grunge
1) Barely (If at All); 2) Drive You Mild; 3) Villains; 4) Reverend Girl; 5) Cup of Tea; 6) Myself; 7) The Freshmen; 8) Photograph; 9) Ominous Man; 10) Real; 11) Penny Is Poison; 12) Cattle; 13) Veneer.
This was another of the albums I picked up at the pawn shop, and I must say it was one of the best ways I've spent a single dollar. It did take me a few listens to pick up on exactly what makes this album different from the piles of other pseudo-post-grunge albums out there, but it came to me. There is real texture in this one, real evidence of loving craft. Sure, the songs mainly follow the verse-chorus-verse-chorus-bridge-chorus format, but there are all these subtle touches that really bring out the different tracks and give the album real depth. There's this constant mood throughout, so the whole thing sounds like standing in the middle of a slow, gray rain...and it's a beautiful thing.
"The Freshmen," the album's big radio hit, does its work well enough. It's pretty and it's painful, and I do like the minimalistic guitar work. I still prefer "Reverend Girl," even though there is little in the style to separate it from its peers. I mean, that slurring repetition of the title in the chorus has been done a million times before, but this time there's the distraught lyrics and a nice piano-driven bridge to make it more believable. "Now my lover smells like rain," Vander-Ark sings, and in that moment, I'd say she certainly does.
It's all about the little breaks from the normal style. How could "Cup of Tea" sustain its roaring chorus without the surreal, poetic lyrics and the little "dig it!" in the middle of each verse? What would make me love the chorus of "Myself" more than the unexpected switch to falsetto in its last iteration? Who would expect the guitar solo in "Drive You Mild" to last as long as it does, or for it to actually accentuate the meandering verse structures before and after? And who the hell would expect a song as traditionally-sung and -structured as "Penny Is Poison" to sound as real as it does? I didn't, and I was pleasantly surprised. These guys know how to write a song- too bad they let mainstream pressure get the better of them down the road.
Saturday, May 14, 2011
As Ugly as They Wanna Be
Artist: Ugly Kid Joe
Album: As Ugly as They Wanna Be
Release Year: 1991
Genres: hard rock, thrash
1) Madman; 2) Whiplash Liquor; 3) Too Bad; 4) Everything About You; 5) Sweet Leaf/Funky Fresh Country Club; 6) Heavy Metal.
Best Song: Madman
I found this CD at Pawn America for a dollar, and as soon as I saw the cover I had to have it. And, just as the cover suggests, this is about the dumbest, trashiest-sounding 90's rock you're likely to come by. But it's also a lot of fun, even though you may feel ashamed of yourself before it ends.
Imagine Guns 'n' Roses, early-nineties Metallica, and KISS spitting out some sort of musical offspring, and you might have something resembling Ugly Kid Joe. The tunes are catchy, no matter how ridiculously campy they all are. It's like they took all the bad rock cliches and inflated them to cosmic proportions, and still managed to be listenable. Maybe the whole thing is actually an elaborate satire on the mouth-breathers who take this stuff seriously! But probably not.
The lyrics are braindead too, like something out of a preteen comic book or something. It's nothing but insanity, drugs, and murder, but then again, that about all this genre can manage. This kind of music is what a fourteen-year-old wannabe rebel would think was cool. And it's that very same juvenile spirit that makes it so much damn fun. Who's gonna deny the fun in a simple, head-banging chorus like "too bad, too bad, too bad too bad Johnny, whatcha gonna do?" Or lines like "I hate your daddy's guts too, boo-hoo" in "Everything About You?" It's a perfect example of "so bad it's good."
The bass in track five is kinda cool, but I can never remember how the rest actually goes. I do know that seven minutes is too long for this type of music, though. Hell, four is even too long on repulsive, pseudo-rap-metal tripes like "Whiplash Liquor," but at least that one gets you a few cheap laughs. I give the prize to "Madman," thanks to its rip-roarin' chorus and nice guitar solo.
So grab this if you want a cheap thrill, or even to entertain your less-than-brilliant friends. And, who knows- you might find yourself wanting to spin this once in a while...
Rating: 6
Album: As Ugly as They Wanna Be
Release Year: 1991
Genres: hard rock, thrash
1) Madman; 2) Whiplash Liquor; 3) Too Bad; 4) Everything About You; 5) Sweet Leaf/Funky Fresh Country Club; 6) Heavy Metal.
Best Song: Madman
I found this CD at Pawn America for a dollar, and as soon as I saw the cover I had to have it. And, just as the cover suggests, this is about the dumbest, trashiest-sounding 90's rock you're likely to come by. But it's also a lot of fun, even though you may feel ashamed of yourself before it ends.
Imagine Guns 'n' Roses, early-nineties Metallica, and KISS spitting out some sort of musical offspring, and you might have something resembling Ugly Kid Joe. The tunes are catchy, no matter how ridiculously campy they all are. It's like they took all the bad rock cliches and inflated them to cosmic proportions, and still managed to be listenable. Maybe the whole thing is actually an elaborate satire on the mouth-breathers who take this stuff seriously! But probably not.
The lyrics are braindead too, like something out of a preteen comic book or something. It's nothing but insanity, drugs, and murder, but then again, that about all this genre can manage. This kind of music is what a fourteen-year-old wannabe rebel would think was cool. And it's that very same juvenile spirit that makes it so much damn fun. Who's gonna deny the fun in a simple, head-banging chorus like "too bad, too bad, too bad too bad Johnny, whatcha gonna do?" Or lines like "I hate your daddy's guts too, boo-hoo" in "Everything About You?" It's a perfect example of "so bad it's good."
The bass in track five is kinda cool, but I can never remember how the rest actually goes. I do know that seven minutes is too long for this type of music, though. Hell, four is even too long on repulsive, pseudo-rap-metal tripes like "Whiplash Liquor," but at least that one gets you a few cheap laughs. I give the prize to "Madman," thanks to its rip-roarin' chorus and nice guitar solo.
So grab this if you want a cheap thrill, or even to entertain your less-than-brilliant friends. And, who knows- you might find yourself wanting to spin this once in a while...
Rating: 6
Wednesday, May 4, 2011
Led Zeppelin IV
Artist: Led Zeppelin
Album: Led Zeppelin IV
Release Year: 1971
Genres: hard rock, art-rock, blues-rock
1) Black Dog; 2) Rock & Roll; 3) The Battle of Evermore; 4) Stairway to Heaven; 5) Misty Mountain Hop; 6) Four Sticks; 7) Going to California; 8) When the Levee Breaks.
Best Song: well, that's the very definition of "obvious," isn't it?
That's right, I called it "Led Zeppelin IV," instead of "Untitled" or "Zoso"or whatever weird name the diehards like to tack onto it. I like the chronological names, because they reflect the band's slow progression from heavy blues to big, bloated, immortal anthems like these. And, as soon as the numerical names stopped, the music also took a longer leap than it ever had before. I mean, you can't tell me Houses of the Holy sounds anything like the first four, can you?
(GET ON WITH IT!!!)
Alright. The fact that this contains "Stairway to Heaven" hardly gains it any "subjectivity points," does it? But this is, without question, the biggest, boldest album the band would ever release. Everything that made Led Zeppelin who they were, they poured on triple thick on this album, effectively undermining any amateur critic's attempt at analyzing it outside the band's popular image. Fortunately for me, when I heard the album, I had only a passing familiarity with Zeppelin, so I was a blank slate for about five of these songs. It didn't take me long to reach my verdict, either: Five of them kick astronomical amounts of ass...and the other three suck.
I would like to take this album as a whole when reviewing it, but it just doesn't lend itself to that kind of analysis. Why? Partially because it's not an intelligent album, but mainly because each song has such a HUGE identity that it's impossible to ignore any one in particular. It kicks off with "Black Dog," a heavy, plodding blues number with a great distorted riff and an even better solo. Who wouldn't want to stomp their foot to that beat and sing along with the braindead lyrics like "Hey hey mama, when you shake that thing, gonna make you burn gonna make you sting"? "Rock & Roll" is even better, though; that incessant drum pattern and rollicking melody, combined with Plant's frantic delivery, make it one of the most energizing, feel-good songs I know.
Unfortunately, this is where we run into trouble. "The Battle of Evermore" is incredibly pretentious, has no coherent melody, and its six minutes consist of just as much wailing as singing. I'm all for Tolkien references, but they have to do his work justice. This one does not. "Misty Mountain Hop" is a bit more listenable, but it's twice as stupid. That keyboard riff is just embarrassing to listen to--you're Led Zeppelin, for crying out loud! You can't mix off-rhythm lyrics with synth loops that make me think of bunnies jumping back and forth, and then think something good will come of it. As for "Four Sticks," which comes next, I can't even remember how it goes, but I do remember it bored me slightly less. Alright, so Bonzo could play with four sticks. We all know he was good. We also know rock songs based on drumming alone tend not to be very good.
"Going to California" really redeems the album, though. It's a simple guitar and mandolin (?) ballad, and Plant's singing actually suits it! I'd always thought he could only do heavy songs, but this one made me reconsider. Then we close with "When the Levee Breaks," which Led Zeppelin did NOT write, but they did make it theirs. The beat pounds along as if to crush the listener, while the guitar and harmonica give it a "sharper" edge as well. The impending breaking of the levee doesn't just mean flood anymore--it seems to mean the end of the world. This isn't just blues. This is doom.
Yeah, that's a nine down there, alright. 3/8 of the album may suck, but the rest is just so friggin' incredible that it gets a nine anyway. And that about wraps up the...oh, wait. I didn't mention "Stairway to Heaven" yet. Uh, well...it's "Stairway to Heaven." That's it. I'm done.
Rating: 9
Album: Led Zeppelin IV
Release Year: 1971
Genres: hard rock, art-rock, blues-rock
1) Black Dog; 2) Rock & Roll; 3) The Battle of Evermore; 4) Stairway to Heaven; 5) Misty Mountain Hop; 6) Four Sticks; 7) Going to California; 8) When the Levee Breaks.
Best Song: well, that's the very definition of "obvious," isn't it?
That's right, I called it "Led Zeppelin IV," instead of "Untitled" or "Zoso"or whatever weird name the diehards like to tack onto it. I like the chronological names, because they reflect the band's slow progression from heavy blues to big, bloated, immortal anthems like these. And, as soon as the numerical names stopped, the music also took a longer leap than it ever had before. I mean, you can't tell me Houses of the Holy sounds anything like the first four, can you?
(GET ON WITH IT!!!)
Alright. The fact that this contains "Stairway to Heaven" hardly gains it any "subjectivity points," does it? But this is, without question, the biggest, boldest album the band would ever release. Everything that made Led Zeppelin who they were, they poured on triple thick on this album, effectively undermining any amateur critic's attempt at analyzing it outside the band's popular image. Fortunately for me, when I heard the album, I had only a passing familiarity with Zeppelin, so I was a blank slate for about five of these songs. It didn't take me long to reach my verdict, either: Five of them kick astronomical amounts of ass...and the other three suck.
I would like to take this album as a whole when reviewing it, but it just doesn't lend itself to that kind of analysis. Why? Partially because it's not an intelligent album, but mainly because each song has such a HUGE identity that it's impossible to ignore any one in particular. It kicks off with "Black Dog," a heavy, plodding blues number with a great distorted riff and an even better solo. Who wouldn't want to stomp their foot to that beat and sing along with the braindead lyrics like "Hey hey mama, when you shake that thing, gonna make you burn gonna make you sting"? "Rock & Roll" is even better, though; that incessant drum pattern and rollicking melody, combined with Plant's frantic delivery, make it one of the most energizing, feel-good songs I know.
Unfortunately, this is where we run into trouble. "The Battle of Evermore" is incredibly pretentious, has no coherent melody, and its six minutes consist of just as much wailing as singing. I'm all for Tolkien references, but they have to do his work justice. This one does not. "Misty Mountain Hop" is a bit more listenable, but it's twice as stupid. That keyboard riff is just embarrassing to listen to--you're Led Zeppelin, for crying out loud! You can't mix off-rhythm lyrics with synth loops that make me think of bunnies jumping back and forth, and then think something good will come of it. As for "Four Sticks," which comes next, I can't even remember how it goes, but I do remember it bored me slightly less. Alright, so Bonzo could play with four sticks. We all know he was good. We also know rock songs based on drumming alone tend not to be very good.
"Going to California" really redeems the album, though. It's a simple guitar and mandolin (?) ballad, and Plant's singing actually suits it! I'd always thought he could only do heavy songs, but this one made me reconsider. Then we close with "When the Levee Breaks," which Led Zeppelin did NOT write, but they did make it theirs. The beat pounds along as if to crush the listener, while the guitar and harmonica give it a "sharper" edge as well. The impending breaking of the levee doesn't just mean flood anymore--it seems to mean the end of the world. This isn't just blues. This is doom.
Yeah, that's a nine down there, alright. 3/8 of the album may suck, but the rest is just so friggin' incredible that it gets a nine anyway. And that about wraps up the...oh, wait. I didn't mention "Stairway to Heaven" yet. Uh, well...it's "Stairway to Heaven." That's it. I'm done.
Rating: 9
Wednesday, April 27, 2011
Parachute
Artist: The Pretty Things
Album: Parachute
Release Year: 1970
Genres: art rock, psychedelia
1) Scene One; 2) The Good Mr. Square; 3) She Was Tall, She Was High; 4) In the Square; 5) The Letter; 6) Rain; 7) Miss Fay Regrets; 8) Cries from the Midnight Circus; 9) Grass; 10) Sickle Clowns; 11) She's a Lover; 12) What's the Use; 13) Parachute.
Best Song: Grass
You guys have no idea how happy I was to see this album come up on the "shuffle" list. And, come to think of it, you probably have no idea who the Pretty Things are, either. They were an artsy rhythm and blues band from England, and they wrote S. F. Sorrow, the first rock opera ever (yes, it even came before Tommy), in 1968. The Pretty Things were never songwriting masters, but they were still damn good, and I can only think of a few of their songs that I honestly dislike. So they weren't the Beatles or the Stones (their idols), but they did their work, and there are some real gems in their catalogue. Like Parachute.
I downloaded the album, took my Zune to the basement, and played it good and loud. I was planning on drawing or something while I listened, but I was so enthralled by the album that I just sat there most of the time, wondering where why it had taken me so long to find this. Seriously. The enthusiasm of the whole thing, the curiosity, the innocence with just a hint of darkness--it was like travelling back in time to some carefree summer so many years ago. Nostalgic as I can be, it's no surprise that in one listen, it became one of my favorite albums.
I see Parachute as a dream, with the scenes constantly changing and blurring into one another and still making perfect sense. You start with a brief overture, then a nice five-track suite that goes from naive to lovestruck before ending in the excellent groove of "Rain." I always think of this as the "light and happy" part of the dream sequence, since a childish perspective seems to come through in the lyrics. And no, they didn't copy the suite idea from The Beatles. Of course not.
Then the album takes a turn toward heavy, psychedelic blues, starting with the hard-rocking "Miss Fay Regrets." A glance at the track titles tells us we are in the "nightmare" phase, with Phil May howling twisted lyrics over some very dark jams--just listen to that bass intro to "Cries from the Midnight Circus!" You can almost see the debauchery going on inside the tent, can't you? Guys...? "Sickle Clowns" is probably better, though: that relentless guitar/bass interplay drags you through all seven minutes and makes it seem like three.
But, in the middle of those, we get a nice break with "Grass" (good thing, because otherwise you wouldn't know when one ended and the other began). This song is beautiful, and the scene is heart-wrenching. Yes, even I can feel it. It's sitting in a field at sunset with her (whoever she may be) and knowing she is leaving, forever. Normally I hate mushy shit like that, but the Pretties really knew how to pull it off.
The final third is a "recovery" of sorts, with the melodies getting feather-light and carrying you away again. Is "She's a Lover" a triumphant response to "Grass?" If it is, than "What's the Use" is kind of a cruel choice to follow it, but I don't think they meant the songs to connect. That's just me, overanalyzing as usual. Finally there's the title track, which is just a nice, chill, piano-driven instrumental that floats you back to reality, the dream now fading and the sun coming over the horizon.
So, if you haven't guessed it by now, there's not a single note on this album I don't like. And yet, I cannot give it a ten, because my experience of this album is overwhelmingly subjective. As much as I love Parachute, I know a ten would not be reasonable, because the "nightmare tracks" are too similar, and "Cries from the Midnight Circus" is too long. I just don't mind it, myself-- that's all. Yes, it's sad, but logic must triumph over emotion in the end, even in something as sanguine as music.
Rating: 9
Album: Parachute
Release Year: 1970
Genres: art rock, psychedelia
1) Scene One; 2) The Good Mr. Square; 3) She Was Tall, She Was High; 4) In the Square; 5) The Letter; 6) Rain; 7) Miss Fay Regrets; 8) Cries from the Midnight Circus; 9) Grass; 10) Sickle Clowns; 11) She's a Lover; 12) What's the Use; 13) Parachute.
Best Song: Grass
You guys have no idea how happy I was to see this album come up on the "shuffle" list. And, come to think of it, you probably have no idea who the Pretty Things are, either. They were an artsy rhythm and blues band from England, and they wrote S. F. Sorrow, the first rock opera ever (yes, it even came before Tommy), in 1968. The Pretty Things were never songwriting masters, but they were still damn good, and I can only think of a few of their songs that I honestly dislike. So they weren't the Beatles or the Stones (their idols), but they did their work, and there are some real gems in their catalogue. Like Parachute.
I downloaded the album, took my Zune to the basement, and played it good and loud. I was planning on drawing or something while I listened, but I was so enthralled by the album that I just sat there most of the time, wondering where why it had taken me so long to find this. Seriously. The enthusiasm of the whole thing, the curiosity, the innocence with just a hint of darkness--it was like travelling back in time to some carefree summer so many years ago. Nostalgic as I can be, it's no surprise that in one listen, it became one of my favorite albums.
I see Parachute as a dream, with the scenes constantly changing and blurring into one another and still making perfect sense. You start with a brief overture, then a nice five-track suite that goes from naive to lovestruck before ending in the excellent groove of "Rain." I always think of this as the "light and happy" part of the dream sequence, since a childish perspective seems to come through in the lyrics. And no, they didn't copy the suite idea from The Beatles. Of course not.
Then the album takes a turn toward heavy, psychedelic blues, starting with the hard-rocking "Miss Fay Regrets." A glance at the track titles tells us we are in the "nightmare" phase, with Phil May howling twisted lyrics over some very dark jams--just listen to that bass intro to "Cries from the Midnight Circus!" You can almost see the debauchery going on inside the tent, can't you? Guys...? "Sickle Clowns" is probably better, though: that relentless guitar/bass interplay drags you through all seven minutes and makes it seem like three.
But, in the middle of those, we get a nice break with "Grass" (good thing, because otherwise you wouldn't know when one ended and the other began). This song is beautiful, and the scene is heart-wrenching. Yes, even I can feel it. It's sitting in a field at sunset with her (whoever she may be) and knowing she is leaving, forever. Normally I hate mushy shit like that, but the Pretties really knew how to pull it off.
The final third is a "recovery" of sorts, with the melodies getting feather-light and carrying you away again. Is "She's a Lover" a triumphant response to "Grass?" If it is, than "What's the Use" is kind of a cruel choice to follow it, but I don't think they meant the songs to connect. That's just me, overanalyzing as usual. Finally there's the title track, which is just a nice, chill, piano-driven instrumental that floats you back to reality, the dream now fading and the sun coming over the horizon.
So, if you haven't guessed it by now, there's not a single note on this album I don't like. And yet, I cannot give it a ten, because my experience of this album is overwhelmingly subjective. As much as I love Parachute, I know a ten would not be reasonable, because the "nightmare tracks" are too similar, and "Cries from the Midnight Circus" is too long. I just don't mind it, myself-- that's all. Yes, it's sad, but logic must triumph over emotion in the end, even in something as sanguine as music.
Rating: 9
Wednesday, April 20, 2011
Fragile
Artist: Yes
Album: Fragile
Release Year: 1971
Genres: progressive rock
1) Roundabout; 2) Cans and Brahms; 3) We Have Heaven; 4) South Side of the Sky; 5) Ten Per Cent of Nothing; 6) Long Distance Runaround; 7) The Fish (Schindleria Praematurus); 8) Mood for a Day; 9) Heart of the Sunrise.
Best Song: Roundabout
If you ever wanted to acquaint yourself with both the best and the worst aspects of progressive rock, I see no better candidate to demonstrate them than Yes. During their "classic" period from 1969-1974, they released seven albums, all of which (except maybe Time and a Word) tried to be "epic" on some level, featuring amazing song lengths, frequent and unpredictable time-signature changes, dizzying instrumental passages, and Jon Anderson's mind-screwing lyrics. Yeah, these guys have gotten their heads up their collective ass plenty of times, but I actually applaud them for doing that when they produce something as good as Fragile.
The very best progressive albums have a concept, a unifying theme, and I've heard at least a few people call Fragile an environmentalist project. Yeah, okay, there's a picture of Earth on the front...but where else do they get that idea from? If you ask me, there are no consistent lyrical themes, because Jon Anderson doesn't write lyrics for their literal meaning. Instead, he uses them as another sort of instrument, arranging them for their composite sound, their effect on the listener when combined with the music. No, this album's theme lies in the music itself. It's hard to pin down, so I'm going to borrow George Starostin's take on the recurring motif: movement. The music is always moving, but it's more than that: it's taking us on a journey around the world, giving us as many vantage points as possible, and it's never, ever boring.
There's a lot of diversity in the melodies and structures, which makes the album such a joy to listen to. A band like Yes runs a great risk of becoming tiresome if they play the same way for forty minutes, so I'm sure glad they decided to mix it up on here. We start with the sunny, enthusiastic "Roundabout," make our way to the desperate "South Side of the Sky," hit an amazing groove with "Schindleria Praematurus" (I love how musical they make scientific names), and reach a warm, rousing conclusion with "Heart of the Sunrise." The sense of ascension (toward "the chair that really fits you," then to the sun itself) in that song is really nice, even if it is a bit overlong.
Oh, and the members each have their little solo spots on this album too, like the bittersweet acoustic guitar workout "Mood for a Day" (my second favorite), or the brilliant vocal layering of "We Have Heaven." Maybe the solo spots are what make this album so good: they gave the individual members a chance to vent their huge egos in preparation for the larger collaborations. I mean, this is still a Yes album, so it's going to be at least a little pretentious. Some of the atmospheric and instrumental passages may or may not seem too long to sit through, but I don't mind them because they work as a part of the larger piece. So rock on, Yes, and remember not to devolve into a lame new-wave band. Oh, wait...
Rating: 8.5
Album: Fragile
Release Year: 1971
Genres: progressive rock
1) Roundabout; 2) Cans and Brahms; 3) We Have Heaven; 4) South Side of the Sky; 5) Ten Per Cent of Nothing; 6) Long Distance Runaround; 7) The Fish (Schindleria Praematurus); 8) Mood for a Day; 9) Heart of the Sunrise.
Best Song: Roundabout
If you ever wanted to acquaint yourself with both the best and the worst aspects of progressive rock, I see no better candidate to demonstrate them than Yes. During their "classic" period from 1969-1974, they released seven albums, all of which (except maybe Time and a Word) tried to be "epic" on some level, featuring amazing song lengths, frequent and unpredictable time-signature changes, dizzying instrumental passages, and Jon Anderson's mind-screwing lyrics. Yeah, these guys have gotten their heads up their collective ass plenty of times, but I actually applaud them for doing that when they produce something as good as Fragile.
The very best progressive albums have a concept, a unifying theme, and I've heard at least a few people call Fragile an environmentalist project. Yeah, okay, there's a picture of Earth on the front...but where else do they get that idea from? If you ask me, there are no consistent lyrical themes, because Jon Anderson doesn't write lyrics for their literal meaning. Instead, he uses them as another sort of instrument, arranging them for their composite sound, their effect on the listener when combined with the music. No, this album's theme lies in the music itself. It's hard to pin down, so I'm going to borrow George Starostin's take on the recurring motif: movement. The music is always moving, but it's more than that: it's taking us on a journey around the world, giving us as many vantage points as possible, and it's never, ever boring.
There's a lot of diversity in the melodies and structures, which makes the album such a joy to listen to. A band like Yes runs a great risk of becoming tiresome if they play the same way for forty minutes, so I'm sure glad they decided to mix it up on here. We start with the sunny, enthusiastic "Roundabout," make our way to the desperate "South Side of the Sky," hit an amazing groove with "Schindleria Praematurus" (I love how musical they make scientific names), and reach a warm, rousing conclusion with "Heart of the Sunrise." The sense of ascension (toward "the chair that really fits you," then to the sun itself) in that song is really nice, even if it is a bit overlong.
Oh, and the members each have their little solo spots on this album too, like the bittersweet acoustic guitar workout "Mood for a Day" (my second favorite), or the brilliant vocal layering of "We Have Heaven." Maybe the solo spots are what make this album so good: they gave the individual members a chance to vent their huge egos in preparation for the larger collaborations. I mean, this is still a Yes album, so it's going to be at least a little pretentious. Some of the atmospheric and instrumental passages may or may not seem too long to sit through, but I don't mind them because they work as a part of the larger piece. So rock on, Yes, and remember not to devolve into a lame new-wave band. Oh, wait...
Rating: 8.5
Monday, April 18, 2011
Ramones
Artist: The Ramones
Album: Ramones
Release Year: 1976
Genres: punk
1) Blitzkreig Bop; 2) Beat on the Brat; 3) Judy Is a Punk; 4) I Wanna Be Your Boyfriend; 5) Chain Saw; 6) Now I Wanna Sniff Some Glue; 7) I Don't Wanna Go Down to the Basement; 8) Loudmouth; 9) Havana Affair; 10) Listen to My Heart; 11) 53rd & 3rd; 12) Let's Dance; 13) I Don't Wanna Walk Around with You; 14) Today Your Love, Tomorrow the World.
Best Song: Blitzkreig Bop (or anything else)
HEY! HO! LET'S GO! Johnny Rotten, Joel Madden, and Billy Joe Armstrong: bow down to your rightful lords and masters! Before punk became the Gospel of anti-establishment teens, before punk meant attacking every social norm in existence, before punk was punk, there was the Ramones. They played could barely play their instruments--and yet, they did punk better than just about any band manages today.
How? Simple: the Ramones were great at stripping away all the extra layers of rock music, leaving just the bare-bones essentials, and showing us that yes, those essentials are all you truly need to create satisfying music. I assume the drumming rarely strays from 4/4 time (I can't identify time signiatures), and the bass lines are just one or two notes over and over. Johhny Ramone slams out the same chords, and Joey yelps as much as he sings. At first listen it may be nothing but a pointless, talentless racket, but I implore you to try it a few more times. It'll come to you. The simple lyrics which awaken the irreverent youthful spirit? The snarling yet indifferent vocal delivery? The catchy-as-hell melodies? They do their work, and the reward is great.
Don't expect anything intelligent in the lyrics. The Ramones weren't political; they were all about partying, making out, watching horror movies, and other D-student thrills. I mean, come on: "now I wanna sniff some glue/Now I wanna have something to do." Or even: ""Beat on the brat with a baseball bat. Oh yeah." That's it. They're kids who don't want to take out the trash or do their homework or put up with the bitchy girls behind them in biology class. They just wanna rock, man, and I'm on board with them one hundred percent. It's like reliving high school and pulling off all the shit I was too smart to do in real life. The stupid lyrics may leave some wanting a little more, but with punk, it's either that or more anarchist crap, which I'd say is just as braindead, just in a different way.
There are a lot of these little touches I love, too. Like the way Joey manages to fit the word "basement" into one syllable in track 7, or the weird "ba-boom" drum thing after "baby baby make me loco" in "Havana Affair," or even the jangly guitars in the swaggering intro to "I Wanna Be Your Boyfriend," which set the simple-minded, freshman-year mood just fine. I could go on, but I'll just let you find the rest for yourself.
Most of these songs barely reach the two-minute mark, and they're almost indistinguishable from one another--which is great! Songs like these don't have the momentum to sustain them for any longer than that. The rapid-fire style works wonders, keeping us moving, keeping everything fresh. Maybe they couldn't write rock operas or progressive epics, but they still had a great understanding of composition, those Ramones. All the sudden, that cliche about how "the genius lies in its simplicity" seems to have found a home.
Gabba gabba hey.
Rating: 9
Album: Ramones
Release Year: 1976
Genres: punk
1) Blitzkreig Bop; 2) Beat on the Brat; 3) Judy Is a Punk; 4) I Wanna Be Your Boyfriend; 5) Chain Saw; 6) Now I Wanna Sniff Some Glue; 7) I Don't Wanna Go Down to the Basement; 8) Loudmouth; 9) Havana Affair; 10) Listen to My Heart; 11) 53rd & 3rd; 12) Let's Dance; 13) I Don't Wanna Walk Around with You; 14) Today Your Love, Tomorrow the World.
Best Song: Blitzkreig Bop (or anything else)
HEY! HO! LET'S GO! Johnny Rotten, Joel Madden, and Billy Joe Armstrong: bow down to your rightful lords and masters! Before punk became the Gospel of anti-establishment teens, before punk meant attacking every social norm in existence, before punk was punk, there was the Ramones. They played could barely play their instruments--and yet, they did punk better than just about any band manages today.
How? Simple: the Ramones were great at stripping away all the extra layers of rock music, leaving just the bare-bones essentials, and showing us that yes, those essentials are all you truly need to create satisfying music. I assume the drumming rarely strays from 4/4 time (I can't identify time signiatures), and the bass lines are just one or two notes over and over. Johhny Ramone slams out the same chords, and Joey yelps as much as he sings. At first listen it may be nothing but a pointless, talentless racket, but I implore you to try it a few more times. It'll come to you. The simple lyrics which awaken the irreverent youthful spirit? The snarling yet indifferent vocal delivery? The catchy-as-hell melodies? They do their work, and the reward is great.
Don't expect anything intelligent in the lyrics. The Ramones weren't political; they were all about partying, making out, watching horror movies, and other D-student thrills. I mean, come on: "now I wanna sniff some glue/Now I wanna have something to do." Or even: ""Beat on the brat with a baseball bat. Oh yeah." That's it. They're kids who don't want to take out the trash or do their homework or put up with the bitchy girls behind them in biology class. They just wanna rock, man, and I'm on board with them one hundred percent. It's like reliving high school and pulling off all the shit I was too smart to do in real life. The stupid lyrics may leave some wanting a little more, but with punk, it's either that or more anarchist crap, which I'd say is just as braindead, just in a different way.
There are a lot of these little touches I love, too. Like the way Joey manages to fit the word "basement" into one syllable in track 7, or the weird "ba-boom" drum thing after "baby baby make me loco" in "Havana Affair," or even the jangly guitars in the swaggering intro to "I Wanna Be Your Boyfriend," which set the simple-minded, freshman-year mood just fine. I could go on, but I'll just let you find the rest for yourself.
Most of these songs barely reach the two-minute mark, and they're almost indistinguishable from one another--which is great! Songs like these don't have the momentum to sustain them for any longer than that. The rapid-fire style works wonders, keeping us moving, keeping everything fresh. Maybe they couldn't write rock operas or progressive epics, but they still had a great understanding of composition, those Ramones. All the sudden, that cliche about how "the genius lies in its simplicity" seems to have found a home.
Gabba gabba hey.
Rating: 9
Subscribe to:
Comments (Atom)