Morning View Review

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Morning View ReviewI love Incubus. You know what song made me a fan?..*gasp*.."Drive"! I know there's a tendency with Incubus fans to think that everything they did before "Drive" became popular was awesome (which it was), and everything they've done since then has been terrible (which is hasn't). When "Morning View" came out in October of 2001, lots of people accused them of "selling out" or "going soft". The album definetly has a consistent mellow tone that their previous albums lacked, but it was expected; the album was recorded at a beach house in Malibu (or some exotic location). It's kinda tough to be angry in that type of picturesque setting. People also accused them of purposely trying to replicate the sound of "Drive" by writing softer songs, but "Drive" didn't blow up in popularity until spring/summer of 2001, when this album was probably 90% completed already.
The point is, it's a natural evolution in sound. Either embrace it, or go listen to S.C.I.E.N.C.E and stop whining. I'd much rather see a band evolve and expand their sound, as opposed to making the same album over and over again (kind of like Godsmack, Linkin Park, and other modern rock mainstays do).
Anyway..
1. Nice To Know You
The second single, IIRC. And it's a perfect example of what makes Incubus such a great band - here's a song with an unusual mixed time rhythm, lots of tempo changes, and weird lyrics (about lead singer Brandon Boyd regaining feeling in his arm again after an extended period). Yet, the chorus has an incredible hook, making the song totally radio friendly.
2. Circles
Heavy verses with a heavy melodic chorus. Nice harmonies in the "What would it mean to you" part. Like another reviewer said, it's reminiscent of the Chili Peppers.
3. Wish You Were Here
The first single. Not a Pink Floyd cover either. The verses are mellow, and full of metaphorical imagery by Brandon Boyd (a highly creative and underrated lyricist), which lead into the catchy, anthematic chorus.
4. Just a Phase
The best Incubus song ever, in my view. After an extended turntable/piano led intro, the song switches tempo (from 4/4 into 6/8) for the verse. Then it switches tempo again for the pre-chorus, etc. Basically, the song builds and builds, then the final chorus explodes with a wall of guitars. It's a wildly successful experimental song.
5. 11 AM
I kinda expected this to be a single. Like "Wish You Were Here", another mellow mid-tempo song with a memorable chorus.
6. Blood on the Ground
This sounds like something from "Make Yourself". Brandon Boyd rapidly spits out great lyrics in the verses, leading into the explosive, angry chorus.
7. Mexico
A totally accoustic number - no percussion or anything. It's actually a pretty heartbreaking ballad, with great emotional vocal delivery.
8. Warning
This was another big hit single. Again, it's radio friendly and catchy, but unlike other rock bands that get heavy rotation today, it's not full of generic power chords and angst-filled lyrics.
9. Echo
I didn't care for this one initially, but after 4 or 5 listens, it became one of my favorites. It's actually a little reminiscent of "Stellar", but mellow the whole way through.
10. Have You Ever
A heavy song..probably my least favorite on the album. Musically, it doesn't stand out much, but the lyrics are really good.
11. Are You In?
This one makes you feel like you're in the midst of a party with all your friends. Catchy, cool, and very jazzy (jazz pop I suppose). It gets a little repetitive after awhile, but still a good song.
12. Under My Umbrella
Of all the heavier songs on the album, this is my favorite. It works the soft/loud dynamic perfectly, and the bridge is really cool.
13. Aqueous Transmission
Along with "Just a Phase", the most experimental song on here. And it's another success. It's 8 minutes long, *extremely* mellow (you'll feel like you're floating down a river at night as you listen to it), and features a sitar (the main "riff"), a Japanese pan flute (giving it a very oriental feel), strings, and even crickets chirping at the end. It's totally ethereal and wonderful.
And that wraps up "Morning View". Don't listen to some of the harsh criticism for this album. It's a fantastic collection of songs that takes creative guitar licks (from the also highly underrated Mike Einziger), creative lyrics, and overall creative musical ideas, and combines them with lots of memorable melodies and hooks. Thus, it *is* a radio friendly (or "mainstream") album..but it's also innovative and experimental at the same time. That's what makes "Morning View" such a great success.
Best Songs: Just a Phase, Echo, Under My Umbrella, Aqueous Transmission.Morning View Overview

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Sabbath Bloody Sabbath Review

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Sabbath Bloody Sabbath ReviewSince it was a big departure in sound from their first four albums most consider Black Sabbath's fifth disc the one that most divides critics and fans. Some think that the newly discovered keyboards (by Rick Wakeman, a member of the band Yes) and orchestral arrangements made "Sabbath Bloody Sabbath" too artsy and soft. But others (like me) think that, while this album may be "more progressive" than usual, it is also their most creative effort to date. And, of course, like all Black Sabbath albums, the guitars are still very much involved. "Sabbath Bloody Sabbath" does not skimp on the type of sludgy, rumbling riffs that Tony Iommi made Black Sabbath famous for. The catchy, churning main riff of the first track (the title song) helped to break the band out of the creative "dry spell" they were in, following the recording of their last release, "Vol. 4" (after Iommi discovered this guitar lick, the rest of the songs came easily.) This song also has a couple of acoustic breakdowns. Next, "A National Acrobat" has shimmering, wah-wah guitars, and "Fluff" is an instrumental. It's an interlude-type song, with serene, twinkling, acoustic jangles and cool, pretty piano keys. The synthesizers are most clearly evident on tracks four and six, "Sabbra Cadabra" and "Who Are You?" (the latter track, which has a melodic string arrangement, is very spacey--it sounds like it's the soundtrack to a laser or light show.) But "Killing Yourself To Live" is heavier and more up-tempo, as is "Looking For Today," which features a catchy, rhythmic hand-clap pattern. Lastly, "Spiral Architect" is where the orchestra joins the scene. Its lively, almost uplifting violins contrast Iommi's guitar solos well. So, "Sabbath Bloody Sabbath" is a true gem which proves Black Sabbath were successfully able to expand on their sound and add creative touches to their music, while still remaining true to their roots. The sound quality can be a little dated at times, but this is yet another classic in Sabbath's catalogue.Sabbath Bloody Sabbath OverviewNo Description AvailableNo Track Information AvailableMedia Type: CDArtist: BLACK SABBATHTitle: SABBATH BLOODY SABBATHStreet Release Date: 02/02/1988

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Ashes of the Wake Review

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Ashes of the Wake ReviewShadows Fall aside, Lamb of God had to be the most popular band in 2003 that was not signed to a major label. Both Shadows Fall and Lamb of God developed a large underground fan base, but, in 2004, Lamb of God were the only band to jump to the major leagues.
When some bands get signed to a major label, they are forced to add more melody to their music or make radio-friendly songs to help boost album sales (some would argue this happened to AFI). Some bands (i.e. Pantera--who ditched hair metal) end up changing their sound entirely. Still more bands take advantage of the label's big budget and production, thus making the new C.D. very polished and expensive (like Korn's "Untouchables.") When Lamb of God inked a major record deal, they definitely did NOT do either of the first two things (add melody to their music or completely change their sound), and they only partially did the third (take advantage of the label's production).
I believe Sony's mixing and production have made appearances on 2004's "Ashes of the Wake." The result is an improved quality of vocals. On "As the Palaces Burn," the guitars and drums were louder than the vocals, thus pushing frontman Randy Blythe to the back or the middle of the wall of sound. Don't get me wrong, I loved that album (I thought it was one of the best of 2003,) but on these songs, Blythe's vocals are level with the guitars and drums. Plus (I don't know if I should credit the production with this or not, but) Blythe's vocals are more interesting and diverse on this album. He still sounds like Cookie Monster most of the time, but here his voice fluctuates and has more than one tone. In addition to some ascending and descending yells, he shrieks, growls, and even calmly mutters an occasional spoken word.
It's a good thing that the vocals are more clear, because these lyrics are meaningful and somewhat intelligent. Randy bashes the President (even though he never name drops George Bush), war, government lies and hypocrisy, and corporations.
"As the Palaces Burn" may have been just a bit more raw sounding than this album, but this does not sound over polished by any means (something overproduction often does). Also, "Ashes of the Wake" doesn't forfeit any of the brutality that Lamb of God have made a name for themselves with. This C.D. is nothing short of 43 minutes of non-stop, intense, barely controlled and often brutal chaos. This quintet are the five most pissed off musicians to ever come from Virginia...and they're not afraid to show it. Guitarists Willie Adler and Mark Morton rip through each song with one fiery and crunchy guitar riff after another, and Randy belts out some ferocious death metal vocals. Meanwhile, drummer Chris Adler, who is at the root of the attack, goes from killer machine gun blasts to slow chugs (and often he does that in the same song). But this album isn't all brawn and no brains; most of these songs are full of several different rhythms and tempo/beat changes.
"Laid to Rest," is the opening track and the first single. Very fast, chugging riffs-which echo Pantera and Testament-run throughout this whole song, and, after the beginning spoken words, the vocals change to patented Randy Blythe vocals. The bridge near the end is a good tempo change, with bobbing riffs.
"Hourglass" has more fiery riffs, thumping snare drums, and a double bass which almost sounds like shots from a distant cannon. About twenty seconds in, the catchy beat pauses briefly, and Randy barks "Privilege the chosen view" a capella. This song continues to plow along, but it has subtle speed changes and, around the three minutes in, it becomes a stop-start rhythm.
"Now You've Got Something to Die For" is a lot speedier than tracks one and two. The beginning is a speedy groove with churning riffs, until the 50 second mark when a speed change kicks in and slows things down. The mid-section is a pounding rhythm with an ascending bellow, and the following verse has more fast chugging riffs. This song (particularly the chorus) is so catchy, it rings in your ears and rattles around your head forever.
"The Faded Line" begins by playing slower, rhythmic riffs over double kick drums. There's a creepy sounding guitar solo in this song, as well as a stop-start beat; but this song is a highlight because of the great, polyrhythmic drumming and ending shriek that Blythe lets out. (It sounds like he burned himself on a tea kettle.)
"Omerta" means "honor" in Italian. This song (track five) begins with a spoken word about "the rule of honor" (which I believe means, essentially, "kill or be killed.") It turns to a chugging beat with rhythmic riffs. Then, around the middle of the song, only one guitarist is playing (and is only audible in one headphone), but the drums and the other guitar kick in, and the song builds and gains density. Meanwhile, Randy is spouting lines like "A slip of the tongue, a slit of the throat..."
"Blood of the Scribe" is probably the song on this record with the most and the best tempo changes.
"One Gun" has another shriek, a running beat with pounding drums, and two mini guitar solos.
"Break You" has some more steam-rolling riffs, but this song is a highlight because part of it has high pitched shrieks which remind me of "New American Gospel." A nice breakdown near the end, too, with bobbing riffs.
"What I've Become" opens with another running beat, with fast, interlocking riffs. About two and a half minutes in, the riffs become bobbing, then they seem to almost trade off riffs (take turns). And, around 2:55, Randy lets out a high, long yell, which lasts nearly ten seconds.
"Ashes of the Wake" is a personal favorite. The beginning and end of this song features a voice from what sounds like a CNN report, but this track is mostly an instrumental. It features some more complex, multi-limbed drumming, but the real highlight is the guest guitar work by ex-Megadeth axeman Chris Poland and Testament's Alex Skolnick. They lay down a combined total of five short but sweet guitar solos. (The fourth solo, which winds and bends, is probably my favorite of the bunch.)
The only relief comes with the ending track, "Remorse is for the Dead." This song's light intro, which is soft, dwindling guitar chords, is so surprising, it's almost shocking. Don't fear, however, this song abruptly changes gears and goes full blast with the typical knock-out assault and staccato, stop-start riffing.
Some say that the whole album plows along at one speed, but I disagree. I can see how the first time listener would think this, but Chris Adler's aforementioned ability to switch from machine gun attacks to slow chugs makes this album full of beat and tempo changes. Plus, such songs as "Laid to Rest" are mid-tempo compared to other numbers, like "Now You've Got Something to Die For." And even if these songs were all one speed, this album wouldn't be the first to be like that. That's the way thrash-metal is! If you don't believe me, you haven't heard Megadeth's classic "Rust in Peace."
It may also appear to the first time listener that this C.D. is monotonous. But if you listen to their C.D.'s more than once, I guarantee it will grow on you and become very addicting. I used to think their music needed some texture and maybe even a little melody. Well, for this album, Lamb of God added texture by making the vocals more diverse. And melody? If they added melody to their songs (i.e. make the verses heavy and the choruses melodic, or vise versa), they would be just like any other popular metal band right now. The constant heaviness, plus the persistent double bass drumming and Cookie Monster vocals, make this band stand out from other New Wave of American Heavy Metal bands.
The only flaw I can find in this album is that Randy Blythe's vocals are very one-dimensional. He is constantly angry (that's the only emotion he uses). Other than that, this C.D. is perfect, from front to back. This is essential listening for fans of thrash, metalcore, New Wave of American Heavy Metal, death metal, and/or fans who are new to those genres. Actually, it's essential listening for any metalhead! If enjoy any kind of heavy music (except rap-core), you should find "Ashes of the Wake" to your liking.
In conclusion, this is a great album, easily one of the best of 2004, and Lamb of God are one of the few bands who jumped to a major label without selling out. "Ashes of the Wake" proves they are still as catchy, contagious, addictive, brutal, and all around great as they ever were. This is about as good as metal gets.Ashes of the Wake OverviewMajor label debut from highly talked about Metal band from Richmond Va. CD contains enhanced exclusive in-studio video. Currently attracting a lot of "buzz" on the 2nd stage of Ozzfest (there is one every year that creates the most hubub & they are it). Playing to crowds of 5,000 plus each night touring through September & signing copies of their independent release at the Ozzfest booth to great response. Alternative Press named them the band #3 in their "Most Important Metal Bands" poll. Guitarist from Megadeth featured on lead track "Laid To Rest".

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Diamond Girl Review

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Diamond Girl ReviewWhile browsing in my local Walmart's music section I happened to come upon "Diamond Girl" by Seals and Crofts. I immediately picked it up and purchased it. I believe this is the first time that it's ever been released on compact disc in The United States. Released in 1973, Seals & Crofts second album on Warner Brothers Records entitled "Diamond Girl" was a combination of AM radio pop, folk and country. Where "Summer Breeze" was more acoustic folk songs, this album appealed to just about everyone. Superb harmonizing, songwriting and acoustic and mandolin guitars all added to the appeal of this duo. The album produced three hits "We May Never Pass This Way (Again)", "Ruby Jean and Billie Lee" and the self titled "Diamond Girl". But this album also contained other great tunes such as "Nine Houses" that showcases Dash Croft's mandolin playing, "Intone My Servant", the rocker "Standing On A Mountain Top", the beautiful "It's Gonna Come Down (On You) and "Jessica", the country tune "Dust On My Saddle" and the instrumental "Wisdom" which features excellent saxophone and piano playing. If you enjoyed Seals & Crofts debut "Summer Breeze" as well as other 70's artists/groups such as America, Bread, Jim Croce and Paul Simon to name just a few, then you'll enjoy this release.Diamond Girl Overview

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Van Helsing Review

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Van Helsing ReviewHunting and slaying monsters is boisterous work, and when you're on the job, you want a suitably bombastic soundtrack to reflect your every peril-fraught move.
Alan Silvestri's Van Helsing score fits the bill. Unlike the elegant fugues for organ, screeching violins and crashing discords of some classic horror films, Silvestri acknowledges that Van Helsing is less about fear and dramatic tension, more about action and grand effects. So don't listen for musical nuances here; prepare for smashing percussion, blaring brass, chanting choirs and volume, volume, volume.Van Helsing Overview

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Metallica/Slayer/Megadeth/Anthrax: The Big 4 - Live from Sofia, Bulgaria (2010) Review

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Metallica/Slayer/Megadeth/Anthrax: The Big 4 - Live from Sofia, Bulgaria (2010) ReviewThis is a review for the blu-ray 2 disc set. On the first disc you get Anthrax, followed by Megadeth and then Slayer's set. On the second disc you get the Metallica set and the bonus features. I will break down the setlists at the bottom of the review.
First the sound is amazing in my opinion, as is the picture. I thought the overall mix on all four sets was really good. I've read the one review about Mustaine's vocals, I didn't notice it, so can't really comment on whether it has or hasn't been remixed. It wasn't a concern for me personally.
The bonus features include a behind the sccenes documentary which includes interviews and a peak at the Am I Evil? rehearsal backstage which is just good fun. I like back stage stuff and interviews so I dig that extra feature.
So for the bulk features of this "product" I give it five stars, good picture, good sound, bonus features are nice added touch. I couldnt really find a reason to deduct any stars based on the product. The camera shots are typical concert fodder, close stage center, back stage left, over the crowd, close up floating over crowd and behind the band looks. I appreciate the traditional camera shots, I am not really a fan of the waving, roving camera techniques where you flashy, quick looks and can't follow anything. I like to get long shots of the guitar when there are solos etc. So , I was happy with the way this was shot.
Now for my personal opinions. I was very happy with the setlists for Megadeth and Metallica. Megadeth didn't waste time chatting, they went from song to song and really delivered. I've seen Megadeth live many times and they are always incredible, this is no exception, what really got me going for the Megadeth set was the guitar, those riffs are just so amazing, and Chris Broderick is an amazing addition to this lineup. His live performances with Nevermore were astounding and when he joined Megadeth I wondered if it would be enough for a guitarist of his caliber. Clearly it is, he is having a blast.
I was unhappy with Slayer's setlist. I have seen Slayer live and they are really worth seeing. Songs like World Painted Blood, Jihad, Hate Worldwide, Beauty Through Order would have been better replaced with Dead Skin Mask (I can't believe they didn't play this one), Expendable Youth, Die by the Sword. Too bad, but again, this is just my preference. I really recommend the double live CD Decade of Aggression. It's an amazing set of songs.Metallica setlist mirrors their previous blu-ray release. I think it's a solid set of songs and they sounded very good, the mix is great. This is when you see all the guys coming together and perform together and that is alot of fun. I've seen Metallica live every tour since 1986 and I can say this past tour has had some great setlists. I could have done without N.E.M., but hey the crowd loved it. If you have any questions I'll try to answer them.
((***Side ponder*** I wondered who decided what order the bands should perform in? I found it curious to have Megadeth perform before Slayer as they are more widely known.))
If you dig all four, or one or two of these bands, this is worth owning and was alot of fun to watch.
Anthrax
Caught in a Mosh
Got the Time
Madhouse
Be All, End All
Antisocial
Indians/Heaven and Hell
Medusa
Only
Metal Thrashing Mad
I Am The Law
Megadeth
Holy Wars
Hangar 18
Wake Up Dead
Head Crusher
In My Darkest Hour
Skin O My Teeth
A Tout Le Monde
Hook in Mouth
Trust
Sweating Bullets
Symphony of Destruction
Peace Sells/Holy Wars Reprise
Slayer
World Painted Blood
Jihad
War Ensemble
Hate Worldwide
Seasons in the Abyss
Angel of Death
Beauty Through Order
Disciple
Mandatory Suicide
Chemical Warfare
South of Heaven
Raining Blood
Metallica
Creeping Death
For Whom the Bell Tolls
Fuel
Harvester of Sorrow
Fade to Black
That Was Just Your Life
Cyanide
Sad But True
Welcome Home
All Nightmare Long
One
Master of Puppets
Blackened
Nothing Else Matters
Enter Sandman
Am I Evil?
Hit the Lights
Seek and DestroyMetallica/Slayer/Megadeth/Anthrax: The Big 4 - Live from Sofia, Bulgaria (2010) Overview

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Blessed Review

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Blessed ReviewWith the eminent status she has achieved in American song Lucinda Williams could not be blamed for coasting a bit. Much time has passed since the two decades of largely unheeded obsessive perfection that predated her late-90s breakthrough.

How fortunate that "Blessed" finds her lyrical and melodic powers at their zenith. Fresh, blazing inspiration is especially evident in spite of her droll, cool-as-cucumber delivery.

The tempo is subdued, but not in the vein of "Essence" or "West," which were immensely tortured and soul-searching by comparison. A decidedly less precious approach to the songs' overall execution plays to their strengths because Williams' outlook, while still immense with thought and world-weariness, is less clenched and more relaxed. Clipped, factual acceptance is therefore fitting in its thematic dominance.
"Buttercup," one of the few upbeat selections, does not set the stage with its classic rock feel and almost boisterous sense of levity as Williams criticizes a former flame in a nonetheless dignified manner. Its chorus is ingratiating with full throttle guitars and percussion. "Seeing Black," written for Vic Chesnutt, does not cast judgment on the troubled singer/songwriter's suicide but scratches the wounds of those left behind. She probes his motivation with a series of unanswerable questions amid searing guitar work from Elvis Costello.
The shrewdly observed, expertly executed title track finds affirmation in unlikely places - "we were blessed by the neglected child who knew how to forgive/we were blessed by the battered woman who did not seek revenge" - and exemplifies Williams' signature incisive simplicity, the backbone of her talent. It informs more than a few songs here, also among them "I Don't Know How You're Living," typical of her slow-burning, marinated, downbeat best. Her vocals wrench as she contemplates what has become of a former love without any bitterness or self-pity - just acceptance of what has happened - and declares her continued good will.

"Copenhagen" is lullaby-like and huggably warm as it offers an olive branch to an estranged friend, while "Born to Be Loved" is deceivingly simple as it insists upon its title phrase. "Soldier's Song" comes from the perspective of a departed serviceman and the family he has left behind. Her sparing matter-of-factness maximizes the songs' effectiveness.

"Awakening" is a swirling, epic tour de force with deadly serious percussion and guitar work. Her vocals, hanging loose and icy in the mix as she repeatedly declares her intentions to accept the unchangeable are bone-chilling in their funereal restraint amid the song's topsy-turvy arrangement - and appropriately so, since the song is a death of sorts in its resolution to put an end to habits that, for more than half a lifetime, have proven unsatisfying.
"Kiss Like Your Kiss" with its summery, meditative imagery sounds like a safe haven in the storm as it waxes love and comfort. It is the most resolute, unambiguous closing track of Williams' career.
"Little Honey" had many incredible songs, but it was more a hodgepodge than a fully focused, clearly inspired album. "Blessed" is a welcome return in that regard. Her major artistic assets are in full evidence, but she also demonstrates a personal growth that provides a unique listening experience from those she has previously offered and that stands well with the quality of high-watermark albums that cemented her reputation. "Blessed" is destined to join that much-lauded company.
4.5 starsBlessed Overview

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August Christopher Review

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August Christopher ReviewI have been a fan of this band for a while now. This really is an awesome bunch of songs by a great band. I recommend it highly to anyone who is a fan of rocking good music.August Christopher Overview

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Guitar Gangsters and Cadillac Blood Review

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Guitar Gangsters and Cadillac Blood Reviewthen you probably already know. Volbeat Rules! This is along the lines of the first two albums, but with the addition of some gang vocals and the occasional female voice harmonizing. Also the guitar solos are featured more. Basically, all of the cool stuff plus more cool stuff. I'm about to lose my freakin' mind here! This entire album is killer. I'm not joking! Buy it at any price you can get it. It's worth it!!!Guitar Gangsters and Cadillac Blood Overview

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