Gimme Back My Bullets Review

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Gimme Back My Bullets ReviewGimme Back My Bullets is generally considered the least successful of the original Lynyrd Skynyrd albums, but it has always been my favorite. I rate it just slightly ahead of the essential "Pronounced". I remember staying up late as a teenager, to hear its midnight debut on the local radio station (WDVE, Pittsburgh), and buying it ASAP after that.
"Bullets" is a transitional album for Lynyrd Skynyrd. Most obviously, it features a 2-guitar line-up, coming after the departure of Ed King, and a few months before Steve Gaines joined. The 2-guitar sound is a bit leaner that previous albums, but Collins and Rossington are more than capable of carrying the load! But it's also their first production with the legendary Tom Dowd replacing Al Kooper who had produced their first 3 albums. And it has the debut of the Honkettes, the female backup vocal group consisting of JoJo Billingsley, Cassie Gaines and Leslie Hawkins.
Gimme Back My Bullets is very much Allen Collins' record. Over the first 3 Skynyrd albums, the songwriting was spilt pretty evenly between the 3 guitarists (along with Singer Ronnie Van Zant, of course). Allen Collins co-authors 8 of 24 songs, Gary Rossington and Ed King each co-author 7. But Allen wrote many of Skynyrd's best songs, including "Freebird", "Gimme 3 Steps", "Tuesday's Gone" and "Needle & The Spoon". On "Bullets", Allen has songwriting credits (along with RVZ) on all 8 of the original songs (Rossington is also part of the team on 3 of the songs).
Musically, "Bullets" didn't have any big hits, but does include several Skynyrd standards. All of the songs are great. The title track, "Double Trouble" and "Searchin" are all Skynyrd standards, along with the acoustic-ish "All I can Do Is Write About It". "Roll Gypsie Roll" is a reflective piece about life on the road, and one of my all time favorite songs. "Every Mother's Son", "Trust" and "Cry For The Bad Man" are all solid songs. There's also a cover of J.J.Cale's "Same Old Blues" that has a great, almost funky, feel. Trivia note: Lynyrd Skynyrd only did 2 covers on their first 4 studio albums, both were of J.J. Cale songs. The other was "Call Me The Breeze".
If you're a casual Skynyrd fan, start with "Pronounced", or the original band's live set "One More From The Road". But if you want to get deeper into the spirit of the band, this album can't be beat.Gimme Back My Bullets Overview

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Zuma Review

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Zuma ReviewWithout any possible question, this is one of Neil Young's greatest albums, and given the extraordinary length of his career and the amazing number of albums that he has made, that is saying something. This is also one of his most influential albums, producing a pattern for a host of guitar oriented garage and alternative bands in the 1980s and 1990s. It is impossible to listen to a band like Thin White Rope or Eleventh Dream Day or Nirvana and escape the conclusion that the members of the bands all grew up listening to the cuts on this disc.
Although this is widely known as one of the seminal guitar albums in the history of rock, there are two paradoxes in that claim. First, a couple of the songs are entirely acoustic and feature none of the grungy guitar found throughout the rest of the disc. "Pardon My Heart" is not merely acoustic, but soft and gentle as well. "Through My Sails" is a Crosby, Stills, Nash, and Young song. For me, it is the weakest cut on the album, and a potent reminder to me of why I prefer Neil Young on his own. The second paradox is that in many ways Neil Young really isn't a very good guitarist. Technically, there are probably a host of high school guitarists that surpass him. His solos are some of the most elementary in the history of rock. Nonetheless, Young seems to get more musical mileage out of relatively meager chops of any guitarist in history. He might not be a virtuoso, but in this album he virtually reinvents grunge guitar, and paved the way for a host of imitators.
Guitar aside, what drives this amazing album is the great, great songs that line up one after another. "Don't Cry No Tears" gives way for the even more stunning "Danger Bird." A couple of songs later we get one of my favorite Young songs, "Barstool Blues." "Stupid Girl" is not a work of misogyny like the Stones' "Under My Thumb," but yet another excellent guitar driven song. "Drive Back" is another great song that then gives away to the song that seems to define the entire album, the epic, majestic "Cortez the Killer," in which Neil gets to sing about his recurring subject of the European exploitation of the New World.
Neil Young has other albums nearly as good as this, and possibly a couple of others that are even better, like AFTER THE GOLD RUSH and TONIGHT'S THE NIGHT, but there isn't a single one of his discs that I have listened to as often or with as much pleasure. This truly is a disc that ought to be in the library of every serious rock fan.Zuma OverviewSeven of the nine songs on this album were recorded with a reunited Crazy Horse, and nearly all of them deal with the subject of romantic conflict and lost love: Don't Cry No Tears; Barstool Blues; Pardon My Heart; Lookin' for a Love; Through My Sails ; the seven-and-a-half minute epic Cortez the Killer , and more!

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American Stars N Bars Review

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American Stars N Bars ReviewFor the longest time, I did not add Neil Young's "American Stars 'N Bars" to my CD collection, because I had read and heard so much intense critcism of this album. But, I found a copy at my local 'used CD' store around the corner and decided to take a chance on this so called "oddities" album. Instantly, I fell in love with this crazy-quilt of both acoustic and electric music. I seem to love this CD for the very reasons that others disparage it. Yes, I know it's disparate, hodge-podge of songs. But, it's also raw and alive and seems to have a goofy, not-to-serious charm of it's own. On this album, Neil is no longer in the "middle of the road" ("Harvest"), but he isn't in the now infamously quoted "ditch" either ("Tonight's the Night", "On the Beach"). Young is sort of doing a balancing act in the middle, creating an album thats' sort of a warped, Frankenstein-like version of his classic, "Harvest". But it's a Frankenstein, that can tap it's toes and sort of dance. I love songs like the rustic "The Old Country Waltz" or the pulp Western tale, "Saddle Up the Palimono". I in particular, like the contributions of singers Linda Ronstadt, Emmylou Harris & Nicolette larson. They really work well with Young giving, that perfect '70s era country-rock feeling (especially Harris, who shines on "Star of Bethlehem"). According to one tale I've heard, the ladies thought they were just doing some 'practice, run throughs' of the songs. Much to their chagrin, they later learned that Neil was using these sessions as the final takes, hence the raw feeling of the songs.The electric portions of the CD are wonderful as well. "Like a Hurricane" is of course a classic and Young has played this long & Winding song for many years in his concert repertoire. I love the song's lyrical imagery and to be blunt, the guitar soloing just kicks some rock n' roll (...)! One of my favorites on this CD is the final track, "Homegrown", a funny little ode to small farms or the joys of harvesting 'weed' (you can take your choice). It's a bouncy tune that totally gives me a case of the giggles. No, "American Stars 'N Bars" is never going to be in the cannon of the "Great, Neil Young Albums". All I can say is I don't think it deserves it's bad rep. I liked it and highly recommend it!American Stars N Bars Overview

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Morph the Cat Review

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Morph the Cat ReviewFagen's previous solo albums were "concept" albums: each had a definite theme that followed through each of the tracks. MORPH is also something of a concept album, although in a looser way. The title track sets the stage for what could have easily been called "New York City Stories," with various character dealing with their dreams and fears of post-9/11 America.
Musically, the album actually sounds more like Steely Dan than Donald Fagen...although this certainly isn't a bad thing. Fagen's trademark keyboards and bass abound throughout, but one immediately notices the prominent role of electric guitars on the disc. There's "real" brass (vs. electronically reproduced instruments) on several tracks, giving songs like "Brite Nightgown" and "The Night Belongs to Mona" extra punch. And my favorite new touch has to be the use of an organ and real piano on a few tracks. The music is uniformly tight, occasionally surprising (as in the trippy marimba flourish leading into the 3rd verse of "Brite Nightgown"), and NEVER dull.
As a longtime fan, my ongoing gripe is the brief amount of material covered here. Although MORPH has one more track than each of the previous Fagen albums, it still feels too short. And I love a good jazzy instrumental break, but a few of the tunes go on a little too long. In the final analysis: It's not as good as THE NIGHTFLY (nothing...ever...will be), but it's a slight improvement over KAMIKIRIAD.
Finally, a plea to Mr. Fagen himself...please don't make us wait another 13 years for more!Morph the Cat OverviewThe first solo album in 13 years from Donald Fagan, Morph The Cat is another contemporary classic from half of the Rock and Roll Hall of Fame duo Steely Dan. With Fagan's adventurous musical depth, uniquely layered lyrics and entertaining subject matter (from a conversation with the ghost of Ray Charles to a romantic liaison with an airport security guard named Joan), Morph the Cat is the newest chapter chronicling the most sophisticated music in rock. 2006.

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Blow By Blow Review

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Blow By Blow ReviewI've been a professional guitarist and music teacher for over two and a half decades. I listen to guitar music day in and day out, ranging in style from Luis de Milan (1536) to Leo Brouwer and Alan Holdsworth. It isn't difficult to observe that almost all music that has survived the test of time has had something valid to say: some of it expresses well the particular fashion/taste of the period; some successfully pushes the existing musical boundaries; and some is just uniquely personal to its creator.
As a musician Jeff Beck belongs mostly within the last of the preceding three groups. Examination of his output suggests it would be hard to argue that he created any new genre, but whenever he experimented in a new field he always sounded unmistakably true to his own unique musical identity. I also believe that a creative performing musician can receive no greater compliment.
The hallmark of Beck's style is melodic fearlessness. This boldness sets him apart musically from perhaps 'superior' technical and 'harmonically informed' peers, especially those of the so-called 'improvisational' based jazz scene. Beck's playing is instantly recognisable and is almost devoid of cliche. Jeff Beck only ever sounds like Jeff Beck. On the occassion that he ever employs a tired phrase of (say) Chuck Berry's, it is in such a manner or in such a place as to turn it on its head or throw new light upon it.
To those wondering whether to add this CD to their collection I recommend that you bear in mind Duke Ellington's words - "There are only two kinds of music: good music and bad music", because this CD belongs unquestionably to the first category. All instrumental, it contains a variety of styles - including ballad, reggae, funk, and rock - read the other reviews for the details. And finally, please don't ever pretend to have any inkling of what Jeff Beck is about, or what he is capable of, without being familiar with this particular album.Blow By Blow OverviewBlow by Blow served as a new creative peak for Beck and is, to date, his most commercially successful release. Offering a one-two punch of ingenious production and imaginative soloing, the wonderfully unpredictable guitar genius meshes stinging jazz-rock with string arrangements and energetic rhythm for You Know What I Mean; Constipated Duck; Air Blower; Scatterbrain ; Stevie Wonder's Cause We've Ended as Lovers; Thelonius; Freeway Jam; Diamond Dust , and a clever arrangement of Lennon and McCartney's She's a Woman .

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