Scary Monsters Review

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Scary Monsters ReviewBowie's albums are like a fine wine. Scary Monsters is a particular vintage which still sounds excellent today. It's the artistic vintage of Bowie which continues to surprise people like myself.
Every new Bowie album in the 70s was a new experience for its listeners - literally. With the exception of the Ziggy / Alladin Sane period - Bowie's albums from the mid-70s onwards were refreshingly different from one another. This is no exception. It's been mentioned in other reviews that Scary Monsters was Bowie's last significant release from a historical perspective. That's pretty true. If he'd died after this was released - his legend would've certainly been sealed on a high note.
The New wave artists who were about to arrive on the UK scene worshipped Bowie. Scary Monsters shows why: Bowie was a law unto himself.
Cryptic yet accessible; raw yet melodic - Bowie's lyrics drive this album, as does the great guitar work of Fripp and a cameo by Pete Townshend. This is a far more sonic work than Bowie's previous albums, and plunges the listener headlong into his inner world. The iconic tracks here that everyone knows are Ashes to Ashes; Fashion and Scary Monsters. The lesser known tracks (ie not heard on his compilations) - form the rest of the snapshot. Scary Monsters is very much like a portrait of Bowie, of which the better known songs are simply parts of his overall psyche.
Scary Monsters capped a tremendous musical decade that blew critics and audiences away, and belongs in any Bowie collection. Many of his ardent fans wish he would or could return to this form -and some believe he has with his 90s releases, but don't believe it...For some reason, Bowie has never sounded as artistically immersed in a one particular work after this one.
So get this vintage for its raw passion. And if you can, do get the rykodisc for the extra tracks which are worth it.Scary Monsters OverviewJapanese limited edition issue of the album classic in a deluxe, miniaturized LP sleeve replica of the original vinyl album artwork.--This text refers to an alternate Audio CD edition.

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Very Best of Dokken Review

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Very Best of Dokken ReviewIt's nice to see a "best of" album with most of this band's good stuff. All the big air play hits are here: Breaking the Chains, Alone Again, Into The Fire, The Hunter, It's Not Love (Thanks for that one!), In My Dreams, etc. Some hot stuff from later releases from the band (and Don's solo effort) also make it a bonus CD: Mirror Mirror and Too High To Fly.
While this release from Dokken is a good compilation, a few (of my) top songs from the band didn't make the list: Don't Close Your Eyes, Bullets To Spare and Prisoner Of Love. It's tough to please everyone! However, Don Dokken's smooth vocal delivery coupled with George Lynch's fine axe work make this a great album to pick up regardless of personal preferences for one tune or another. If you don't have a Dokken album in your collection and you like 80's hard rock/pop metal, this is the one to get.Very Best of Dokken Overview

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Theatre of Pain Review

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Theatre of Pain ReviewThe popular myth is that Theatre Of Pain is Motley's weakest album - as opined by no less than the band itself! I offer this review by way of an alternative viewpoint.
I was 16 when this album came out. At the time I was (and still am) a huge Iron Maiden fanatic. Having dabbled in the fun-but-hardly-life-changing Quiet Riot and Def Leppard (plus ol' Purple and Sabbath which just seemed so...70s) I was totally floored by Motley's Shout At The Devil in every way - the look, the attitude, the riffs etc etc and they shared my top spot along with trusty old Maiden through the 80s.
The great thing about Theatre was that it was such a dramatic left turn from Shout. The image was all Nikki's commedia dell'arte concept with the flowing trenchcoats and the `comedy/tragedy' design. Glam? I didn't even know what glam was at that age and to the best of my knowledge David Bowie was the dude who sang `Let's Dance' right? No, this was just the Crue being bizarre! There's no way this could be compared to Marc Bolin or The Sweet in their indian feathers.
Musically the Crue had opened it up - ditching the straight-ahead crunch of Shout and moving into bluesy grooves, big melodies, and lush production. Mick had opened (or reopened) his guitar palette with slide and acoustics. Nikki was playing 8-string basses and synths, and Tommy had famously added piano to his arsenal. This was probably the first album where I really noticed the production, the use of keyboards and dynamics plus the ginormous drum sound! The songs covered a wide stylistic spectrum from the full-on rock of Fight For Your Rights and the bluesy City Boy Blues to the 70s acoustic RYHTR and the lush Home Sweet Home.
When people write this album off as an 80s party record they're not paying attention. The only `party' tune is Smokin' In The Boys Room - and that's a cover! With the exception of We Need A Lover (which is a disturbing ode to gang sex) the lyrics explored mortality (Use It Or Lose It), civil rights (Fight For Your Rights), loneliness and dissatisfaction (City Boy Blues, Home Sweet Home), grim street realities (Save Our Souls) and the wonderful ode to cash Keep Your Eye On The Money. I don't recall Poison ever writing `Martin Luther heard the truth, the colour of our blood's the same' or `Don't look to Jesus to change the seasons, it's the American dream'.
Theatre Of Pain polarised the so-called metal community. For many `metalheads' the keyboards and trenchcoats were too much and they fled to the waiting arms of Metallica and Slayer. But for guys like me this was the best time to be a rock n roller. Albums like Theatre opened the doors to other ways of looking at music beyond the clichés that heavy metal loves to bestow upon itself. Obviously I have a romantic bias but this was a great time - my time.
I have to say I'm also a little cynical about the surrounding mythology of `Theatre' - the claims of drugs and general non-participation of the band and their consequent distancing of themselves from the album. I read everything I could get my hands on at the time and I seem to recall Tommy Lee in particular being very excited about the broad musical journey the band had embarked on. Similarly Circus magazine visited the band in the studio at the time of recording and were surprised to find the Crue very much in control, on top of their game, and the very antithesis of their public image. Obviously I wasn't there and can't say for sure but, well, just something to think about!
Ross Halfin says in a VH1 doco that the Crue's fanbase was (and is) the `American moron'. This seems such a shame to me, true or otherwise, because I think Motley Crue made interesting music and explored equally interesting ideas. Theatre Of Pain exemplified this period where rock/metal became much more than just amps and beer and tits. Time has obviously diluted the effect but in their day albums like this (or Blackie Lawless production opus `The Last Command' or even Ratt's first album) were really out there and different. Or maybe I'm kidding myself, but if I am that's why I love Theatre Of Pain!Theatre of Pain Overview

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The Very Best of Winger Review

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The Very Best of Winger ReviewWinger was much maligned for the few years they were big, and undeservedly so. The members of this band are educated in music and are among the best in their crafts. The quality shows through on this fantastic compilation showcasing their brief run.
I find interesting the order in which the songs are put on this CD. The first track, "On The Inside" is a new recording that seems to pick up right where the barely-noticed but awesome "Pull" album left off. Hints of a modern sound persist but the melody is still there. Next comes five straight tracks from "Pull"--their third and last album. Songs like "Blind Revolution Mad" and "Junkyard Dog" sound better than ever and remind me how much I liked the direction they were taking at that time while rock music was being overrun by grunge.
Then after an outtake track called "Hell To Pay", which was a solid track as well, the compilation picks up with five tracks from the second album "In The Heart Of The Young". Sure the big ballad hit "Miles Away" is included along with the rockers that were released, but I am especially happy that they included the wonderful song "Under One Condition" here, as to me this truly is a song that I would consider among "The Very Best of Winger".
Ironically, the material from the first album is stuck at the end with the last four tracks--all of which had videos and charted in the top 100. Songs like "Seventeen" and "Hungry" still are a lot of fun to listen to, but for sure the band refined their sound since then.
The CD booklet for this compilation includes a great write up about the band and a list of where the songs that were released as singles charted--a trend I have seen in several recent greatest hits albums that I like a lot. Who knew, for example, that the song "Hungry" peaked at number 85 and that the great track "Easy Come Easy Go" just missed the top 40 by peaking at number 41? Good and interesting info, for sure--at least I think so.
I don't know what others make of the track listing order, but to me the message is quite clear. Winger, while appreciating their roots, clearly plan to continue from right where they left off with any future releases. I, for one, would love to hear a further development of the sound they had on "Pull". I hope the rumors of new material by the original lineup in 2002 are true, as I would love to hear more from these guys. For sure, they should not be considered your typical "cheese metal" band, as their talent and musicianship shows that they go far beyond that. Anyone who listens to this great collection and pays attention will probably agree.The Very Best of Winger Overview

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Man Who Sold the World Review

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Man Who Sold the World ReviewFrom the cover, which shows a longhaired Bowie in a full-length dress, reclining on a chaise longue, it is clear that this is no ordinary record. "The Man Who Sold The World" is often cited as being Bowie's "heavy metal" album. It definitely marks a significant departure from the folk influenced sound of his previous album, and without question stands as his first great piece of work. Overall the sound is raw and rather under-produced. Mick Ronson's dazzling guitar work, combined with the eerie sound of a moog synthesiser, and Bowie's pronounced Cockney accent creates an atmosphere that is distinctly, and suitably macabre.
The album begins with "Width Of A Circle", a grotesque and disturbing psycho-neurotic fantasy. This eight-minute opener, with its religious and sexual imagery is as phantasmagoric as the works of Hieronymus Bosch or William Blake. Bowie's half brother Terry suffered mental illness and spent most of his life in psychiatric institutions. In "All The Madmen" Bowie provides a rather wry and sinister commentary on mental illness, a theme he would often return to in his career. "After All" with its quasi-music hall "Oh by jingo" refrain was intended to address a generation jaded hippies. 'I've borrowed your time and I'm sorry I called' sings Bowie. "Saviour Machine", a dark, prophetic tale of society's over-dependence on technology, tells of a machine that is bored with the utopia it has helped to create. In a Dostoyevskian act of disassociation, the narrator of "The Man Who Sold The World" meets his doppelganger on the stairs, where he announces "Oh no, not me/I never lost control". "The Supermen" with its overt reference to Neitzsche is almost Wagnerian in feel. On this track Bowie's strained vocals erupt over the ominous beating of drums and monastic chants to chilling effect.
With its surreal, stream of consciousness lyrics and wailing guitars, "The Man Who Sold The World" is an unnerving album that flows in places like a grotesque, existential nightmare. But in the end its pain and anguish is only human, all too human.Man Who Sold the World OverviewManufactured in Japan.CD sits within an exact replica of theoriginal vinyl packaging including the inside sleeve.Packaging includesthe Japanese spine sleeve.--This text refers to an out of print or unavailable edition of this title.

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Olympia Review

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Olympia ReviewThis is a review of Bryan Ferry "Olympia" CD/DVD Deluxe Edition. This review is meant to summarize the Deluxe Edition of the album. Hope it helps you decide which edition to get. It doesn't do a track by track analysis because that is really for the listener to experience. But, I will tell you the song titled "BF Bass" basically means Bryan Ferry Bass (just in case you were wondering...I was)...j/k. Now as far as the deluxe edition is concerned: the content is packaged in a nice case with binding similar to a book. The book is a hardcover with a slipcase on the front and back that is glued to the book. Certain to create nice little scuff marks on the discs during frequent use. You may need to bring your own jewel cases to this set. A good example that springs to mind (as far as the "book" presentation) would be the recent Kylie Minogue Deluxe edition of "Aprodite." Inside the book contains the lyrics to the songs, pictures of Kate Moss, a brief two page description of the album that recounts Ferry past/present/future written by Richard Williams (I wasn't too big on the style this was written but whatever, some will think it is cool, it kinda is), and a nice photo of Bryan Ferry by Anton Corbijn. The DVD contained is Region Free NTSC that provides an excellent 27 minute behind the scenes of the making of the album. Shows the cast that made this album come to life. This album has a nice amount guest stars. For those interested in buying this because of guest stars on the DVD. The DVD does show David Gilmour but, no interview. Flea is shown and a very brief interview. Brian Eno is talked about but, not shown or interviewed. Steve Nieve is talked about but not seen. Good footage and interview snippets of Nile Rodgers and Jake Shears and Babydaddy. A brief interview of Groove Armada. Phil Manzanera is on many songs but, not on the DVD same with Dave Stewart. Nice interview of producer Johnson Somerset. Lots of Bryan Ferry interview and footage. Also a nice tribute to guitar player David Williams. Also nice footage of young guitar player Oliver Thompson (whom I wasn't famalair with) and Bryan Ferry's son Tara on drums with Andy Newmark. The DVD is directed by Ferry's other son Isaac Ferry. All in all the DVD is shot with beautiful lighting and really brings the album to life. Also included is the video for "You Can Dance."
Now for the music aspect. It must be known there is a more expensive version of this album coming out at the beginning of November called "The Immersion Edition," with a bigger book and an extra disc of six remixes and one instrumental. So yeah, this package does lack the remixes but, that set is almost as much as a cheap suit.
The CD included in this package is amazing. The music is pure Bryan Ferry. I liked "Frantic" but this is no "Frantic-era" Ferry. This album reminds me of the Bryan Ferry of the Avalon-Boys and Girls era. Words don't do the music justice but, it sounds like the Bryan Ferry of the 80's sting by a bumble-bee of 2010. Every song on this album is really incredible. It's not necessarily the type of album to sample on sound snippets but, really needs to be experienced in full. The regular CD ends with a song called "Tender is the Night" which is an excellent conclusion to the album and really acts a dimly lit candle burning out beautifully. The Deluxe edition CD has two bonus tracks: a John Lennon cover of "Whatever Gets You Through the Night" which is sung and arranged wonderfully and a Smiley Lewis cover (Elvis often sang live) of "One Night" which is sung well too. Both of these songs would have fit well during the album perhaps they were left off to focus more on the Ferry-penned material. The regular CD already has one excellent cover of the Traffic song "No Face No Name No Number" and a cover of the Tim Buckley song "Song to the Siren." The "Song to the Siren" bears little resemblence to the Tim Buckley original nor the This Mortal Coil cover. It sounds like if "Song to the Siren" was thrown into the Avalon-era Roxy Music Bizarro time warp complete but this time with Brian Eno on keyboards and even whale noises.
For the extra few dollars I highly recommend this package. The DVD is top notch (and works on US DVD players) the two extra tracks are not essential to the album but, a nice touch. If you have never liked the style of Bryan Ferry solo or Avalon-era Roxy I don't think you'll be liking this CD. If you only like early experimental Roxy Music you may not be too big on this CD. I was disappointed when I first heard he was making another solo album and not another Roxy Music album. My feelings have since changed because I think this is probably the best CD he has put out post Roxy and one of the coolest CD's of 2010 thus far. Buy it if want something just plain cool.Olympia Overview

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Hunky Dory Review

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Hunky Dory ReviewHunky Dory (1971.), David Bowie's fourth studio album
David Bowie is arguably one of the greatest solo artists of all time and his unique alternative style (notice the omission of the word 'pop') is timeless and has deservedly won him loads of fans from generation to generation. Bowie has changed his style from album to album and has produced music in loads of different styles whilst still maintaining his distinctive sound. 'Hunky Dory', Bowie's fourth studio album, released in 1971 is one of the greatest chapters in his career and is definitely one of his most powerful releases.
'Hunky Dory' is the second album in what I would describe as Bowie's classic run of five albums from 'Man Who Sold the World' to 'Diamond Dogs' when he was at his very best. 'Hunky Dory' though is one of his most unique releases. Bowie was not yet into his famous Ziggy Stardust glam rock period but neither is this album as strongly guitar based as its predecessor 'Man Who Sold the World'. 'Hunky Dory' instead is much more acoustic based with lots of piano thrown in but most of all is an album of unbelievable songwriting - songs don't come much better than those on this album. The album is really well structured as well - each side of the original LP has happy/upbeat songs for the most part but finishes off with a darker, emotive and more powerful song ('Quicksand' and 'Bewlay Brothers'). Bowie's backing group are also excellent on this album. Rick Wakeman's jazzy piano playing is there practically throughout and really characterises the album. Mick Ronson plays some great guitar solos on the album especially in 'Life on Mars'. Bowie's accomplished and often overlooked saxophone playing is also top notch on this album.
David Bowie's album collection has undergone a number of remasters since CD's became commonplace about 20 years ago. Recently an enhanced CD version of 'Hunky Dory' was released. Obviously the sound quality is great but the version lacks any bonus tracks, which incidentally can be found on the 1991 remaster. The latter is the version I would recommend. It still has excellent sound quality and also has demo versions of 'Quicksand' and 'Bewlay Brothers' as well as an album outtake 'Bombers' and an alternative version of 'The Supermen' from 'The Man Who Sold the World' album.
Eventhough this masterpiece yielded a fair-share of singles, this album is not pop in my opinion but instead is a great serving of alternative, extremely listenable music. 'Changes', one of Bowie's well known songs starts the album. An excellent song, its got a classic chorus with loads of piano play. 'oh You Pretty Things' is a great follow up - brilliant for a sing along with another catchy chorus. It runs very cleverly into 'Eight Line Poem' which is a more reflective songs with somem rather bluesy guitar playing from Mick Ronson. 'Life On Mars?' is next up and this one truly one of Bowie's great songs. The lyrics are some of the best I've heard and Mick Ronson's closing solo is out of this world - listen out for the phone ringing at the end of the track! 'Kooks' is an upbeat acoustic track which Bowie wrote for his son, Zowy Bowie. Then we come to 'Quicksand', in my opinion the best track on the album. Its got an amazingly calming start before building into a powerful, heartfelt song - the chorus is really moving. A song about losing direction in life, this is one of Bowie's greatest songs.
What was side two of the LP kicks off with a happy sing along 'Fill Your Heart', a great track, although it is the weakest track on this great album - ironically Bowie didn't write this one! 'Andy Warhol' follows this; this strong acoustic jam is excellent. The goofing around in the studio at the start is a hillarious, where Bowie keeps correcting the sound engineer's pronunciation of 'Warhol'. 'Song For Bob Dylan' is a tribute to one of Bowie's great influences and is followed by 'Queen Bitch', the most rocking track on the album, Ronson's guitar work on this track is first rate. 'The Bewlay Brothers' is an unbelievably potent finish to the album. I'm amazed how many reviewers of this album overlook the greatness of this track. I've never heard a track like it. It's mostly acoustic based and is Bowie's telling story of his own brother's lifelong mental troubles. The warped sounding voice at the end of the album is really freaky and it makes your blood run cold but its a remarkable finish to an amazing album.
The 'Hunky Dory' album captures David Bowie on one of the high points of his career. I'm not sure if I'd call it his best album but its up there with his finest efforts and this album is sure to stand the test of time. I'd recommend this album to anyone who likes a unique alternative style of music or to any fan of David Bowie, although there isn't such such a thing as a Bowie fan who doesn't own this masterpiece!Hunky Dory OverviewManufactured in Japan.CD sits within an exact replica of theoriginal vinyl packaging including the inside sleeve.Packaging includesthe Japanese spine sleeve.--This text refers to an out of print or unavailable edition of this title.

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