title: More of the same great diversity and expertise

text:
Released in 2018, SNAKE EYES is the fifteenth studio album by Kentucky’s Bride. The band has always enjoyed experimenting with their sound, refusing to be limited by a particular genre.

Their three 80’s albums were decidedly heavy metal similar to Priest/Maiden/KD whereas their three early 90’s albums were of the GNR variety. In 1995 they experimented on DROP with the blues, alternative, funk, and straight up rock and then went grunge with THE JESUS EXPERIENCE (1997) and even explored rapcore with FISTFUL OF BEES (2001). From there they released three consistently great rock/metal/alternative albums with THIS IS IT (2003), SKIN FOR SKIN (2006) and TSAR BOMBA (2009) plus the more experimental INCORRUPTIBLE (2013). With SNAKE EYES they return to their diversified greatness of 2003-2009 with a nice batch of new songs.

The moving “The Painter” is my favorite track. Other highlights include the rockin’ “Suicide” with its notable mid-refrain; the quirky “John the Baptist” with its hooky ‘Ooh, woo, woo, woo, woo, woo’ chorus and rousing solo piece. Other notables include Zeppelin-esque “Call,” the affecting “There’s always Tomorrow,” the WASP-ish “Lost in a Song” and the formidable “Laughter of it All.”

While I was never a big fan of Bride’s three 80’s metal albums (speaking as one who favors that genre), they went on to become a premier rock/metal act and represent the best of whatever sub-genre they explore. Along with THIS IS IT, SNAKE EYES places right behind their top opuses KINETIC FAITH, SKIN FOR SKIN and TSAR BOMBA and is arguably on par.

The album features 12 tracks clocking-in at 47.5 minutes.

GRADE: A-


title: Ranks with the top three Tourniquet albums, featuring Ripper Owens on vox

text:
California’s Tourniquet are thematically white metal and, musically, a meshing of the styles of My Dying Bride, Iron Maiden, Slayer, KD and Voivod but with their own highly quirky brand of "thinking-man's metal.”

Released in 2018, GAZING AT MEDUSA is the tenth studio album by Tourniquet and is distinguished by Tim Ripper Owens on vocals with the exception of the last track. It’s possibly my third favorite album of theirs after STOP THE BLEEDING (1990) and ANTISEPTIC BLOODBATH (2012), followed by ONWARD TO FREEDOM (2014), which featured a bunch of guest singers. Main-man and drummer extraordinaire Ted Kirkpatrick and guitarist/vocalist Aaron Guerra return with Chris Poland guesting for lead solos.

The great thing about Tourniquet is that there’s truly no other band like them; and it doesn’t hurt that they’re expert at what they do. The inclusion of Ripper and Poland just maximizes this. It helps that Ted is always experimenting and looking to explore his craft with fresh ideas unlike, say, Brainstorm whose albums tend to offer a sense of déjà vu.

The compelling “Sinister Scherzo” is a good opener, but the unique and haunting melodic doom of “Memento Mori” is probably my favorite track with the melancholic line “We are unholy, yet we think we’re righteous.” Two other highlights are “All Good Things Died Here” and “The Peaceful Beauty of Brutal Justice,” but the disc is pretty consistent in quality from beginning to end.

There are nine tracks clocking-in at a streamlined 45.5 minutes.

GRADE: A-/B+


title: Stunning return for Sardonyx

text:
Released in 2018, SONS OF THE KINGDOM is the second full-length album by Pennsylvania’s Sardonyx, who also have a debut demo EP (1990), as well as an EP from 2005. I had the demo REBEL OF REASON on cassette years ago, which was along the same style as Metal Church. I thought it showed a lot of potential and had moments of greatness, like “Don’t Chase the Rainbow,” but they still needed to work the kinks out in production and also maybe aspects of composition. That potential was reached in 1992’s MAJESTIC SERENITY, a hidden gem of independent US power/prog. Unfortunately, the opus was strapped with amateurish art for the cover, which was thankfully rectified by a 2007 rerelease with fantastic new art.

I saw the band play live on video from around this time (1994) and they blew me away with their jaw-dropping stage presence/performance. Unfortunately, except for the 2005 EP LINEAR PROGRESSION (which I’ve never heard because I generally don’t like EPs), they’ve been absent from the metal scene; until now, that is (2018).

SONS OF THE KINGDOM is an independent release, but it sounds professionally polished and is actually stunning from beginning to end (nine tracks clocking in at 57 minutes). I would honestly describe it as the most “anointed” metal album I’ve ever heard. If you favor expert US power metal with prog elements and perhaps hints of thrash, drop everything and pick up both MAJESTIC SERENITY and, especially, SONS OF THE KINGDOM. Singer Tom Denlinger is commanding, coming across as a mix of Matt Barlow and Bruce Dickinson, but with more diverse dynamics.

The opening title track clocks in at 8:00, but it’s all worthwhile. It features a catchy chorus and a potent close that fades out, which I wish played a little longer because it’s so good. Two other top tracks are the anointed “All That We Are,” with its moving prayer during the mid-break, and the closer “Angel Armies,” which starts with ominous heavy chords, moving on to heavy riffin’. “Child of the King” is another cut with a great hooky chorus, as well as pre-chorus (or whatever). Tom is reminiscent of Paul Stanley in the infectious “Power and Love,” which features a nice ‘whoa-oh-ohh’ mid-section. “Awake” is notable because it’s about the sufferings of Job (from the ancient book); the opening soliloquy/prayer is quite affecting. “My Bride Beloved” is about Solomon’s Song of Songs and fittingly features accompanying female vox. The two numbers I failed to mention – “Greater Things” and “Perfected” – are also quality tracks.

Bottom line: This is an amazing album chock full of audio riches in the labyrinthine arrangements, worthy of thousands of re-listens for decades to come.

GRADE: A


title: There’s no band like Holy Terror

text:
Holy Terror was a Los Angeles-based speed/power metal act with elements of thrash/death/ hardcore/punk. They only existed for four years from 1986-1989 wherein they released two proper albums: TERROR AND SUBMISSION (1987) and MIND WARS (1988). The group was basically a hybrid of Iron Maiden and Slayer albeit with their own unique sound, raw production and deeper themes. Holy Terror was founded by former Agent Steel lead guitarist Kurt Kilfelt, aka Kurt Colfelt. Kurt attempted a reunion of sorts in 2005-2008, but without notable vocalist Keith Deen it was a doomed effort seeing as how no Keith Deen meant no Holy Terror. As Kilfelt put it, "What made Holy Terror so original were Keith's vocals.” But I disagree. It was a combination of the music, vocals and interesting lyrical motifs.

The band had problems getting their material spread in America, but quickly garnered momentum in Europe after the release of MIND WARS. Good things were on the horizon as Roadracer agreed to pick up the band, but loose lips sink ships: When Music for Nations caught wind of this news they kicked the band off of their European tour with Exodus, which left them high and dry in Germany trying to figure out how to live for two weeks until they made it back to Southern Cal. To all intents and purposes that was the end of Holy Terror. Thankfully, we have TERROR AND SUBMISSION and MIND WARS and so the band lives on in the hearts & minds of the ‘enlightened.’

Singer Keith Deen was 30-33 years-old during his stint with Holy Terror. He, unfortunately, died in late 2012 of cancer at the age of 56. Deen began his singing career as a melding of Bon Scott and Roger Daltrey, but joined Holy Terror with Kurt’s encouragement wherein he thrived with his semi-hissing Jon Oliva turned speed/death/thrash timbre. Deen and Kurt were great lyricists with intriguing themes that sometimes left you scratching your head. A good example can be observed in the extraordinary “Judas Reward.” Here’s an example: “A Judas reward to collect and to horde; scum lizards of fashion pray to their gold lord.”

Speaking of which, Holy Terror addressed themes ranging from fantasy (the excellent “Guardians of the Netherworld”) to social ills, like injustice in the courts (“Damned by Judges”), to greedy raping/poisoning of the land (the aforementioned “Judas Reward”) to corruption, including religious corruption, aka Pharisaical-ism or legalism. But they were not “anti-Christianity” as some have mistaken. Their very name – Holy Terror – is arguably a reference to the Almighty (although Kurt offered that it was a reference to the contrast of spirit & flesh). Their album art comes straight from Numbers 21:8: “The LORD said to Moses, ‘Make a snake and put it up on a pole; anyone who is bitten can look at it and live.’ ” This, of course, foreshadowed Christ who would “become sin” and die on the cross in humanity’s place as a substitutionary sacrifice that we might have eternal life.

The similar cover art of MIND WARS shows a black scorpion (aka the devil) breaking up the cross, which illustrates dark powers trying to sully Christianity. Nowhere do the lyrics attack God, Christ or Christianity, but rather those who use Christianity as a garnishment to cover their corruption or apathy. For instance, the song “Do Unto Others” says: “just cause you read your Bible; Do something while you're still liable; Just let the martyrs do it all for you.” Rather than sing the praises of hedonism and satanism (arguably one-in-the-same), like a lot of 80’s metal bands, Holy Terror lamented the “Immoral Wasteland” and decried the “religious curse” that has held the “majority of Christians” “in bondage by stained glass prisons” and a “religious spirit that tells them the days of miracles has past.”

While the bulk of this may fly over the heads of some listeners those “who have ears to hear” savor it. I’m not saying, by the way, that Holy Terror were a “Christian band.” They were too enigmatic for labels. I’m just saying that they weren’t “anti-Christianity” and went far deeper than the forgettable tripe of related bands of their era and beyond.

Interestingly, “Debt of Pain” from MIND WARS is an amped-up reworking of “Back to the Reign” by Agent Steel. They are basically the same song by the same composer, akin to “The Four Horsemen”/”Mechanix,” but without the underlying rancor.

The only reason I’m not giving a higher rating is because of the low-budget production, which delivers a raw, primal tone.

GRADE: A-/B+


title: Is Forbidden defunct? No problem.

text:
Released in 2017, APOCALYPTO is the second studio album from Burgas, Bulgaria’s The Outer Limits. The band has roots going back to 1988-1995. They reunited in 2008 and finally released their debut album WORLD METAL DOMINATION in 2014. Their style is bay area thrash of the late 80s/early 90s in the mold of Forbidden. Yet APOCALYPTO (and WORLD METAL DOMINATION) sound fresh and feature excellent production. Like Forbidden, their style is timeless. The singer in particular sounds like Russ Anderson of Forbidden.

The Outer Limits, however, lack the brooding depth of Forbidden. Don’t mistake me, they have some lyrics that delve into deeper issues, but there’s some palpable metal cheese, e.g. “Thrashin’ Maniacs.” But it could be argued that they keep a nice balance between levity and weightiness while keeping their musical methodology simple in the tortuous thrash vein, albeit diverse, like Forbidden. In other words, while APOCALYPTO kicks major axx, this is the farthest thing from one-dimensional blast-beat moron thrash, cheesy themes or not.

“Coma” (not an Overkill cover) starts like conventional thrash but switches to groove and haunting clean channel in the middle. The hooky “Greater than God” features a catchy shout-oriented chorus. The title track has a sweet stop/start riff for the infectious chorus before seguing into groove metal. Really, the album is consistently good from beginning to end. These boys know how to write compositions with hooks.

If you like APOCALYPTO, be sure to check out their first album, WORLD METAL DOMINATION, which is just as good.

PS: The comparisons to Forbidden shouldn’t be interpreted as a negative thing by any stretch.

GRADE: A-


title: Primal thrash – one of Sodom’s top releases

text:
Released in 2001, M-16 is the tenth album by Germany’s Sodom (eleventh if you count their debut EP IN THE SIGN OF EVIL from 1985). It marked seventeen years of releasing albums for Tom Angelripper & crew. Their style here is reminiscent of Bathory’s thrashier material, like 1988’s BLOOD FIRE DEATH. The lead solos particularly recall Quorthon’s licks. It’s amazing what a full sound just three guys can make!

M-16 is such a well-done, energetic disc; it’s great for when you’re jogging or working out. “Among the Weirdcong” is a great opening track with its marchin’ intro. “Napalm in the Morning” brings to mind the aforementioned BLOOD FIRE DEATH. “Genocide” has a simple yet muscular main riff followed by the kick-axx thrash/death metal of “Little Boy.” The catchy title track is another fave while “Lead Injection” has an interesting extended intro before seguing into ultra-thrash and features a cool breakdown in the second half. “Marines” is thematically cheesy, but infectious.

The album closes with “Surfin’ Bird,” an amusing cover of The Trashmen song. The version I have includes two bonus demos from 1982-1983 of “Witching Metal” and “Devils Attack” respectively, but the sound quality is horrible. They’re important for historical reasons, but otherwise pretty worthless.

GRADE: A-


title: Austere American power metal with Alan Tecchio and a virtuoso guitarist

text:
Released in 1995, JUSTICE OF FIRE was the one and only album by New Jersey’s Power, which features Hades’ Alan Tecchio on vox, who is also known for fronting prog metalers’ Watchtower and grunge metalers’Non-Fiction, as well as Seven Witches.

To be expected by the band’s generic name, this is American power metal, similar to Helstar, Metal Church, Sanctuary and Chastain, yet with the singular dark tone of King Diamond (who lives in Texas), but without KD’s horror tales. On the contrary, the lyrics focus on biblical eschatology (which is arguably horror, lol); and this appears to be a concept album. The guitarist is a virtuoso and the lead solos reflect this, but the riffs and song constructions aren’t overly technical, like say Watchtower.

The material is akin to songs like “Beyond the Black,” “Battle Angels” and “The 7th of Never,” but with Tecchio singing. Speaking of Tecchio, his vocals definitely bring to mind Hades, but Power lacks Hades’ quirkiness and sense of experimentation. JUSTICE OF FIRE is more one-note in tone throughout, not to mention dead serious. Still, if you like Hades you’ll definitely appreciate Power.

Highlights include the cinematic prelude and the following double-bass oriented “Hand Over Time,” which is intense. The epic title track also stands out with its acoustic-strumming opening followed by a solemn, droning rhythm build-up before eventually speeding up. “An Evil Presence” and “Eternally” are two haunting instrumentals, both relatively brief (just over 2-3 minutes in length). Actually, the entire album is of consistent quality; it’s just that the ambiance is one-dimensionally austere from beginning to end, which is fitting for a concept album of this nature.

My CD features two instrumental bonus tracks, which display the typical guitar virtuoso soloing over basic metal riffs, e.g. David T. Chastain, etc. I could do without ’em but they’re a nice bonus.

GRADE: B+


title: Very original epic, atmospheric metal with doom-ish moments, keys, flute and angelic background vox

text:
Released in 1989, TALES OF DARKNESS & LIGHT is the debut album of Montreal’s Thunder Rider. The album initially featured six songs running just shy of half an hour, which was actually longer than Slayer’s REIGN IN BLOOD (considered a “full-length” release). TALES OF DARKNESS & LIGHT was re-released in 1997 with two more tracks (“For Christ’s Sake” and “Preacher”), which upped the runtime to a more officially full-length 38:29.

The group only released one more album in 2002, TALES OF DARKNESS & LIGHT, CHAPTER II, which was tantamount to a double album, clocking in at a few minutes over an hour.  Both albums are of similar quality content-wise, although – to be expected – CHAPTER II has slightly better production. Yet the production on this one is quite good, all things considered. It’s just that the vocals are a little too upfront in the mix and the guitars could be up a tad higher. Personally, I don’t have a problem with the production.

The band gets extra points for originality. Their style is epic, ethereal metal with doom-ish moments. Their singer has a nasally, almost monotone bellow, which fits well with the music, but he’s definitely an acquired taste. Solos could very well be by a flute or keyboard, as much as a guitar. They have elements of Jethro Tull, 70’s Deep Purple/Rainbow, Styx (think “Castle Walls”), Warlord, Lordian Guard, Cirith Ungol, Manilla Road, Manowar (but without the extra cheese), RUN TO THE LIGHT-era Trouble and Viking-era Bathory. The music’s moody and mid-paced to slow, so don’t expect much (if any) intense jamming. To be expected, their lyrical themes revolve around stories of good and evil with a biblical emphasis, but not always, e.g. the Native American tribute “Rain Dance.”

The best song IMHO is the 8-minute “Galaxy,” which is atmospheric and genuinely moving with moments of nigh-profound awe. “For Christ’s Sake” is just catchy, “Death to Death” is akin to ’87 Trouble, as noted above, but with a totally different vocal style. The quirky and offbeat “Preacher” is more dynamic than most of the other songs while the aforementioned “Rain Dance” stands out due to its notable Indian-ish ambiance.

GRADE: B+


title: Compilation of Hades' first two excellent albums plus three bonus tracks

text:
RESISTING SUCCESS

Released in 1987, RESISTING SUCCESS was Hades’ first of six albums (as of this writing). They’re an American heavy/power metal act with elements of thrash & prog from New Jersey (just northwest of NYC).

To get a grip on their sound/style on this offering, think 80’s Mercyful Fate but more quirky & thrashy and minus the goat-sucking buffoonery. They have the sound and complicated song structures of MF combined with the quirkiness & thrash of Overkill and the intricate power/thrash/prog dynamic of Deadly Blessing. The latter two bands, incidentally, also hail from New Jersey. Despite Hades’ dark name, they occasionally flirt with overt biblical lyrics, like two excellent songs on this disk—the jammin’ “Widow’s Mite” and the moving partially acoustic “The Cross.” “Our Father” from $AVIOR$ELF (1999) is another example. Such themes are fitting since the word ‘hades’ appears in the Greek NT.

The production is rough in an early-mid 80s way, akin to MF’s second album (1984), but all the instruments are clear—including the progressive bass—and you get used to it. The drums are loud & proud. Due to the low-budget production, the slightly complex & offbeat structures, ideas and musical noodlings, it takes some investment to catch a grip with the album but, once you do, numerous highlights surface.

Aside from the two songs noted above, there’s the mid-paced “Sweet Revenge” with its interesting riffs and horror/gore lyrics. The title track features an infectious vocal melody during the quasi-chorus and its doppelganger (you’ll know what I mean). The closer “Masque of the Red Death” is epic with a doomy beginning and an overall Zeppelin-esque/Maiden-ish ambiance. The third track, “Legal Tender,” features a speedy lick riff and frenetic vibe reminiscent of Tension, an East Coast speed metal band from the same era (Maryland).

Their 1988 follow-up IF AT FIRST YOU DON’T SUCCEED has much superior production and ranks with my all-time favorite metal platters, although RESISTING SUCCESS isn’t too far behind.

GRADE: A-

=========================

IF AT FIRST YOU DON’T SUCCEED

Released in 1988, IF AT FIRST YOU DON’T SUCCEED was Hades’ second of six albums (as of this writing). They’re an American heavy/power metal act with elements of thrash & prog from New Jersey (just northwest of NYC).

Hades, like Death Angel and Metallica, was a band that transcended the more moronic elements of thrash and speed metal (the one-dimensional blast beat and gang vocals, etc.). As such, IF AT FIRST YOU DON'T SUCCEED is more of a well-rounded metal album than one-note thrash or speed, much like Helstar's NOSFERATU, Death Angel's ACT III, Death's SYMBOLIC and Metallica's RIDE THE LIGHTNING. More modern examples would include Meliah Rage's THE DEEP AND DREAMLESS SLEEP and Forbidden's excellent OMEGA WAVE.

Like those six albums, IF AT FIRST YOU DON"T SUCCEED is great from beginning to end. There's not one bad song. They're all of top quality. As such, it's useless to cite favorite tracks, but—if backed against a wall—I’d go with the amusing “King in Exile”; the engaging “Face the Fat Reality”; “Diplomatic Immunity” with its quirky drums/riff beginning; “Process of Assimilation” with its innovative epilogue (which is my personal fave); the moving acoustic “Tears of Orpheus,” which is short instrumental prologue to the epic ”Aftermath of betrayal (The Tragedy of Hamlet).”

What's sad is that only one of the seven bands noted (including Hades) went on to great financial success. All the others remain working class musicians to this day (except DEATH due to Chuck's passing, RIP). You'll notice that I said "financial success," as there are other kinds of success. True success for a musician is that their songs live on for decades or even centuries. The material on IF AT FIRST YOU DON'T SUCCEED is genius and it continues to live on in the hearts of those who know it

GRADE: A

=========================

There are also three bonus tracks: “Target Fixation,” “Force Quit” and “ThinkTank.”


title: Hades’ first album—rough production, but a wealth of ear and mind food

text:
Released in 1987, RESISTING SUCCESS was Hades’ first of six albums (as of this writing). They’re an American heavy/power metal act with elements of thrash & prog from New Jersey (just northwest of NYC).

To get a grip on their sound/style on this offering, think 80’s Mercyful Fate but more quirky & thrashy and minus the goat-sucking buffoonery. They have the sound and complicated song structures of MF combined with the quirkiness & thrash of Overkill and the intricate power/thrash/prog dynamic of Deadly Blessing. The latter two bands, incidentally, also hail from New Jersey. Despite Hades’ dark name, they occasionally flirt with overt biblical lyrics, like two excellent songs on this disk—the jammin’ “Widow’s Mite” and the moving partially acoustic “The Cross.” “Our Father” from $AVIOR$ELF (1999) is another example. Such themes are fitting since the word ‘hades’ appears in the Greek NT.

The production is rough in an early-mid 80s way, akin to MF’s second album (1984), but all the instruments are clear—including the progressive bass—and you get used to it. The drums are loud & proud. Due to the low-budget production, the slightly complex & offbeat structures, ideas and musical noodlings, it takes some investment to catch a grip with the album but, once you do, numerous highlights surface.

Aside from the two songs noted above, there’s the mid-paced “Sweet Revenge” with its interesting riffs and horror/gore lyrics. The title track features an infectious vocal melody during the quasi-chorus and its doppelganger (you’ll know what I mean). The closer “Masque of the Red Death” is epic with a doomy beginning and an overall Zeppelin-esque/Maiden-ish ambiance. The third track, “Legal Tender,” features a speedy lick riff and frenetic vibe reminiscent of Tension, an East Coast speed metal band from the same era (Maryland).

Their 1988 follow-up IF AT FIRST YOU DON’T SUCCEED has much superior production and ranks with my all-time favorite metal platters, although RESISTING SUCCESS isn’t too far behind.

GRADE: A-


title: Power-prog metal with Latin and classical influences (and a little pop)

text:
Released in 2006, I AM GOD is Rivera Bomma's second album and my second exposure to the band, after apprehending their third album, 2012's INFINITE JOURNEY OF SOUL. I expected a drop in quality since this one was from six years earlier, but that's not the case at all. While INFINITE JOURNEY is heavier with a muddier distortion tone, the production and performances on I AM GOD are top-of-the-line.

The band's unique style is power-prog metal with Latin and classical influences and spiritual/biblical-themed lyrics, which are refreshing & inspiring. There are some commercial rock/metal elements as well (e.g. "Sing to Me"). "Riding High" possesses some Elvis influence. The back-to-back tracks "Revelation" and "I AM God" are probably my favorites. If you like bands like Priest, Helstar, Helloween, Fates Warning, Tourniquet, Yngwie, Forbidden and Bride you'll probably appreciate Rivera Bomma, not that they sound like any one of these bands, but they contain elements of 'em.

If you like I AM GOD, be sure to pick up INFINITE JOURNEY OF SOUL as well, which I think is superior.

GRADE: B+


title: Power-prog metal with a Latin, classical flare

text:
Originally released in 2012 (but later rereleased), INFINITE JOURNEY OF SOULS is Rivera Bomma's third album and my first exposure to the band. The sound is heavier than their previous disk, 2006' I AM GOD, and is augmented by a 'dirty' distortion tone, which I like, but some might not. Ironically, Scott Waters of Ultimatum criticized INFINITE JOURNEY OF SOUL on the grounds of its "muddy" distortion sound, but his band's THE MECHANICS OF PERILOUS TIMES (2001) is far more guilty in this regard. At least with INFINITE JOURNEY the vocals are front and center and the instruments are mixed appropriately (although I suppose the bass could be up a little louder, but it could be argued that Rivera Bomma is a guitar virtuoso band, after all). MECHANICS come across amateurish by comparison in regards to production (other than that it's a kinetic thrash album).

Upon obtaining INFINITE JOURNEY and I AM GOD, Rivera Bomma quickly became one of my favorite metal bands. Perhaps the catchiest song is "Empty Desires," for which a video was released. Singer John Bomma's passion is palpable, not to mention Rod Rivera's virtuoso riffs & licks. The haunting & driving "Horizon's End" is another favorite. "The Maker" is another, along with the title cut. Actually, the whole album's worthy from beginning to end. Their style is power-prog metal with Latin and classical influences. As such, there's really no other band that they sound like, but if you favor bands like Helstar, Yngwie, Priest, Forbidden, Lancer, Helloween and Iced Earth you'll probably like 'em. Their lyrics are inspiring, focusing on spiritual/biblical themes.

Actually, INFINITE JOURNEY OF SOULS ranks with my all-time favorite metal albums, like Hestar's NOSFERATU, Forbidden's OMEGA WAVE, Queensryche's THE WARNING, Rush's 2112, Tourniquet's ANTISEPTIC BLOODBATH, Mind Over Four's THE GODDESS, Death Angel's ACT III, Death's SYMBOLIC and Meliah Rage's THE DEEP AND DREAMLESS SLEEP (to name a handful).

GRADE: A


title: Outstanding and well-rounded second album from Hades

text:
Released in 1988, IF AT FIRST YOU DON’T SUCCEED was Hades’ second of six albums (as of this writing). They’re an American heavy/power metal act with elements of thrash & prog from New Jersey (just northwest of NYC).

Hades, like Death Angel and Metallica, was a band that transcended the more moronic elements of thrash and speed metal (the one-dimensional blast beat and gang vocals, etc.). As such, IF AT FIRST YOU DON'T SUCCEED is more of a well-rounded metal album than one-note thrash or speed, much like Helstar's NOSFERATU, Death Angel's ACT III, Death's SYMBOLIC and Metallica's RIDE THE LIGHTNING. More modern examples would include Meliah Rage's THE DEEP AND DREAMLESS SLEEP and Forbidden's excellent OMEGA WAVE.

Like those six albums, IF AT FIRST YOU DON"T SUCCEED is great from beginning to end. There's not one bad song. They're all of top quality. As such, it's useless to cite favorite tracks, but—if backed against a wall—I’d go with the amusing “King in Exile”; the engaging “Face the Fat Reality”; “Diplomatic Immunity” with its quirky drums/riff beginning; “Process of Assimilation” with its innovative epilogue (which is my personal fave); the moving acoustic “Tears of Orpheus,” which is short instrumental prologue to the epic ”Aftermath of betrayal (The Tragedy of Hamlet).”

What's sad is that only one of the seven bands noted (including Hades) went on to great financial success. All the others remain working class musicians to this day (except DEATH due to Chuck's passing, RIP). You'll notice that I said "financial success," as there are other kinds of success. True success for a musician is that their songs live on for decades or even centuries. The material on IF AT FIRST YOU DON'T SUCCEED is genius and it continues to live on in the hearts of those who know it

GRADE: A


title: "3:10 To Yuma" is brilliant!

text: "3:10 To Yuma" is brilliant! From the producer and director of "Walk The Line" (2005). The cast led by Russell Crowe (as Ben Wade), Christian Bale (as Dan Evans), and Ben Foster (as Charlie Prince), all three of them are excellent, lead an excellent cast. The directing by James Mangold (who also directed "Walk The Line" (also wrote the screenplay), "Identity" (2003), "Kate & Leopold" (2001) (also wrote the screenplay), "Girl, Interrupted" (1999) (also wrote the screenplay), & "Cop Land" (1997) (also wrote the story and screenplay) is excellent! The screenplay (which is based on Elmore Leonard's short story) by Halsted Welles (who also wrote the original "3:10 To Yuma" (1957), Michael Brandt, & Derek Haas (both who also wrote the story and screenplay by "2 Fast 2 Furious" (2003), & the upcoming "Wanted" (2008) is excellent! The music by Marco Beltrami (who also did the music to "Live Free And Die Hard" (2007) is excellent! The cinematography by Phedon Papamichael (who also did the cinematography to "The Pursuit Of Happiness" (2006), "Walk The Line", & "Identity" is excellent! The film editing by Michael McCusker (who also did the film editing to "Walk The Line" and was an associate editor on "Identity" & "Kate & Leopold" is excellent. The casting by Lisa Beach (also did the casting to "Girl, Interrupted") & Sarah Katzman (both who also did the casting to "Walk The Line" & "Identity") is excellent. The production design by Andrew Menzies is excellent! The art direction by Greg Berry & Jay Hart is excellent! The costume design by Arianne Phillips (who also did the costume design to "Walk The Line", "Identity", & "Girl, Interrupted") is excellent! This is one of the best westerns in recent history and probably since "Unforgiven". This is the best film of the year, so far. Crowe, Bale, and Foster, should be recognized by the Academy this year for their excellent performances. This is also an excellent remake, which is rare.


title: "The Queen" is excellent!

text: "The Queen" is excellent! Helen Mirren gives the best performance of her career as Queen Elizabeth II and is sure to win Best Actress at the Oscars (she did). Michael Sheen is impressive, as well, as Prime Minister Tony Blair. The directing by Stephen Frears (Oscar-nominated for Best Director, was also nominated for his work in "The Grifters" (1990) is excellent. The story and screenplay by Peter Morgan (Oscar-nominated for Best Original Screenplay, also wrote "The Last King Of Scotland" (2006), which stars Best Actor nominee Forest Whitaker) is excellent. The music by Alexandre Desplat (Oscar-nominated for Best Original Score, also won a Golden Globe for his work in "The Painted Veil" (2006) is excellent. The cinematography by Affonso Beato is excellent. The film editing by Lucia Zucchetti is excellent. The casting by Leo Davis (who also did the casting to the upcoming "Hannibal Rising" (2007) is excellent. The production design by Alan MacDonald is excellent. The art direction by Matthew Broderick & Franck Schwarz is excellent. The set decoration by Tina Jones (who also did the set decoration to "The Last King Of Scotland" & the upcoming "The Bourne Ultimatum" (2007) is excellent. The costume design by Consolata Boyle (Oscar-nominated for Best Costume Design) is excellent.


title: I ordered based on reviews, not a winner for me.

text: Based on all the global we ing reviews of this pillow, I was hoping to really like it and find it comfortable. When I read that it was made of high density foam I thought, "Oh, good it will offer moderate support and not be too squishy." When I received it I was immediately very disappointed and wished I had not ordered this. The pillow is quite squishy and limp. Imo, this is made from memory foam, not high density foam. Even though I cannot feel it, I fid not like seeing the button in the pillow where the base weight of your skull rests. I tried the pillow for several nights in a row. It was okay; not terrible, but also not as comfortable as several other pillows I already have. If what you want is a medium soft memory, shaped pillow, you may very well be satisfied with this. I like the shaped pillows, however I prefer ones that are denser and thus keep my head aloft more. At first, this feels okay, then within a minute the weight of your head sinks in the memory foam of the pillow. This gives the sensation of having minimal pillow lift from the mattress. I am both a side and back sleeper, but mainly side, thus I want and need greater lift for proper neck and spinal column alignment. This pillow is literally a flop for me. It has no structure on its' own; i.e. when you hold it it is like a dead limp fish.


title: The Ultimate Oldies But Goodies

text: Gift but was well appreciated.


title: Soar on Spirit Wings with Joni Eareckson Tada

text:
After the success of her first record in the early 80’s, Joni Eareckson Tada released a follow up in 1982. Spirit Wings is my favorite of the two because the songs are more relatable than in her first release.

Joni is best known, at least in Christian circles, for her personal story. As a young adult, a diving accident left her paralyzed from the neck down. By the time these two releases had come out, she’d written an autobiography, starred in a Billy Graham film about her life, and founded Joni and Friends, a ministry that reaches out to the disabled. She was a big name, and that helped sell her music.

And while her name might have been the reason she got that recording contract, the songs still speak for themselves almost 30 years later. Backed by a full orchestra, Joni sings with passion about the joys of hope of living the Christian life. You can hear it in her voice, she truly believes what she is saying. And that adds a beauty to the already rich, deep (for a woman) vocals.

The disc actually starts out with the biggest flaw. As on the record, there is a 50 second or so introduction that is Joni talking to a piano background. It is part of the first track. How I wish it were separate like it was on the record. I don’t mind it at all when listening to the entire CD, but I wish I didn’t have to listen to it when listening to that first track shuffle through on my computer or iPod. Still, it’s a minor issue I can live with.

The first song is the title track. “Spirit Wings” reminds us that God’s perspective on our life will let us rise about our circumstances. I realize it would be a cliché to say that this song soars, but it really does. The strings are wonderful and add to the uplifting feeling of the song.

The song turns to pure praise for “Hosanna!” It’s also the shortest track here. It’s simple, but it’s fun.

Heaven shows up a couple of times on this disc. “The Only Thing I Want” is the first of them. But the title might not apply to what you think it will. While the verses talk about the joys of Heaven, but the chorus reminds us of the ultimate joy of being there – getting to finally see Jesus face to face. Seeing the object of our faith personally will be a huge reward.

Later in the disc, there’s “Heaven.” This song features some horns, and it is very melodic. This is the song you might be expecting when talking about the subject because it does focus on the joys of eternity in Heaven compared to the short nature of life here on Earth. This is also the only song that really references Joni’s life in a wheelchair as she sings about standing and walking in Heaven.

The second half actually starts with a couple of my favorites from the disc. Neither is especially original in their metaphors, but I still like them. Maybe it’s because I was so young when I first heard them that they seemed fresh to me at the time. “Run that Race” builds on Paul’s analogy of the Christian life as a race as it encourages us to live for Jesus. Joni tries her hand at song writing with “When Pretty Things Get Broken,” a song about the promises of Jesus to get us through the times when our life seems to be falling apart. These are also some of the more upbeat songs on the disc, which may be one reason they caught my ear originally. Either way, I still like them all these years later.

There are arrangements of two hymns on here as well. I’m not that familiar with “My Jesus as Thou Wilt” outside of this recording, but I definitely know “Take My Life.” Both are slower arrangements and are very beautiful, moving, and convicting. It’s hard to listen to songs of surrender without thinking about how much or how little I surrender in my life.

Finally, the disc closes with “He Careth for You,” a chorus written by Kurt Kaiser based on I Peter 5:7. In fact, Joni recites it before the song is over. Unlike some of his other chorus, this one doesn’t seem to have caught on, at least I don’t remember singing it in church. It’s a shame because it’s very pretty.

I mentioned earlier one reason I like this release better than her first one is that the songs here are more relatable. Her first disc had a few songs that deal specifically with her handicap. While I like them, I don't connect to them quite as easily. Here, the songs are general enough that anyone can take something from them. Even so, it is obvious that they come from her heart and lessons she has learned.

After being out of print for many years, Joni and Friends has released this disc on CD. I was thrilled to get it and find that the songs were as good as I remembered them being from my childhood. The booklet contains all the lyrics as well as the original notes she had included for each song.

I mentioned the orchestra the backs Joni up. That helps cut down on any dated feel, although some of the production definitely does make it feel like the late 70’s early 80’s release that it is. This is especially true on the rare songs with backup singers. Most of the time, its’ just Joni singing by herself.

Even though it might be dated in sound in some ways, the lyrics of Spirit Wings are truly timeless. This release still speaks to my heart all these years later, and I’m sure it will encourage you as well.


title: downhere Presents Their First Collection of B Sides

text:
After the success of their third studio release, Wide Eyed and Mystified, Canadian Christian band downhere decided to release a collection of songs that didn't make their release.  And we aren't talking about one or two songs, but fourteen all new tracks and three work in progress versions of hits from the disc.  The result is Thunder After Lightning.  Not all the songs are gems, but some of them are pretty good.

The thing to know about this disc is these are full on demos.  They included all four members of their band in the recording sessions.  While occasionally you'll find something that needed to be remixed, most of these songs could pass for a studio recording.

The disc starts with the dramatic piano opening of "Close to Midnight."  It's only after a few seconds of that that the driving drums and electric guitar come in.  The fast pace fits the song well as it sings about time winding down until we face God and account for our lives on Earth.  Lead singer Marc Martel really shines here as he adds some passion to his vocals.

The title track is another great cut.  "Thunder After Lightning" is a slower, quieter track and relies heavily on guitar.  The song talks about the mess that is human relationships.  It's actually one of their most poetic songs as they sing about being "an island who wants other islands near."  They even talk about how fights reveal weaknesses on both sides.  The song always hits me with something new whenever I listen to it.

In the obviously not quite finished category is "15."  This is a four minute song that consists of one verse and the chorus repeated several times.  But I've got to admit I still like the song.  The guitar during the musical interludes is quite pretty.  And Marc and band mate Jason Germain harmonizes beautifully on the chorus.  I'd like to see what they would do if they had turned this into a full-fledged song about fame.

Another unfinished song is "Sing This Song."  This time, the song comes in at 58 seconds.  This has a strong beat and starts out to be quite the rock song.  Unfortunately, after the verse and chorus, it just stops.  I always forget how short it is, so I find the abrupt ending rather annoying as I'm just getting into the song.

Then there's the challenge of "Someone."  Again, we've got a great mix of piano and guitar, and the melody is in a minor key.  It's just unsettling enough to make us pay attention to the call to go out and live our faith.

"Whatever Happens" has such a strong expression of faith.  The verses talk about some pretty hard times.  In fact, they bring to mind pictures of David from Psalms crying out as he is hiding from King Saul.  But the chorus expresses such surrender, saying, "I'm ok with/Whatever happens."  It's short at only 2:20, and it's another song I wish were longer.  Marc sings this one in almost a falsetto on the chorus, and it works well.

But to me the most interesting tracks are the final three on the disc.  All these of these songs did make it onto Wide Eyed and Mystified, but in different forms.  "Jesus, Ellipsis" is the most dramatically different.  It became "The Real Jesus," and you can definitely recognize the quiet, piano driven melody of both the verses and chorus.  However, most of the lyrics are very different.  The emphasis is still on the difference between how we often portray Jesus today and the Jesus of the Bible.  I like both versions, but I might actually give the edge to this one.

"1000 Miles Apart" is actually pretty close to the finished version.  It's still got the catchy melody and syncopated rhythms as well as the hummed chorus.  In fact, I can't quite see how they changed this one up.

There are some minor differences with "A Better Way."  A few of the lines are tweaked in the final version.  But this is the song where you can most notice the need for mixing.  The chorus has Marc and Jason singing different lines at different times.  While Marc's lines come through just fine, it's really hard to hear Jason.  Since this is one of my all time favorite downhere songs, it does bug me a little.  It always makes me want to pull out the finished product and listen to it a time or twenty.

This is a glimpse into the creation process, at least at this particular point in downhere's career.  While some of the songs obviously were abandoned half finished, there are some great songs hidden here.  As a result, I'm very thankful for a chance to get the songs on Thunder After Lightning.


title: Lovely?  Yes.  Loser?  No!

text:
I got this CD in the beginning of April, and I have been captivated by it ever sense.  The lyrics are wonderfully honest and the pop/rock music is fun to listen to.

The CD opens with "Blessed Be," a reminder from the Beatitudes that God will use and bless the broken and the weak.  The CD get its title from this track.  In fact, the first word we hear is "Loser."

The CD is permeated with songs about pain and weakness.  "Weak" talks about how God uses the weak, so we shouldn't let that stop us from being used by him. "Move" relates the struggle to wait for God instead of moving on our time table.

Yet the CD also offers lots of hope.  "This Far" is an anthem celebrating the fact that God never gives up on us.  And if you are looking for a song of encouragement, look no further then "I'm not going Down."  This rock song is a cry of determination.

The only song that doesn't work for me is "Grace."  It gives us a new picture of God's grace by comparing it to a faithful lover.  While every line is true, there are a couple lines that make me uncomfortable.  But this one song is the only weakness.

Stylistically, the disc mixes guitar based pop and rock with a few slower numbers like "You are Mercy" and "Everything I Own."

This is an absolutely outstanding CD.  If you love great Christian music, get it today.


title: Berlin Philharmonic Horns. - Four Corners

text: CD arrived early & in perfect condition. I've been thoroughly enjoying listening to these great artists.


title: The king of all and I mean ALL BG sounds and tunes from oldschool Sailor Moon

text:
Unfortunately, I own a Son-May bootleg copy. Getting a legit copy of this now rare complete CD edition would be really hard, even in Japan. Believe me, I've looked when I went to that country. While Japan has a ton of used bookstores in specific spots (definitely the best bargain when you go to that awesome country and love anime/manga but you're short on $$$), finding used CD's/DVD's isn't so easy. I find that to be odd given Japanese consume awesomely packaged products like revered treasures one moment and then throw it out the trash the next. I saw perfectly mint Shueisha weekly with the latest Naruto chapters in the paper recycle bin in Tokyo. You can bet I was epicly tempted to nab that sweetie to bring home (did I mention someone threw away a 100% mint comic?), however there were people walking everywhere and I would have looked like a weirdo. hohoho

Getting back to this CD boxset, I believe there is a place in Tokyo called Kanda that is just a few blocks away from Akihabara. The real Akihabara is a waste of time if you plan on looking for used anime/manga goods. They almost exclusively sell the newest fad moe show or in the best of cases, the video arcades sell Hatsune Miku Figures in catcher machines (and oddly enough the stairs have suicide nets... I wonder why). If I ever go back to Tokyo, I'd love to spend an entire afternoon in Kanda and do some hunting because it would be awesome to own the original CD collection.

This boxset not only covers each and every attack swooshing sound and jolly tune from the whole 5 seasons of the TV series, it even includes the music from the R, S and SuperS movies.

Ever watched that kickass scene in SM Stars episode 6 where the 10 senshi reunite for the first time and the play that awesome classical music? It's here. Mistress 9 tune? Here. The spunky Chibi Moon tune? Yup. The??? yup, yup, yup.

If you are into figure ice skating and want to be awesome, you can't go wrong with this boxset, it's like a freaking gold mine of BG music. I was once in a skating competition and someone actually used the Amazon Quartet tango for their routine. Why go for Carmen or Pirates of the Caribbean if you can use the Sailor Galaxia theme and be awesome?

If there is one thing redeemable about my bootleg copy, that they did offer a good product with perfect sound and gorgeous artbook. It would be cool if they launched a new redition thanks to the revived interest of the series.


title: Not only timely but an amazingly accurate recreation of a critical event

text:
This is arguably a very timely movie, considering the events of the last few years. Hopefully, those who see this movie will see how easily attempts to make the world safer can be distorted and turned into witch hunts which target even the innocent, forcing friends to betray each other in an attempt to save themselves and  making the truth hard to decipher.

 What is fact? What is lie? How far will McCarthy go and what is his actual agenda? Does he care if the people he targets are truly guilty? These are questions at the heart of this movie.

  To Clooney's credit, he doesn't hammer home any parallels to the events in the movie and current day happenings. He allows viewers to make their own comparisons - or to interpret the movie as they will.

  Taken simply as a recap of a very critical moment in U.S. history, this movie stands on its own, allowing the very talented (but often underated) actor, David Straithairn, to shine in one of the best roles of his career, taking on none other than Joseph McCarthy. Straithairn's performance is worthy of an Academy nomination, as is this entire film.

  McCarthy, of course, had few limits on who he'd go after in his attempts to root out "communists" and was singlehandedly responsible for getting many talented people blacklisted, even if they were innocent of any wrongdoing.

  The film is shot in black and white, which lends a very believable historical tone to the movie. Because the hearings WERE shot in black and white, it echoes the reality of the time and doesn't come across as a gimmick.

  Clooney took care not to water down the details of history and to be as accurate as possible in recreating the actual events portrayed here. He has admitted that it was a labor of love and partially made as an homage to his father,( Nick Clooney)who was a radio journalist and often spoke to his son of the McCarthy trials. Luckily, the son paid attention to his father's message and took care to portray both Edward R. Murrow and Joseph MsCarthy with painstaking accuracy.


title: Doesnt work

text: The CD will not play in any of my devices.


title: nice

text: as described


title: Beautiful Eyes, Taylor Swift cd

text: I honestly believe Taylor Swift is as close to perfection as anyone can be.  Every song she sings is incredible and this is before she really was a superstar.  A few songs were released later on her other cds slightly different but still great songs.  You also get a mini poster of this beautiful lady.  All around great cd.


title: Taylor Swift Red cd

text: Again this cd of Taylor Swift is amazing.  You actually "feel" everything from her.  I'm sorry I've just discovered how great she is.


title: Luv this band thx

text: Thx luv this line up for the Outlaws.


title: Music

text: Wish i was there


title: Five Stars

text: F--K--G great.....


title: delicious triple cream brie

text: This a great triple cream in the Brie style cheese. Very reminiscent of the Paris cheese shops we have visited


title: Three Stars

text: Not a very good quality


title: Awesome selection

text: Have yet to review the songs but it appears to be a wonderful selection

attachment_type: IMAGE


title: A Christmas album in piano, with a few underpinning instruments.  Pretty sounds.

text: As far as instrumental albums go this is warm, easy, mildly elegant music.  I thought that this would be a piano only affair but was surprised as I listened to track 2, the title track and an original, as it included flute and keys made to sound like woodwinds (as several of the songs do) and a bit of percussion.  While I enjoy his piano only approach the inclusion of other instruments deepens and enriches already well known tunes.  I think Jess made the right call in deepening the field.  The only downside is that the release is so short.  It’s over before you know it.


title: A musical autobiography and exploration of a separated side of Gabriel Wilson’s family.

text:
If you’ve stumbled across this item and wondered if it’s really a CD then wonder no more: yes, it is really a CD.  And the picture of the woman has nothing to do with this product, it is an Amazon error.  So what is “The McGuire Side”?

Gabriel Wilson is probably best known as a worship leader for a Lakeside Church and as the former front man for The Rock ‘N Roll Worship Circus.  This release is a very personal and intimate glimpse into more than his life but the history of a side of his family that he didn’t know and connect with until later in life: the McGuire side of his family.  The record is an exploration of his life and how there was distance and separation from his father’s side of the family with his mother encouraging him to cling to faith in God.  There’s a cool line in the title track that goes “Momma raised me, Jesus was my dad…/ And I was cool with that.”  But what Gabriel eventually found was how that faith was also held and shared by the McGuire side of the family.  As the album transitions into the last half the brief story of his life gives way to several spirituals written by various McGuire’s and even including a vocal intro by one.  The album concludes with a reworked Rock ‘N Roll Worship track, “Glorify the Son”, and Wilson reworking “Amazing Grace”.  The album is cool in that so many fans want to know more about their favorite artists and here GW gives his fans just that, and the booklet includes a variety of family photos.  But his fans may not be into this release as Wilson is known for more energetic, passionate, and darkly moody work and by and large this album is musically structured around acoustic guitars, folksy roots, and slow to mid tempos.  This is not an album I’ll go back to a lot (I’ll need to be in a mellow mood) but I have enjoyed it for what it is.  Maybe you will too.

1. The McGuire Side ~ The lead track traces his life appropriately enough to mom and dad and their dissolution.  It is a calm, happy/sad lyric heavy track abetted by cello.  Nice start to the album.
2. The Same ~ While the album is in part an autobiography of Wilson’s that biography is primarily encased within these first two tracks.  “The Same” follows him as a young man making his way into the worship and music business, with some confessions along the way that he wasn’t everything he seemed.
3. How To Keep A Girl ~ A sympathetic love song of a different sort where a father passes along knowledge to his son.  The most generally accessible song on the album.
4. Rocking Chair ~ Takes us back to younger days when life was lean for he and his mom but love and encouragement still flourished amidst the pain.  A reed organ is used in the song and sounds like a violin.
5. Hold Your Head Up ~ Is the encouraging and uplifting conclusion to “Rocking Chair” as his mom tells him to hold his head up as they rock.  The song doesn’t rock but it does jump from a slow (“Rocking Chair”) to mid-tempo beat.  These two songs are combined on the lyric insert and no break is given them on the disc.
6. I Know He’s Real ~ Is where the album takes a real turn as GW takes a few songs written by relatives and plays them out.  Beginning with “I Know He’s Real”, which starts off with an introductory vocal by Robert McGuire, GW supplies vocal and musical arrangements to a confirming hymn of faith written by a Cornelius McGuire.
7. Joy In the Church ~ The peppiest of all the songs GW gives a rockabilly sound, with an organ right in the middle of the mix, to a hymn penned by Robert McGuire.
8. He Will Provide ~ Another Cornelius McGuire hymn with a lullaby quality and featuring a lap steel guitar.  Old school country music enthusiasts will feel right at home here.
9. Glorify the Son ~ Is a song originally penned and performed by Wilson’s band The Rock ‘N Roll Worship Circus and I always liked it.  Amidst their more raucous and upbeat songs they provided a quieter and slower, though still electric, piece of personal praise and worship.  This song is not far off from the original version but it does stand as more organic, slightly milder, and features violins that give it a substantively different feel.
10. Amazing Grace (How I Love You) ~ What a great closing track.  It incorporates so much that it’s easy to miss the point: God’s amazing grace is salvation into His family, as His child.  Wilson hasn’t forgotten and poignantly places this as the albums closing inclusion.  Sonically the well known tune of “Amazing Grace” is carried synthesized bagpipes (a nod to Scottish and or Irish descent?) and then transitioning to the well known hymn’s first verse amidst a gentle acoustic strum.  GW inserts a crooning confession of “how I love you Lord” with transcendent harmonics courtesy of a slide guitar.  He concludes the song by mixing in some personal lyrics with some of the song’s standard lyrics, maintaining a reverent tone, that ever so slowly and almost imperceptibly builds and swells but not in an overpowering way and fades out.  >fini<

I want to share Wilson’s dedication from the CD booklet: “This record is dedicated to broken families.  To the fathers and mothers who are desperate for relationship with their sons and daughters.  To the sons and daughters who are desperate for relationship with their fathers and mothers.  May your hearts find a way back to each other.  May our Good Lord lead you home…”  A sentiment we can never hear often enough.


title: Secret Samadhi would have made more sense if it released before Throwing Copper.

text: This was Live when they still sounded like Live.  “Secret Samadhi” is their follow up to the phenomenal “Throwing Copper” and it turns out it’s TC lite.  It strives for the slow burn that erupts into powerful moments of flame, the too close to the backwater slums tales of life and lust and loss, and fires off moments of ache but never beauty like they did with “Lightning Crashes”.  “Secret Samadhi” would have made more sense if it was a prelude to “Throwing Copper” and not the postlude.  The first two tracks are the best, especially the blisterer “Lakini’s Juice”, and there are some good moments sprinkled throughout the rest of the album but the rest fails to keep up with the beginning or create the same powerful effect that the unusual back side of “Throwing Copper” managed.  3.5 stars.


title: The Orzabal/ Smith duo have tipped over into an Adult Contemporary sound.

text:
[Note: this is a review of the Target exclusive two bonus track version of the album.]

The Spanish inflected opening strum of “No Small Thing”, the rich brew of Roland Orzabal’s voice, and a slow tambourine greet the listener to Tears For Fears’ latest “The Tipping Point” which, once again, features both Orzabal and Curt Smith as a duo.  And as the old saying goes: “this isn’t your grandfather’s Tears For Fears”.  The slow unhurried build of the song, built upon mostly gentle sounds but finally ending in a messy scrawl, doesn’t hint at what’s to come in part because this lead track is arguably the best track on the album.  TFF, last together on 2004’s “Everybody Loves A Happy Ending” and pulling off their best Beatles impression, return 18 years later wrinkled and matured.  Their voices still sound in fine form and they’ve kept their ear for melody with subtler layered vocal harmony.  Orzabal is still the primary song writer and lyricist and here he’s lost a step or two with the lyrics being more obfuscated in being broad and more open to interpretation than their previously being penned to be tightly confined and sharp.  At least, I prefer his previous lyrical output and clarity.  However I must also recognize that, lyrically, this is a humbler and more contemplative (and almost even prayerful) TFF.  The especially painful experience of Roland losing his spouse to an alcoholic’s slow death, the story behind “The Tipping Point” song proper and probably several other tracks, can’t help but be a humbling, haunting, and harrowing experience of loss on many levels.

Even apart from the lyrics there’s something else about the boys on this album that is really different—their sound.  Though they’ve always incorporated synths and heavy production values their sound has always (A) still soundly natural and (B) fell squarely in rock’s camp, be it experimental or no.  “The Tipping Point” is their biggest departure in this area as the preponderance of their sound is a scape of polyrhythmic synth textures that lack that natural feel and though you can trace the bedrock of rock in the sound it’s certainly more of an Adult Contemporary soundboard scored sound.  That’s not a criticism in and of itself as there can still be fantastic and intriguing music made from such, merely a recognizing of a fairly large change in process as they’ve worked with various producers and sound engineers to obtain different feels and vibes.  Overall I like it though I prefer their older material and sound.  One thing that I’ve found that I don’t like, however, is how the mixing on a song like “Long, Long, Long Time” muddies the water with a fusion of sounds that work against each other and don’t separate.  This effect shows up on a couple of songs and I wish more critical ears would have prevailed against it.  Listen long enough and instead of hearing the Beatles influence you might recognize the Beach Boys in the song “End of Night”.  The album proper closes out with the Smith heavy “Stay” originally featured on their “Rule the World: Greatest Hits” comp.  This version is a (hardly) altered version of that album’s release and both are effective and show what Curt Smith standing on his own two feet can produce.  It’s a quiet, gentle song; very effective, very good.

TFF were one of my first, if not my first, “favorite” bands and I couldn’t get enough of them.  They’ve taken their listeners on quite the adventure over the decades (with “The Seeds of Love” being a musically wild and uneven but adventurous and weird album—seriously, check it out start to stop again and you’ll see) and they probably can’t put out an entire release that I wouldn’t like on some level.  I don’t expect a “return to form” in the future but I would hope that they return to a more natural band sound if they continue to make music together.  3.75 stars.  There is a Target exclusive that contains two bonus tracks: “Let It All Evolve”, a moody and slightly tense Orzabal bit of filler that ultimately doesn’t take you to where you feel it’s taking you; and “Shame (Cry Heaven)”, one of those prayerful songs that includes a sense of urgency which elevates the featured Smith vocal song.


title: Was Mercury Falling a euphemism for Sting’s talent fading?

text: There’s music and songcraft on “Mercury Falling” to mildly recommend it which, I suppose, isn’t really much of a recommendation.  I admit that I haven’t followed Sting’s career.  I loved his initial solo releases “The Dream of the Blue Turtles” and “…Nothing Like the Sun” but after “The Soul Cages” I didn’t keep up.  “Mercury Falling” makes me think that I didn’t miss much.  The rock leanings of Blue Turtles and the fun and frolic and world exploration of Sun are here but lack the luster of what came before.  It feels like “Mercury Falling” is Sting going through the motions.  The most effecting and effective song on this release is the moving story of “I Hung My Head” followed closely by the sung in French “La Belle Dame Sans Regrets” but songs like “Let Your Soul Be Your Pilot” and “Lithium Sunset” (from which the album gets its name lyrically) are examples of how to be banal 101.  Unless you’re a fan get stung elsewhere.


title: Oh no!  Not another 80s collection!  Decent selection.

text: “Senses Working Overtime” is part of a Starbucks CD curation of 1980s songs that focuses mostly on younger English bands who would usher in the New Wave, alternative, and goth musical styles to western shores.  Starbucks employees along the line somewhere were responsible for making the picks and they are not all popular or well known songs, at least not in the US, so that’s part of the fun.  For every “Ashes To Ashes” (Bowie) or “Shock the Monkey” (Gabriel) there’s equal amounts of “Trams of Old London” (Hitchcok) or “Sense of Purpose” (The Sound) that never got much, if any, American airplay so you can relive your favorites while hearing some new to you tracks from that musically magical time period.  18 tracks/ artists makes for copious listening time and discovery.  Not my favorite of the similar set of CDs Starbucks put out probably because I was unfamiliar with more than half and much of that half I don’t suppose would have been a hit with me from back in the day but there are some new or largely forgotten songs on here that have stirred my wonder such as the tense, almost frantic “Mirror In the Bathroom” (English Beat) and a song that may have inspired Radiohead’s famous “Creep”, that being “All We Ever Wanted Was Everything” (Bauhaus).  To each their own when it comes to music appreciation of course but there’s a lot here for the older and younger sets to remember, rediscover, or sense for the first time.


title: A flattened out alternative worship experience.

text: Alternative praise is no stranger to the airwaves these days but some older bands like Skillet, The Violet Burning, Something Like Silas/ Future of Forestry, and The Rock ‘n Roll Worship Circus got their starts or made strong statements in this arena with some of their albums.  The Glorious Unseen’s “Tonight the Stars Speak” falls into the alternative praise category and a like-minded or similarly influenced band as those previously mentioned.  If you like those bands then you are a target audience for this one.  The vocalist sounds like the lead vocalist of The Rock ‘n Roll Worship Circus when they did some vocally slower material.  The music sounds similar to the bands listed.  But a drawback to this album is that the music doesn’t just sound similar to those bands but also sounds similar to itself throughout the entire disc and the pacing of the tracks rarely changes from a mid-slow tempo.  That’s a problem.  This isn’t drone but listen to it too much and it’s going to feel drone.  I have a feeling that as a live band they have more presence and more punch and while there is nothing wrong with this recording per se the recording also didn’t play up or down any of the individual song’s internal dynamics; it’s flattened them.  All instrumentation is clear as are the vocals but they’re all set close to the same levels and I think this release would have been enhanced if they paid attention to not just sounding good or solid, which they do, but sounding dynamic.  So unfortunately while this is a praise experience it’s pretty much in one tone with the singer’s voice sounding sad and tired of waiting, emo at times and aching as one reviewer mentioned, sounding like a flattened Chris Carrabba of Further Seems Forever/ Dashboard Confessional fame perhaps.  The lyrics address in world weary fashion the greatness of God, longing for God, and the wonder of God but I couldn’t get past the tonal differences of what the lyrics versus the voice suggested or initiated.  Though this release doesn’t draw me in or pull me out like certain other praise/ worship albums have done I am mildly interested in what if any progression this band has seen.


title: P&W that involves the head and the heart.

text:
Upon first blush the sound of this band reminded me of The Black Crowes, whom I am not fond of, and so I settled in to listen to a chance cheap pick up at a thrift store thinking that it was going to be a chore.  TBC sound lifted but I wasn’t digging the songs until track 5, “I Am Living In A Land of Death”, which kicked out the formulaic song structure and ventured into some open and testing territory.  From this point and on through the last half of the album there were a couple more songs that stood out through emotive emphasis or through unwinding from typical structure.  Citizens is a praise & worship band out of the Mars Hill church in Seattle and I had heard some good, some bad things about that particular organization which I am not here to talk about.  But I knew that the P&W element did attract many people who were members and more and more I have been up for some non-trad P&W so would this meet that desire?

Yes.  Firstly the singer (male vocalist) does not have a smooth voice or a wide range in his octaves but what he does have and makes good use of is a strong follow through and a natural rise and fall through every line.  Listen to “Sins of My Youth” to get a very good feel for this.  The band also makes good use of choral vocals to embellish points, such as on the aforementioned song.  Secondly the band pays attention to the pacing of the song (as most bands do of course) but they fill in and fall out of moments within songs with the pacing that makes the song more attractive to the ear and the mind behind it.  The traditional “I Surrender All”, already a slow song in tempo, is treated in its slow pace but the warbly vocals so high above the intentionally low music creates a dissonance that somehow distorts the slow tempo and makes this a very fine take on the classic spiritual.  Most of the songs appear to be band originals.

So it was that as I approached the end of the album I was able to really enjoy the last two songs.  Yes, I “felt” them, but more importantly I felt more attuned to and in desire to be with God singing His praise.  We might not always praise Him with feeling but woe to us if we never praise Him with an element that He has given us.


title: “We’ll go dancing in the dark/ walking through the park and reminiscing”

text:
Track listing:

1) What A Fool Believes by The Doobie Brothers
2) Sister Golden Hair by America
3) You Make Loving Fun by Fleetwood Mac
4) Reminiscing by Little River Band (completely forgot about this song, what a great tune)
5) Blue Bayou by Linda Ronstadt (more country than you remember)
6) Miracles by Jefferson Starship
7) Dream Weaver by Gary Wright (you might cringe but you’ll cringe in love!)
8) Mockingbird by Carly Simon & James Taylor
9) Diamond Girl by Seals & Croft
10) Precious and Few by Climax
11) Time Passages by Al Stewart
12) Moonlight Feels Right by Starbuck (only song I didn’t recognize)

Fun throwback to one of the best decades of music ever.


title: The recording is so polished that at many points this could pass as a studio album.

text:
Simple Minds’ umpteenth live album “Live In the City of Angels”, a four disc 40 song extravaganza, is so polished in its recording that at many points one can forget it’s live and mistake it for a studio album.  And that’s the bottom line: if you like your live album complete with its quirks, audience participation and/or interference, and uneven and over exaggerated levels then Angels may leave you wanting.  If, however, you like your recordings highly polished and sounding smooth with carefully controlled levels of production then Angels may shine bright in your ears and eyes.  Me?  I see the merits in both places but I like the clear and separate sounds produced herein.  Also to my liking is that the Minds cover so much of their catalog which, I suppose, isn’t hard to do with 40 songs.  All musicians shine, Burchill’s guitar comes through crisply and tightly, and Kerr might not put as much energy into his vocals as he used to but he owns each song and makes it work.

The CDs are tucked into a small picture book with a few bright concert photos and a very brief intro/ bio for this concert event.  I wish there was more to the write up.  I do appreciate that the package recalls the packaging of old 1980s (?) live release of “Live In the City of Lights” double album.  That was a nice nod.  Below find what albums are represented by what songs if that interests you.  I always appreciate that type of information so that’s why I’ve taken the time to include it.

Life In A Day is not represented.  Sad that there was no “Chelsea Girl” here.
Real To Real Cacophony is not represented.
Empires and Dance is represented by the songs: I Travel, Celebrate.
Sons and Fascination is represented by the songs: Love Song.
Sister Feelings Call is represented by the songs: Theme For Great Cities, The American.
New Gold Dream is represented by the songs: Someone Somewhere In Summertime, Promised You A Miracle, Hunter and the Hunted, New Gold Dream (81, 82, 83, 84), Glittering Prize, Big Sleep.
Sparkle In the Rain is represented by the songs: Waterfront, Speed Your Love To Me, Up On the Catwalk, Book of Brilliant Things.
Once Upon A Time is represented by the songs: All the Things She Said, Once Upon A Time, Alive and Kicking, Sanctify Yourself.  Though technically not released on this album the mega hit “Don’t You (Forget About Me)” has always been associated with this release.
Street Fighting Years is represented by the songs:
Real Life is represented by the songs: Stand By Love, Let There Be Love, See the Lights.
Good News From the Next World is represented by the songs: She’s A River, Hypnotised.
Neapolis is not represented.
Our Secrets Are the Same may be represented in other album releases as this was a restricted release.
Neon Lights is not represented.
Cry is not represented.
Black and White 050505 is represented by the songs: Dolphins.
Graffiti Soul is represented by the songs: Stars Will Lead the Way, Let the Day Begin.
Big Music is represented by the songs: Blindfolded, Let the Day Begin, Midnight Walking, Honest Town, Big Music.
Walk Between Worlds is represented by the songs: Summer, The Signal and the Noise, In Dreams, Barrowland Star, Walk Between Worlds, Sense of Discovery, Dirty Old Town.

Finally there is a cover of Prince’s “The Cross” from his album “Sign ‘O the Times” and I haven’t found the Minds recording that on any other release.


title: Wonderful For What Is To Come

text:
From the opening instrumental “Dawn”, which is a pretty musical piece and sets the table wonderfully for what is to come, Hillsong Worship’s “Awake” release is impassioned, reverent, joyous and exuberant, and even calming.  It has so much to offer and offers it all in aplomb.  The first half of this release is, in a word, phenomenal like God whom the music and songs call us to awake to.  The last half of the album isn’t too shabby either.  “Awake My Soul” follows “Dawn” and is an impassioned counterpoint to the pretty music of the album awakener and features lead female vocals from Tasha Cobbs (or Brooke Ligertwood? It sounds like Tasha to me).  “Come Alive” is pleasant and as with many of the featured songs that Benjamin Hastings has a hand writing and singing lead on (he was the original vocalist for “So Will I (100 Billion X)” his ear for melody, pressure and relief within a developed musical movement, and packing a lyrical phrase with incredible depth are all highlighted within this invigorating number.

“See the Light” is raucous and rowdy and praises “all of this for Your glory”.  “No One But You” follows and the unusual male vocalist reminds me of one of the vocalists in a short lived band by the name of Bellarive.  This song is a slow tempo, piano and synth fed quieter confection that builds really slowly but offers a worthy counterpoint to the previously rowdy song but this songs finishes loudly and emphatically.  One of the wonderful things that “Awake” manages is by both employing a variety of vocalists, men and women, and by varying tempos frequently both within and between songs the songs maintain and keep their important distinctions and have more impact on the ear (and in the heart) than would the monotony of the songs sounding all really similar and bleeding together.  And despite the variations “Awake” maintains its cohesion.  Finishing out the first half of the album is the standard “King of Kings” and it will make you feel like you’re in church worshipping along with the choir.

The second half of the album switches gears and draws back on the pulsing rhythms and energy.  “I Will Praise You” is a very typical praise song, earnest and takes its time.  It boasts a nice beat and is one of the first times that I noticed the drums on this release but the music, including some nice treated almost distorted guitar work is placed firmly down in the mix giving the song an unusual depth despite it being typical on the first blush.  Many persons who have grown up in church and have gotten used to an ending moment of worship, a doxology, may recognize this one and will also appreciate the twist and additions to “From Whom All Blessings Flow (Doxology)”; a prayer of recognition, ritual, and worship.  People used to closing the service on this note may expect the album to conclude but there’s still a lot more coming!

“Every Breath” is another typical praise song and is fronted by a female vocal.  Again avoiding a static experience the next song, “Bright As the Sun”, though keeping a slow tempo employs a lead male vocalist.  (This is the one song that may overstay its welcome due to its length and more pacified nature.)  As the album nears its actual close it keeps the energy down but offers up something new with an almost acoustic, female fronted (Taya Gaukrodger?) and higher pitched notes which lend to the force of the song and threaten to overwhelm the listener.  The song sticks out due to these elements; Taya evokes a childlike quality in her vocal approach with her pleas to the Father but the vocals do not sound childish.  Finally “He Shall Reign” is an affirmation of God’s eternal authority and one which many folk who spend time dwelling in worship music will find comforting and familiar.  The last half of “Awake” concludes and separates itself from the first half with more reflective, reverent, and calming music and song structures.  Perhaps Hillsong Worship expected the listener to wake up and be invigorated and then move toward tranquility and rest only to turn the disc over and wake up again?  Though I far prefer the first half of the release the album in its entirety has been listened to throughout 2020 and helped to provide inspiration, hope, and satisfaction.  And even delight.  “Awake” has moved into a strong position of my top 10 worship albums of all time.

[But wait!  We’re not done yet!  There’s more!  At least on the digital version for which this review is based upon there are 3 bonus live tracks and all are pretty lively.  “No One But You” shines live.]


title: These songs become even brighter, better in advancing age.

text: This greatest hits package is aptly named and though it is dated up to 1990 it is still an excellent and commending review of his work with so many hits and near hits.  Too many “greatest hits” packages offer 2-4 hot songs and the rest is filler but even the lesser tracks demonstrate Gabriel’s quirky penchant for making sometimes cacophonous rhythms into complex melodies that work.  The socially, politically, and psychologically conscious breadth of his lyrics make the often left-of-center musical approach that much more of a cerebral knot of enjoyment.  I think that I enjoy his work far more now as an adult than I did as a youth.


title: FOF mines The Civil Wars.

text: Eric Owyoung, the driving force behind Future of Forestry, has created an album that strongly revolves around the interchange and combination of male and female vocals.  Joining him on the lead and alternating vocals is Alina Kamiichu and the results are very pleasant.  It reminds me of The Civil Wars a great deal at times, both musically and in the vocal approaches.  There’s a lot of loveliness going on between the two.  While there might be sadness in the songs there’s never bitterness.  While there is sometimes quiet it is still full of a growing sound.  While there is hope and exploration it is never a wanton infatuation.  The songs, while romantic, aren’t ardent and they could be just as easily at times be the same type of romantic expressions that are found in close friendships.  The music plays second fiddle to the vocal arrangements and stresses, and I think the musical arrangements are much simpler than on previous (and future) FOF albums so if you visit FOF for their instrumentation and orchestrations you might be disappointed by this release.  Me?  The more I’ve listened to it the more I’ve liked it and this has come close to becoming my favorite FOF release.  I paid a bit more for it (it’s by far cheaper on their website) but I’m happy with my purchase.  Check out “Cross the Ocean” for an excellent representation for the album.  “Learn To Love” could actually be on a Civil Wars album and you probably wouldn’t know the difference!  And yes, “Time After Time” is a cover of the famous Cyndi Lauper song.  4.5 stars.


title: Out of all of this blue you get a lot of glop.

text:
I approached “Out Of All This Blue” with caution after reading a few of the reviews.  A more pop-oriented sound?  Hmmn.  We’ll see…

While listening to this release several times I have also listened through the entirety of the Waterboys catalog and when I re-listened to “Book of Lightning”, not a release I have listened to a lot or that I liked much in comparison with much of their other work, I realized that the two albums share a lot of (often syrupy) similarities—at least outside of “Book of Lightning’s” title track.  OOATB dives in more fully to Mike Scott’s explorations not of a pop-oriented sound but to an adult contemporary sound with frequent jazz influences and a brush up of blues here and there.  And while the musicianship feels fine, it also sounds incredibly banal most of the time.  Scott’s voice is clear and high in the mix and that’s usually a good thing…except that here he stresses and punctuates his rhyming lyrics so much that that almost seems to be the real story of this album: the rhyming!  I’m not sure it’s ever been so strong or apparent on a Waterboys release, but also so wasted because it comes across in such cloying fashion.  And the general content of the songs also supports that sense as Scott is (A) structuring a sort of travelogue over the course of twenty-one tracks which is kinda interesting but also felt at a couple of points to be a little self-serving in an egotistical manner and (B) mostly singing about romantic relationships, whether in a general sense or in adventures that he’s had.  It all feels and comes across as very shallow.  Such a disappointment from a man who has packed so much of his previous songs with politics, spirituality, self-discovery, and universal well-wishing.  It’s not that there isn’t room for this type of song in his repertoire but the abundance of it here makes me feel like he’s trying to recapture some aspect of his wild oatiness and it sometimes, IMO, comes off as a bit unsavory.  “Book of Lightning” was more like this too but for whatever reason it was easier for me to ignore than this release.  However, if you are a person who really likes songs of the “come on over and see me” ilk then you might just enjoy this release a lot, Waterboys fan or no.

Now to balance this review, for the Waterboys are one of my favorite bands, I will happily admit that there are a few winners amidst the sensual drivel and bad apples.  If you are picking up the deluxe edition (and why wouldn’t you?) then on CD1 the horrid, repetitive, and goes-on-too-long “Love Walks In” is balanced by the sneaky and snarky “The Connemara Fox”.  CD2 is the better of the two discs and while the name-dropping fun of “The Hammerhead Bar” might get old quick, the humorous shtick of “Nashville, Tennessee” may repeatedly put a smile on your face.  Likewise the sit-down-son attitude of “Kinky’s History Lesson”, which recounts some WWII dictations from an English perspective correcting an arrogant American thought, is a very different sort of pleaser both in tone and in Scott’s general repertoire.  The last few songs on CD2 land us in the orient and the playful and nurturing “Payo Payo Chin”, while not a stand-out track, is certainly a memorable one.  CD 3 is (literally) a mixed bag as it is a collection of variations of the former songs, from live cuts to alternate versions and instrumentals and a couple of mixes thrown in for good measure.  I liked this third disc more than the two actual album discs minus the final track which just bangs you over the head with a stagnating rhythm and repetition.  But “The Memphis Fox” instrumental that kicks it off is invigorating and the other instrumental, “Santa Fe”, has a lingering old country blues traveler calling to it.

So though I do enjoy some of these numbers none of them are what I have ever liked or admired about the Waterboys nor are they what I would seek a band out for or ever want to follow them on their musical adventures.  Scott can be commended for putting out a playful and expansive release such as this as he edges up into his later years but I hope that he also will return to some of the spirits that he has been in touch with in the past and put out another Appointment, or another Rock, or (dare I dream? Would he? Could he?) another Fisherman’s Blues.  2.5 stars (barely) for OOATB.


title: Collecting the 3 “Advent Christmas” EPs FOF delivers variety & worship.

text:
FoF put out three “Advent Christmas” Eps which are here collected on one disc and even if it’s a little pricey it’s worth the buy IMO.

I enjoy traditional religious Christmas songs but they can be overplayed or sung too high to emotionally resonate or the players can miss the worshipful feel all too often.  I had picked up a handful of Christmas music CDs already earlier in the year and most fell flat or were even a little painful to listen to so when I approached FoF’s collection it was with great anticipation; I expected to love it all and that several of the versions herein would become my favorite versions of these beloved songs.  So when I first listened to it I was honestly underwhelmed.  I had expected too much and was not prepared to meet FoF’s Christmas collection in its own place of worship.  Shaking off my expectations and opening my ears to many listens so far this season has warmed me to most of the songs in this collection and allows me to place several of them up there with some of my favorite versions but with no single track becoming my absolute fave version.  It’s a collection that I will certainly listen to and enjoy every Christmas.

Some of the tracks that have really taken me into the Christmas mood or a mood of worshipping the Prince of Peace are “Joy To the World” with its low-key minimalist electronic tickering vibe that grows to an emotional exaltation of rejoicing, complete with some nicely atmospheric electric guitar work that never overpowers the song or really calls attention to itself.  Album opener “O Come O Come Emmanuel” is a moody minor key set-piece that draws attention to the sometimes foreboding lyrics to the song.  Perennial favorite “Little Drummer Boy” applies some fine textures and percussion (versus drumming, which of course it has too) that really enlivens an already lively song.  “O Holy Night” is initially a slow and respectful capturing of the oh night divine tune and Eric Owyoung’s pleasant but not overpowering voice is really highlighted on this track; it also adds an almost spacey musical treatment that accentuates the idea of a rise up to the heavens.


title: This is a Christmas album benefitting the Blood: Water campaign.

text:
Jars of Clay is a prominent supporter (and originator of possibly?) a mission dubbed Blood: Water in poor, impoverished areas of Africa where clean water is brought up by newly dug wells and people being taught proper hygiene and other issues to fight back the devastation of malnutrition, AIDS, and other immediate physical issues and concerns.  I’m sure that the gospel is also preached but, just as Jesus fed the 5000 and met their physical needs, so do the supporters of the Blood: Water campaign.  This 2007 CD opens with a few comments about the services that have been provided and then asks for the purchases consideration of support.  But people aren’t likely buying this CD nowadays and if they are they are more likely wondering what the music is all about.

This is basically a Christmas CD with 6 tracks.  John Davis kicks it off with a rocking modern worship song that doesn’t feel like Christmas to me but that’s okay because it’s the best song on the disc!  Kicking it off with eastern strings (it makes me feel like it’s coming out of Morocco) and then bursting into a tight and impassioned little rock number “Jesus Is Real (God Is Alive)” lights the match.  However this song quickly feels like it’s the proverbial sore thumb as the remaining five tracks are all traditional Christmas tunes.  If you listen to Davis’ lyrics closely you can see how his song can be categorized as a Christmas song but it’s anything but traditional.  Jars of Clay play sophomore song “I Heard the Bells” which I believe can also be found on their pretty good “Christmas Songs” CD.  Christopher Williams brings us a respectful “Silent Night” followed by a stuck-in-the-middle “It Came Upon The Midnight Clear” by Katy Bowser and Kenny Hutson (I’m not familiar with their music).  The last two songs are decent enough with Drew Holcomb & the Neighbors giving a folksy rendition of “Hark the Herald Angels Sing” and Justin McRoberts turning out a slightly Kevin Max-ish “O Holy Night”.

In the end is this a Christmas CD that should be at the top of your list?  I don’t think so as the best thing on here wouldn’t be regarded as a Christmas tune by a majority of people, but the album does down pretty easy.  3.5 stars.


title: “Thank God we can change the channel.” ~ from the song Emotional Tourist

text: To those coming to this review know that I’m not a Scott fan nor detractor.  I come to Steve Scott as a curiosity seeker mainly because of his association with Mike Roe and the 77s who usually were his backing band.  I know that he’s done some ambient music/ spoken word projects (the track “This Sad Music” is the lone example on this disc) but “Lost Horizon” (chockerblock full of 16 tracks) is best categorized as an alternative rock release that would still appeal to an adult contemporary crowd.  The songs are for adults and concern adult psychological themes and observations but without coarse language.  Scott is known as a poet as well as a musician and his phrasing in many of the songs are an admixture of singing and speaking (such as on “Love In the Western World”).  Other songs are fairly straightforward in their pop stylings (such as “Not A Pretty Picture”).  Scott will throw in world influences and was doing this ahead of or alongside contemporaries such as Peter Gabriel (the synths on “Wall of Tears”, and even the guitar that follows, conjures the sounds of Uilleann Pipes—this is one of my favorite songs from this release—and we hear oriental percussives on the rockstar “Emotional Tourist” which is one of the easiest tracks to get into and again percussion which sluices in a slight Caribbean flavor on “Ghost Train”).  This diversity adds depth and dimension to “Lost Horizon” and there are several good songs here.  If there’s a problem with this album it can be found in the adage of “there’s too much of a good thing”, and at over 70” possibly just too much.  This turned out to be a good introduction to Scott for me, though I don’t feel compelled to dig further into his catalogue.  Curiosity quenched.


title: From Out Of Nowhere Surprise! Zombie Eaters You’re Falling To Pieces The Morning

text: While “The Real Thing” will always be known as ‘that album that spawned “Epic”’ it is far more.  And for those who know of this release only because of “Epic” (a fun rap rock track) and think that that’s all this album really has to offer…you’re way off.  This is a great album and stands the test of time.  These guys put out what would be classified a metal album but it’s so much more, experimental and playing around within the heavier sounds of the genre but it does not conform to them.  Simply put there’s real good music here, and lots of it.  It also doesn’t lean nearly as heavily on the rap-rock formula of the song “Epic” and if anything uses that approach sparingly.  Truth is that I never checked this album out and only picked it up in a bargain bin because I wondered what more the album had to it but expected a lot more of “Epic” sounding songs.  I got so much more and like many if not most of these songs better than the big hit.  The title track is a treat and takes its time to build and destroy.  “Surprise! You’re Dead!” has great acoustic underpinnings that I didn’t even pick up on until my seventh or eighth listen and made that song so much better than it already was.  The cover to Black Sabbath’s “War Pigs” fits like a glove on this inclusive, and they own it.  The instrumental “Woodpecker From Mars” is perhaps my favorite track (exciting bass work and a mesmerizing  middle eastern synth line dominate before cascading buzzsaw guitar sustains power in), satisfying the hard but also playful adventurous notes that dot this disc.  The CD was worth the full price admission.  If I had only known earlier.


title: I’d let my kid listen to it, but not so much for me.

text: Note to the reader: I checked this out of curiosity.  I like some of P.O.D.s music but am not generally big into rap-rock.  Some of this reminded me of P.O.D., only it’s mild in comparison with song structures that often seem obvious.  Pillar certainly focuses more on the melody and they keep the energy up but it all feels rather…safe, even generic.  I won’t knock it and say it’s bad, it’s not.  It’s okay, and perhaps good for the pre-teen to young teen set who wants harder music and parents want to supply them with safe options.  I’d let my kid listen to it, but I know I won’t be going back to it much.


title: A full band acoustic revision—not an acoustic version—of the classic “Strength” album.

text:
In 1985 The Alarm released what many fans consider their greatest album, “Strength”.  That release was full of vinegar and a belly full of fire.  It was for everyone with its anthems and cries of defiant hope in the refrains of “Give me loooooove, give me hoooooope, give me strength!  Give me someone to live for!”  And it was for an old England who had some shaggy and baggy loose skin on its weakening arms (“Deeside”, “Father To Son”, the fantastic “The Day the Ravens Left the Tower”).  Every song on the disc was one you could sing to, one you would sing to, and so many of them were songs that you felt (“Knife Edge”, “Walk Forever By My Side”).  This band of young Welsh punks had struck a nerve but they were living in the shadows of similar bigger acts of the time like U2, The Fixx, Simple Minds, and even Big Country (man, I love all of those bands!!!).  Since the original release of “Strength” it has been re-released in several different versions, usually full of songs that hadn’t made the cut at the time.  As it stood it was a 5 star original and now the indomitable Mike Peters, leader and founding voice of The Alarm, has gone back to “Strength” and remade it 30 years on.  What we have now is an album similar in melody but denuded of its electric muscularity.  Peters has mellowed and tempered these songs, creating full band acoustic numbers and sometimes chamber arrangements (“Walk Forever By My Side”) of all of the ten original tracks plus “Last Train”, a previous Alarm demo that hadn’t made the cut.  Some of these songs still work even in this format.  “Strength” comes across surprisingly well with a slight bluesy swagger and “Only the Thunder” takes a more somber turn with a simple underline of meek piano.

The track ordering is different, and some longtime fans will notice and take their pleasure (or their pain) with subtle differences in lyrics and phrasing, but newcomers to a mellow acoustic rock album are sure to find some treasures here.  Peters still puts out rousing light bursts of hope and though his voice has also tempered a bit with age and lost some of his strained raspiness, he supplies these songs with conviction and renewed understanding from a wiser, wearier, and warm eye.

A last note:  many of the older reviews for this release of “Strength” refer to the original, and these do not compare well to this release.  There are a few that do review this but they give it low marks for not being the original.  That’s a shame.  Though many fans might not love these toned down acoustically arranged versions (that have their own feel and aren’t straight acoustic versions, more of an acoustic revision) I’m surprised at their dislike of them.  Most Alarm fans should find these revised songs as older friends, not strangers, friends who have mellowed with age and the light in their eyes may have dimmed some, but their voice will still fill the canals of their ears with memories of youth and strength.


title: Feel Good Drag and then some.

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This deluxe edition of “New Surrender” includes an expanded CD track listing that includes 6 additional tunes (the bitter pill and shaky slow sound of “Mother”; the crunchy guitar fed “Heavier Things Remain”; the late ‘80’s synth rocker “True Faith”; the poppy, peppy but kind of boring “Said and Done” though it’s got a nice chorus; the sickeningly sweet “A Perfect Tourniquet”; and they cap it off with an acoustic version of “Feel Good Drag” amplified with a piano which isn’t bad by half but you sure miss the original’s energy and sharp edges).  And if you get the right Special Edition you’ll also get a DVD that gives you a peek behind the scenes of a 2009 concert in Australia, the video for “Feel Good Drag”, and a live video of their Soundwave Festival performance of “Breaking”.  Okay but not great stuff.  Really only for the gaga AnB fan IMO.  All of the new material doesn’t bump up the star rating.  It keeps its original 4 from me.

As for the main album itself (tracks 1-12) here is my original review: A solid outing. It contains the requisite energetic neo-punk songs like the angtsy opener "The Resistance" and minor radio hit "Feel Good Drag", updated '80s electronic new wave pop rock like the sublimely great "Soft Skeletons" and the swelling "Retrace", a couple of softer songs that focus on the gentler sounds but aren't quite ballads like the acoustically minded "Breathe" and the almost irritating repeats of "Younglife", and the beginning of what seems to have become a tradition by making the last song the longest and most experimental ("Miserabile Visu (Ex Malo Bonum)"). Not a bad song on here and definitely harder than "Cities", focusing on creating much more energetic songs and having the guitar taking center stage and setting melodies.

Overall, while I think that "Cities" had some better songs, ones that were home runs IMO, "New Surrender" is a safer and more coherent effort which is overall a bit better and more of a consistent listen. As at least one other reviewer put it it's a nice place to jump into Anberlin.