Archive for December, 2008


 Powered by Max Banner Ads 

Nektar – Down To Earth review

\

For many prog-rock fans, the German band Nektar hit their grand slam with the 1973 concept album Remember The Future – essentially one song spread across two album sides. The band’s 1974 follow-up, Down To Earth, takes a wacked-out circus as its theme; Nektar tighten the song structures and hit another one over the fence.

The classic Nektar sound is all over: chiming guitar chords (“Show Me The Way”), lilting harmonies (“Early Morning Clown”), perfect melodies (“Little Boy”), in-your-face bass (“Astral Man”) and a wonderful sense of playfulness (“Nelly The Elephant” and “Fidgety Queen”). My reissue from Electic/Dream Nebula includes six alternate versions of Down To Earth songs and outtakes.

In the CD liner notes, Nektar guitarist and lead vocalist Roye Albrighton writes, “Down To Earth is Nektar’s Magical Mystery Tour…”

  • Share/Bookmark

The Keef Hartley Band – The Time Is Near

\

The Keef Hartley Band were one of those relative rarities in music: a rock band led by a drummer. A couple of Hartley reissues (The Time Is Near and Overdog) from Esoteric Recordings surfaced earlier in 2008 – my pick being 1970’s The Time Is Near. This horn-driven R&B-influenced jazz/rock (or is that rock/jazz?) took a few spins to for me to latch onto (each song veers off in a new direction), but it’s the band members’ willingness to explore territory loud and soft, fast and slow, that kept my attention. And every song is now a fave. Plus, it’s another chance to hear one of my favorite bassists in action – the late Gary Thain.

  • Share/Bookmark

The Black Crowes – Freak ‘N’ Roll Into The Fog

\

The Black Crowes waited years before getting into the DVD game, and their first, Freak ‘N’ Roll Into The Fog, is a glorious glimpse into America’s last great rock band working a San Francisco Fillmore crowd into a frenzy. What makes the Crowes special is their ability to bridge the best of the ‘60s and ‘70s with their own Southern twist. They write great songs. They cover great songs. They jam. Among the 19 tracks, the Crowes stuff the cannons with a booming “My Morning Song,” a horn-and-chorus-drenched “(Only) Halfway To Everywhere,” a “Seeing Things” that sears with gospel-like intensity, and an acoustic version of “Cursed Diamond” showcasing guitarist Marc Ford’s lyrical slide playing. Like The Grateful Dead, the Crowes never play the same show twice. Here, they bring the house down fittingly with a superb cover of The Band’s “The Night They Drove Ol’ Dixie Down.”

  • Share/Bookmark

Steve Walsh – Shadowman

\

Steve Walsh’s solo project Shadowman has been playing a lot on my CD player lately. Shadowman was released originally in 2005, and was reissued in 2008 by ProgRock Records/SPV. The latest version is bolstered with two bonus tracks: “Faule Dr Roane” and “Dark Day,” previously available as digital downloads only. Both songs are equal to the best of Walsh’s output and make a welcome – I say vital – addition to this excellent record.

The music on Shadowman is much heavier than anything Walsh did with Kansas, even approaching techno at times (on “Hell Is Full Of Heroes,” my least favorite track of the lot), but it’s also studded with great melodies and singing. Kansas bandmate David Ragsdale’s violin work also gives many of these tunes a Kansas vibe, so don’t be afraid! The title track and the epic “After” are stunning, and exhibit the full range of dynamics and moods of Walsh’s best work. As a whole, Shadowman is Walsh’s finest moment.

  • Share/Bookmark

10 Best Roger Dean album covers

Roger Dean is one of rock music’s most original and respected cover artists. He’s best known for the artwork that graced the covers of so many great Yes albums in the 1970s. But if you know his work only from Fragile or Tales From Topographic Oceans, read on.

Here are 10 of my favorite Dean covers, classic album artwork from 10 different bands. They all also have the distinction of being excellent records, as well.

  • Share/Bookmark

Jeb Wright – Stadium Rock review

\"Classic Rock Revisited: From The Vault Series 1: Stadium Rock\"

In 1999, music fan Jeb Wright took it upon himself to breath life back into the world of classic rock. With little more than an idea and a lot of enthusiasm, he launched Classic Rock Revisited in August of that year as a vehicle to share his love of the artists that made an impact on popular music in the 1970s and ’80s. Wright was a complete newbie to the music business, but that didn’t deter him. As he writes in the book’s preface, “I went to Hastings, a popular chain store that sells books, magazines, games and CDs. I found a CD called Ready Eddie by Eddie Money that had recently been released. I bought the CD, took it home, called the record company and asked for the publicity department. A woman named Laura Kaufman answered, and the rest, as they say, is history.”

From this first phone call, Wright has built Classic Rock Revisited into one of the most visited classic rock sites on the web. In 2009, CRR will celebrate its 10th birthday. In that near-decade, Wright has interviewed a veritable who’s who of the rock and roll field, and he’s now brought together 12 of those choice chats into a 210-page book titled Classic Rock Revisited: From The Vault Series 1Stadium Rock. These interviews have long been removed from the site and aren’t available elsewhere.

Wright goes one on one with Kansas’ Phil Ehart, Paul Rodgers, Aerosmith’s Joe Perry, Styx’s Dennis DeYoung, Sammy Hagar, Journey’s Steve Perry, Steve Miller, Boston’s Tom Scholz, Foreigner’s Lou Gramm, REO Speedwagon’s Neal Doughty, Foghat’s Roger Earl and Ted Nugent. What makes these such interesting reading is Wright’s interviewing skills: He manages to get his subjects to open up, revealing things that haven’t been heard a million times before. As a result, you really get a feel for the individual personality of each artist.

For all the success, downfalls, and later rebirth of Aerosmith, Joe Perry comes across as a genuine guy who could be your next door neighbor, telling Wright that “I still take out the trash. My wife and I are very grounded people… I think a big part of it is that we never moved to L.A. or New York. We never got swept up in that part of it.”

Sammy Hagar seems like a dude who has as much fun mixing drinks on the beach and hanging out at as playing to a packed house.

I love Tom Scholz’s story about his battles with CBS and other record labels, and his compelling defense of why Boston and the band’s music is anything but corporate rock.

Dennis DeYoung comes off as a bit cranky, when he responds to Wright’s lament about album covers becoming less important in the CD age, “Album covers were nice, but you know what I can tell you right now? Get it out of your system, because it ain’t coming back.” Whoa Dennis! Say it ain’t so.

Steve Perry, as well, seems especially irritated when Wright probes for the scoop on Escape-era Journey.

Jeb: Some fans think Steve Perry started to overtake the band.

Steve: Started overtaking what?

Jeb: The songwriting.

Steve: Those people need to get a life. They need to find something else to do during their day.

And so it goes. Wright’s interviews are sure to elicit a series of smiles, frowns and “I didn’t know that,” responses from readers. My only complaint is that it’s just 210 pages. When I picked it up, I couldn’t put it back down! That’s the best compliment I can pay to Wright and From The Vault Series 1: Stadium Rock.

Great book. I look forward to Series 2 soon.  Get a copy signed by Jeb Wright at Classic Rock Revisited.

  • Share/Bookmark

Mahogany Frog – DO5 review

Mahogany Frog \"DO5\"

Mahogany Frog are a four-piece progressive rock outfit from Winnipeg, Manitoba, composed of Graham Epp (keyboards, guitars, trumpets), Jesse Warkentin (guitars, keyboards), Scott Ellenberger (bass, keyboards, percussion, trumpets) and J.P. Perron (drums, electronics). Mahogany Frog’s most recent release, DO5 (Moonjune Records), is their fifth, and served as my introduction to the band. DO5 features nine instrumental tracks with a range of sounds from vintage to modern. Expect plenty of tube-y keyboards, processed guitars, sound samples and energy. Although Mahogany Frog’s music is definitely experimental, it isn’t self-obsessed or pretentious. Most important, it’s highly listenable. One of this quartet’s particular strengths is melody, even as multiple layers of sound stream from their instruments, the songs have structure and stick-in-your head lyricism. That’s a neat trick.

The album opens with the short “G.M.F.T.P.O,” a blast of fierce guitar before venturing forth into the sonic explorations of “T-Tigers & Toasters,” whose beginning reminds me a bit of Gyorgi Ligeti’s groundbreaking music that was used for the soundtrack in 2001: A Space Odyssey. The song flows like a ripple that builds into a wave, with some gorgeous keyboards that go Canterbury before the guitars bust through, as if Neil Young’s Crazy Horse suddenly hit the scene, cresting the curl before crashing into shore.

“Last Stand At Fisher Farm” is a majestic piece, full of drama – sort of a new theme from an imaginary western – and one of the album’s highlights. “You’re Meshugah!” features some excellent drumming courtesy of Perron and recalls the heavier moments of early progressive acts such as Caravan, Nektar and Hatfield And The North; while “I Am Not Your Sugar” sounds like a Rush jam circa Caress Of Steel. “Demon Jigging Spoon” conjures up Tangerine Dream, Frank Zappa and Ozric Tentacles. These are all attempts to describe the band’s sound, but Mahogany Frog really have their own sound, thanks in part to the recording itself. DO5 is one of the most analog-sounding compact discs I’ve heard, with that indefinable warmth and coziness that turns vinyl lovers all glassy eyed. The album closer “Loveset,” may be my favorite of the bunch. I love the way it juxtaposes a lovely trumpet line against electronic loops and a wall of shimmering keyboard chords.

DO5 is a very impressive record with nary a wasted note or thought. It’s available for purchase at the Moonjune Web site. The video for “Lady XOC & Shield Jaguar,” below and one of the tunes from DO5, provides an excellent first-hand look at MH.

  • Share/Bookmark

Iain Ashley Hersey – Nomad

Iain Ashley Hersey\'s \"Nomad\"

If you ever wondered what happened to old-school hard rock – the kind you used to plunk into the car’s 8-track or cassette player before dropping the pedal on a Friday night – you’ll find it in spades on Iain Ashley Hersey’s latest album, NomadIain Ashley Hersey, you ask? Granted, Hersey is no household name, but his music quickly brings bands such as Deep Purple, Rainbow, Led Zeppelin and Bad Company to mind. Hersey is a Fender-Strat-totin’ rocker who deserves a much wider audience. Although Hersey wears his influences on his sleeve, on Nomad (Perris Records), in many ways, he’s bettered the more recent efforts of his classic rock forefathers.

The 10 tracks on Nomad are heavy, bluesy and damn good. They abound with meaty Hammond organ chords, tasty guitar riffs and plenty of attitude. Hersey’s backing band – Holger Seeger (keyboards), Carsten “Lizard” Schulz (vocals), Frank Kraus (drums) and Jochen Mayer (bass) – lock down tight on these tunes and make them jump out of the speakers. Schulz is a terrific singer, with a Glenn Hughes vibe that’s perfect for this material. I love his ability to shift from the golden “Vintage Love,” to the nasty crawl of “Flesh, Blood & Bone.” Hersey’s guitar riffs and tone will resonate with anyone who fell under the spell of Ritchie Blackmore or Jeff Beck, and his solos are the epitome of taste, always serving the music.

Songs such as “Sacrifice The Sun” and “Vintage Love” could have been recorded 25 years ago, but they sound fresh and vital in 2008, a real testament to the strength of the music. But there are plenty of surprises, too: I dig the the opening chords of “Bloody Waters,” which sounds a bit like The Mahavishnu Orchestra’s “Birds Of Fire”; the following track, “Voodoo Spirits,” opens with a playful accordion line straight out of the bayou, before charging ahead with an organ-heavy riff and powerful Schulz vocal. The tune also features a sweet Hersey solo. Played live, I imagine the song brings down the roof. My favorite track is “We’ve Lost The Rhythm,” a real burner that showcases the best of the band, and features some extraordinary singing by Schulz. Nomad closes with a fantastic cover of Rainbow’s “L.A. Connection,” brought to life by guest vocalist Doogie White. Blackmore and Dio would be proud. Hersey, as well, should be proud.

Iain Ashley Hersey’s Nomad is highly, wildly recommended.

The video below of Hersey playing live in 2005 gives you some idea of his sound and style, but get Nomad, nonetheless. You won’t be sorry.

  • Share/Bookmark

Hoyt Axton – My Griffin Is Gone review

\"My Griffin Is Gone\"

Hoyt Axton is one of those songwriters like Jimmy Webb whose music I know best from others’ interpretations. Axton penned classic tunes such as “Joy To The World,” “Never Been To Spain” and “The Pusher,” of which the first two became huge hits for Three Dog Night, while Steppenwolf’s John Kay put his inimitable spin on the latter tune. All the while, Axton was busy writing more songs and recording his own material. His music ventured from folk to folk-rock in the 1960s and then into country in the 1970s. Omni Recordings, a reissue specialist based in Australia, has brought back Axton’s My Griffin Is Gone, gracing it with an extra 12 tracks: Four are sides from 45s only, the other eight were previously unreleased, including Axton covering Jackson Browne’s “She’s A Flying Thing,” a song never released by Browne himself. Pretty cool.

My Griffin Is Gone was originally issued in 1969, at a time when Axton was dealing with personal demons and watching his friends struggle with drug addiction or recovery from substance abuse. Axton had admittedly entered into an experimental phase with LSD, and the imagery from trips good and bad seem to permeate this record. As well, Axton looked to the Bible for inspiration on tunes such as “Revelations” and “Ten Thousand Sunsets” (one of the bonus tracks), a powerful, sitar-driven plea for love, where Axton asserts, “There really is a God. You can bet your life on it,” with almost religious fervor.

Omni has taken Griffin and put the tracks back in their original running order, opening with the idyllic “Way Before The Time Of Towns,” a floating track with a lush string accompaniment that features a very rich Axton vocal. The arrangements aren’t as complex as many records of the day, but the orchestration does play a large part in fleshing out these songs. Following is “Beelzebub’s Laughter,” a scathing attack on war and its effects on children across the globe. “On The Natural” is Axton’s offer to take a friend to the nurturing outdoors of Colorado, away from the big city and its impersonal trappings. “Sunshine Fields Of Love” sounds like a lost Donovan track, while “Snowblind Friend” is a haunting account of drug dependency. Axton wasn’t all heavy, though, as evidenced by “Speed Trap (I’m The Cop In A Little Bitty Town),” a humorous tale of a small-town badge dedicated to ticket writing and his bank account; still, his demo of “The Pusher” is as bitter as they come. “Morning Star” is a gentle, finger-picked number that sounds like early James Taylor. And that’s the spirit that flows through this release – one of an artist unbounded by convention, expectation or genre. Axton was an artist unto himself, and this reissue brings fully out that sentiment.

  • Share/Bookmark

Psychedelic States: Wisconsin in the ’60s review

\"Wisconsin in the \'60s\"

Wisconsin in the ’60s is the latest installment in Gear Fab RecordsPsychedelic States series (now totaling 17 releases), each showcasing local acts from a specific state. Wisconsin in the ’60s contains 31 tracks from 45 rpms recorded from 1965-69. Most of these bands never broke beyond the Badger State, although some members went on to bigger things, and the labels represented have long since passed. The music is a collage of the prevailing styles of the day, ranging from organ-driven rock to surf and psychedelia.  Understandably, the audio quality varies from song to song and band to band, but it never becomes an obstacle to enjoying the tunes. And that’s what really surprises here: I was expecting, frankly, a bunch of throwaway material that was never re-released because it didn’t warrant such attention. I was wrong. This collection contains some real gems from a few bands that could have gone much farther. One of the standout tracks is The Sunstone Lollypop’s “Never Sad,” which reminds me a bit of The Zombies, with its swirling keyboards and angular melodies and vocals. The song fades out with some cool, fuzzed-out octave guitar lines. The Orbits’ “Fuzzy” is a fun, rockin’ surf instrumental; The Journeymen’s “Realities In Life” sounds like a lost Animals’ track, while No Names’ “Take It From Me” has a lovely Badfinger-esque chorus. I also dig the groove that The Quest lay down on “The Last Days,” and their excellent vocal harmonies; and The Sandmen do bubble-gum pop very well on “You And I.” These are just a few highlights here. I was amazed at how many of these tracks stuck in my head after one listen. Not only is the music fascinating, but also the band histories and labels they recorded for. The excellent liner notes and photos are intriguing, but I also wonder what the studio at Rhinelander’s Hodag Records was like, or what happened to the members of The Blue Boys (listed in the liners as “a complete mystery group”) after they recorded “Hey Ho” in 1966? Part of the fun is the mystery, and Gear Fab is to be commended for bringing such regional delights back to life. If you grew up in Wisconsin in the 1960s, this is a must-have. If not, it’s still highly recommended.

  • Share/Bookmark

 Powered by Max Banner Ads 
Buy VerizonCell Phones and Save. | Thanks to Bank Rates & Reviews, CD Rates and UK Loan