Forgotten Disc Friday

FDF Volume 3 Issue 268 - Bad Religion - Stranger than Fiction

2012-05-25T09:34:00.000-04:00

Album – Stranger than Fiction
Artist – Bad Religion
Key Players - Jay Bentley – bass and backing vocals. Greg Graffin – lead vocals. Brett Gurewitz – guitar and backing vocals. Greg Hetson – guitar. Bobby Schayer – drums and percussion.

Produced By – Andy Wallace and Bad Religion

Release Date – September 6, 1994

What caused me to blow off the dust? - Honestly not sure. Stare at the cd rack every now and then and it comes to you I guess.

Overview – This is the 8th full length studio album from Los Angeles, California band “Bad Religion”.
Formed in 1979 the band blends punk rock but uses multiple vocal harmonies not common within the genre. The socially responsible band would write, record and tour before having slight commercial success when they jumped to a major label. This album would be their highest charting (#87) and would be certified “Gold” (500K sold) by 1998. Gurewitz, one of the founders of the band also founded and owns the record label Epitaph Records, left the band soon after this record citing the label needed more of his time. He has since rejoined the band, which has remained largely intact after all these years. They have sold over 5 million albums worldwide and the album was re-issued in 2009 to coincide with the album's 15th anniversary.

FDF Comments (aka the songs) – We are in and out of this15 track album in a breakneck 38:26. The full band opens up as “Incomplete” gets rolling. The lead guitar comes from guest Wayne Kramer (MC5). Graffin is quick to the punch and the bass of Bentley is right up on the mix. The chorus finds that great multilayer harmony which is really refreshing. The full band just is on a roll and sounds to be having a lot of fun. Hetson, Gurewitz give even more of the guitar wall and Schayer keeps the timing spot on. Before the second chorus Bentley seems to take off and then steps aside for Kramer's solo. A bit over two minutes is the norm and we are right back at it on “Leave Mine to Me”. Here the drums from Schayer are really punched up. He fires along with Gurewitz and Bentley before Graffin begins to sing. The band does a solid job of mixing up the break downs and time signatures which is great. The “big” single (for me at least) comes in the frantic “Stranger than Fiction”. Graffin pushes himself right along as Schayer seems to find a very comfortable place on the snare. The guitars are kept to big the riffs and again we get the nice harmonies (for a punk rock song) on the chorus. Coming out of the second verse the band shifts gears and has Schayer takes the lead but Bentley has some big bass fills as the guitars all swell and we get another great attack of the chorus and it wraps up. Stand out track. The pace is really up as “Tiny Voices” takes off. The guitars from Gurewitz and Hetson battle while Schayer continues to attack his kit. Graffin has that perfect “punk rock” voice. Just the great blend of range with a gruff sound that gives it that even more urgent feel. This is another good example of the bands strong harmonies on the chorus. “The Handshake” has the dual guitar attack before Bentley and Schayer join. Graffin is focused on the lyrics and the guys are always eager to help on the backing vocals. Gurewitz takes the first lengthy guitar solo, but it is hardly 20 seconds long, but its a guitar solo none the less. The band comes back around and the song wraps up. Schayer is quick on the kit as “Better off Dead” starts. Graffin is still “urgent” but seems a little more hushed, or as hushed as you can be in a punk rock song. Clocking in at 4:08 the track “Infected” is the longest track on the record by over a minute (or very close to). The single buzzy guitar intro is met with a second and then Bentley and Schayer come in. Hetson and Gurewitz seem to know each other very well on the record and never seem to step on each other. One takes the choppy attack and the other gives the chords. Graffin begins to sing and the track is a little “mellow” for the feel of the record, but the structure and just presentation of the track are solid. Showcasing the band is able to do far more than one might expect. Tim Armstrong (Rancid) sings the lead vocals on “Television” The song was co-written by Concrete Blonde's Johnette Napolitano and Gurewitz. The track is a punk rock attack on the ears, this is fast and furious. “Individual” follows suit, with the breakneck beat dropped by Schayer. Hetson and Gurewitz continue to shine, but Bentley seems too hushed on this track. All that aside, it moves right along. It sounds a bit like and extension as “Hooray for Me” just comes right out at the listener. The listener will be exhausted just listening to the tempo that Schayer puts down. The guitars and bass are right there, really getting the listener to move along. Bentley has that nice punk rock bass “ring” you get from time to time and Graffin sings at a machine gun pace. “Slumber” opens a far slower than any tracks. After the first verse is sung the bass and drums seem to come up more, but until the chorus its pretty held back. The bass sounds great on the track and Schayer seems okay with sharing being the key instrument during the passes on the verses. There is another short guitar solo on this track as well. We get right back to the punk rock urgency as “Marked” goes. On this track Jim Lindberg of Pennywise helps out on backing vocals. By this point we get what the band can do, and they do it well. This is another example. We hardly feel in to that song when it ends and “Inner Logic” takes off. Bentley is a bit more of the leader on this along with Schayer. Gurewitz and Hetson come in at the right time and we get another great set of harmonies on the chorus. “What It Is” feels similar to the prior track with the solid bass and drum work. Closing out the album is “21st Century (Digital Boy) a slow builder of a track. Schayer attacks his cymbals and tom toms. Bentley gives big single bass notes as Gurewitz and Hetson also find their place. The chorus is a solid example yet again of how they handle the vocals. A very solid album closer.

Where are they now? Graffin, Gurewitz, Bentley and Henson are still with the band. In 2011 the band stated they'd record a new record for 2012 but have hinted that this will be their final album.

FDF Personal Comments (aka the Live experience) – Surprised to admit, I haven't seen them live.

FDF Overall Take - When one thinks punk rock they think 2 minute songs, with a lot of yelling and not much else. Bad Religion is just the opposite. Sure they attack it, and attack it hard, but the solid mix and harmonies of the band members are really solid. We can have a music fast, and seemingly “angry” but why not have it be a little complex and interesting. If the band is really “done” I need to get my act together and see them, and so should you. This record is easy to find and if you listened to “alternative” radio you'll know at least 2 of these tunes, and probably more.

Links
Official Site
Facebook
Twitter
Myspace

Curious? Check out some MUSIC!

Stranger Than Fiction

Stranger than Fiction Live.

21st Century Digital Boy

Infected (Live Version)

Buy It!!!

Disclaimer – I am just a music fan. Feel free to comment about something that may be written incorrectly about the band/members etc. I strive to have a fun and enjoyable site. This site used to post mp3s but ran in to many issues. The audio clips provided are usually from YouTube. No copywrite infringement is intended. Please alert me if something should be pulled. Finally, support the artist featured, or your favorite artist by purchasing their music, seeing their shows if possible and saying hi. They need your support.

FDF Volume 3 Issue 267 - Fishbone - The Reality of My Surroundings

2012-05-18T08:00:00.000-04:00

Album – The Reality of My Surroundings
Artist - Fishbone
Key Players - John Bigham – guitar, keyboards. Phillip “Fish” Fisher – drums. Kendall Jones – lead guitar, vocals. John Norwood Fisher – bass guitar, vocals. Walter A. Kibby – trumpet, vocals.
Chris Dowd – keyboards, trombone, vocals. Angelo Moore – saxophone, vocals.

Produced By - Fishbone

Release Date – April 23, 1991

What caused me to blow off the dust? - The documentary on the band “Everyday Sunshine”. Watch the trailer for yourself - here

Overview – This is the third full length album from Los Angeles California band Fishbone. The band, who blends funk metal with alternative rock and ska are known for their wild stage shows as they are for their social commentary. Formed in 1979 the band has had their shares of ups and downs and this record was the bands most successful record peaking at #49 on the Billboard charts and allowing them to preform on Saturday Night Live and The Arsenio Hall show. Line up changes and issues with label as well as some internal struggles found the band fractured at times but they continue to make records and tour.

FDF Comments (aka the songs) – (since there are 2 Fishers I'll call Phil “Fish” as he goes by and John by his first name).

“Fight the Youth” opens the 59 minute 18 track album with some big guitars and fast runs played. The keyboards from Dowd work with the guitars before the Fish gets the drums. Fisher is up in the mix on the bass which stands out. The vocals are all shared and it has a nice big full sound. The guitars have some solid bursts, but the horns are silenced until later in the track when there is a great guitar solo that fires off the Fisher bass fills and horns ring out with it. The solos are short and the full band comes back in for another run at the chorus. Fish loves his ride cymbal and it gets a solid workout for the duration. The tempos change often and the track is very entertaining showcasing many of the bands talents with a fun Kibby and Dowd session at the end of the track before the lengthy fade. “If I Were A I'd” is the first of a series of less than one minute tracks (this one is 0:54). One this one it is a short (appears to be culled from a live show) horn bass and drum interlude and then Moore sings at breakneck speed until it ends. “So Many Millions” has Fish starting it all off and Moore, Dowd and Kibby blast the horns. It lays in the funk groove with the guitars from Bigham and Jones chopping over the top. There is more than one singer again, most tucked towards the back for call and response type verses. Dowd has the keyboard in piano mode and Fisher offers a very solid bass line. Once more the band is very tight. Seeming to start and stop on a dime, then coming back full bore. Jones starts his guitar solo late in the track but it comes off strong and is just the right length allowing Fish to take control and wrap the track up with the full band smoking along. “Asswhippin'” is an instrumental clocking in at a short 40 seconds. Heavily percussion based it just has whip sounds and screams otherwise. Dowd gets the ska feeling “Housework” underway. Kibby offers the trumpet and your toes start tapping. The pace is quick and it is hard to sit still with this fun, tropical feeling track. Fish and Fisher are the solid as expected back beats and then the horns all get their turn. The trombone from Dowd is strong while Moore and Kibby each wait their turn. It all comes together for a big swelling finish. “Death March” is 30 second track that sounds like an old record and some horns playing, largely saxophones. Dowd has an elaborate keyboard intro on “Behaviour Control Technician” and it just erupts. Everyone is in on this. The horns chop through the bass and drums. The two guitars find the funky groove. The vocals are once more largely shared with the guys. There is a lot to listen to on the track, you want the horns to play even longer and louder, the bass to somehow even be more funky and the guitars to really battle it out. The good news is you won't be upset, it is all going on. Excluding the instrumental tracks this is the shortest “song” up to this point and you do wish it went on longer. We get another “If I Were A..I'd” to follow (29 seconds this time) and again it culls from a live track with stage banter before the burst of music. Moore sings “Pressure” right at the start of said song a few times over. The band works to get rolling and it blasts forward with a punk feel. The pace is quick with Fish really rolling the drums quickly. After a bit it settles down some and Fisher is tight on the bass as it seems to be chaotic elsewhere. It is the most erratic song on the record. We take a poetic approach as “Junkies Prayer” begins. Two voices work through a rhyme as random sounds phase from one side to the next. It gets confusing with the two lines going (one is on the left, other on right). The full band is once again all in as “Pray to the Junkiemaker” begins. The track seems to be a little less focused but the rap a tap from the drums pushes things forward. The horns are once again full bore which is nice. One of the biggest songs from the band comes next in “Everyday Sunshine”. Opening with a blast of horns after a Fish lead drum attack. Bigham and Jones have some great effects on their guitars. The song gives you a great warm/sunny day feel. Fishers bass continues to really stand out. When the band is all going, on tracks like this, you get to full appreciate them. As the track speeds up and gets some cool time signatures towards the end...you'll get it. The third of four “If I Were A...I'd” tracks is much of the same, short live stage banter and a jam (29 seconds this time). Poppin off the bass “Naz-Tee May'en” lays down the funk and you get the power of the horns. The band all takes turns singing and its a deep funk track, really really solid stuff. Fisher is the focus here, and you'll notice, he rips it. “Babyhead” has a bit more of the slow build with Dowd and Fish slowly getting things going before the vocals begin. The song gets rowdy at times, but seems to maintain an even keel for the duration. The final of the four “If I Were A..I'd” (53 seconds) and its much the same.
“Those Days are Gone” has Bigham and Jones battling at the start and Fish getting things back in order.. Fisher sets the bar and Fish taps out the simple time. There is a lot of vocal blending with hushed backing vocals to the push of the lead. The song that had be get the album in the first place is the song that wraps it all up. “Sunless Saturday” opens with a quickly played acoustic guitar and then it all rumbles together. Dowd has a lot of keyboard work and they set in to almost “metal mode”. Fish hits the drums like they owe him money and Fisher is just in top form with some deep tones. Once we hit the guitar solo, the first and really only stand out guitar solo on the record, Jones runs some cool effect that has his guitar seemingly triplicate the note and phase them all at once. I haven't a clue what effect is used, but it rules. It makes it sounds like he plays a mach speed. As the solo concludes its back to the races and the band is locked in for a thunderous conclusion. See for yourself in the clips below. The acoustic guitar from the intro returns and Kibby blasts out a ringing trumpet and it ends.

Where are they now? - The last studio record by the band was “Crazy Glue” released in October of 2011. Moore, John Fisher and Kibby (who left at one point) are still with Fishbone.Dowd left the band in late 1993 after the band was dropped by Sony. Read more about what he has been up to (and is up to) and his thoughts on getting back with Fishbone here Bigham left the band in 1998 to work on his own material and formed “The Soul of John Black”. Philip Fisher also left the band in 1998. He has played drums with Justin Timberlake to Les Claypool. He is currently in the band Wicked Wisdom. Jones has/had and interesting story. Though to be suffering from mental issues he appeared to have been brainwashed by a family member and was a devout person of god. John Norwood Fisher tracked him down and was charged with kidnapping, all a very bizarre and sad story. Jones, at least in the documentary had come back around and played with the band again.

FDF Personal Comments (aka the Live experience) – The only time I saw the band live was part of the Lollapaloosa tour. July 17, 1993. It was a rowdy and fun set from the band during the peak of the day so many couldn't keep up in the heat.

FDF Overall Take - This record has aged very well. It is a very heavy funky record. It really has something for every taste. I could do with out the short stage banter tracks, but they do break up the album pretty good. Watach the documentary and then grab this cd, really..its okay. Do it.

Links

The bands site

The Soul Of John Black

Phil Fisher

Curious? Check out some MUSIC!

Sunless Saturday from Arsenio Hall

The same tune but this is from Saturday Night Live

Everyday Sunshine (Official Video)

You can still find the record here

FDF Volume 3 Issue 266 - Asia : Asia

2012-05-11T06:59:00.000-04:00

Album - Asia
Artist - Asia
Key Players – Geoffrey Downes – keyboards and vocals. Steve Howe – guitar and vocals. Carl Palmer – drums and percussion. John Wetton – lead vocals, bass guitar

Produced By – Mike Stone

Release Date – March 1982

What caused me to blow off the dust? - I heard the tail end of “Heat of the Moment” on satellite radio.

Overview – This is the debut album from the UK super group “Asia”. Formed in 1981 the bands four members each game from veteran bands. Wetton was Roxy Music and King Crimson (to name a few) Howe from the band “Yes”. Downes was also in “Yes” as well as “The Buggles”, while Palmer is most well know as part of “Emerson Lake and Palmer”. The band was formed after the demise of bands like Yes and ELP so there were many musicians qualified for this super group that was the idea of an A+R man. It was released to mixed reviews with the critics but rock fans took to the album. The album would sell over 10 Million copies worldwide and the album would go to #1 in the US and was the best selling album of 1982. By the end of 1983 Wetton was forced out of the group and the band continued on with limited success. By 1986 the band folded...or did they?

FDF Comments (aka the songs) – The nine song 44 minute album opens with the bands biggest single
“Heat of the Moment” (peak at #4). Howe plays the big arena rock chord riffs before Downes Palmer and Wetton hit on the downbeats. Wetton has a powerful voice that pulls your right in. The vocals are just sung over the lone guitar and some hi-hat strikes. After the second verse the band has a breakdown with Downes running across the keyboard and Wetton on bass strikes before the final verse gets underway. The chorus' have a nice blend of the backing and lead vocals with Palmer often thundering across his drum kit. Howe takes a second short solo as the song starts to fade out and Palmer is quick on his drum rolls and even the bass seems to come back up in the mix. They take a final run at the chorus and it fades out. Another charting single for the band follows in “Only Time Will Tell”. Downes has a keyboard intro then Palmer comes in and it all builds like a big 80's stadium rock song. When the vocals being it all calms down and has a bit of a ballad feel. Wetton once again is in fine form and his voice is perfect for the band sound. As the track hits the chorus the full band comes together and then there is a choppy instrumental burst before the band comes back together for the second verse. The song continues with the same formula foregoing any lengthy solos by the band members and with that the track fades out. The whole band clamors together as “Sole Survivor” gets underway. They seem to step aside or Palmer and Downes to take the track in the melody direction. Howe has a few short bursts on the guitar before Wetton begins to sing. Early on Wetton hits a pretty high vocal note and seems to handle it well with out much wavering. The mix seems to be keen towards Palmer and his cymbal strikes and Howe gets to show off some on the guitar. “One Step Closer” also has Downes at the intro and for the first time the band does seem to have have “prog rock” feel with some great drum work from Palmer. The vocals seem to be a lot slower and the band more focused on the delivery of the vocals. The keyboards feel a bit dated here and you'd be reaching for your jean jacket and lighter for the encore. Downes seems to rotate to piano at times as well taking some of the electric feel off it. Howe has his first lengthy solo on this track as well. “Time Again” finds the three opening up strong and then fading some with a colossal gong from Palmer. It takes a moment then it seem to really “chug” along. Hate to use that word, but again we are getting in to the mid section of the record and the prog influences are flowing. The track remains vocal free for over the first minute. After the second verse the band gets a good run. Seeming to jam and be open to taking the track outwards. Howe has a decent solo with Palmer really keeping a tight hold on things. Downes rotates between piano and keyboards and back. “Wildest Dreams” finds Downes and Palmer locking horns with Howe playing the guitar over it all. The vocal chant at one point is different for the band, but Wetton still shines. Palmer then gets his turn rumbling across with kit with Downes giving big booming notes to accent the drum hits. “Without You” starts of quiet and slowly with Downes the lone player. Wetton begins the vocals and Palmer seems to back off from the kit some, but then it all crashes down. The big moment doesn't keep the tempo up, it just is “louder”. Downes seems to be the focus on this track with the heavily accented keyboards and Palmer is up to the challenge keeping the track tight. Howe solos and Palmer finds his tom toms compliment the same lengthy run that Downes does.“Cutting it Fine” finds Howe on acoustic guitar and then Downes matching him note for note on a sound that harkens to mid evil times. The drums get it back to the prog feel and the everyone seems to be on board. Palmer is an outstanding drummer using his drum kit to the full potential. Howe and Downes come back around with the same progression as the intro and there are solid backing vocals and harmonies. Wrapping up the album is the track “Here Comes the Feeling” which finds Wetton tossing out big bass notes, and this is first time I've really noticed the bass. Palmer, Downes and Howe all seem to gel early and the track is a good representation of what they are about in the prog rock breaks and big keyboard runs. The harmonies are strong as expected. A solid closer.

Where are they now? - Okay...I'll do my best here. There ended up being two versions of the band. One was lead by Downes and new singer/bassist John Payne. They'd see a revolving door of musicians help in the studio and on tour. Wetton and Downes had another version of the band but that dissolved by 2006. There are two versions as noted, Asia featuring John Payne and then “Asia” (they go by “originalasia” on the web). With all that, the “original four” have reformed. They have recorded a new album to coincide with their 30th Anniversary. Called “XXX” it is due in stores on July 2nd (Europe). You can check out the extensive list of performers and time lines on their very well maintained wiki page.

FDF Personal Comments (aka the Live experience) – I have not seen the band live.

FDF Overall Take – There is no lack of talent in this band that is for sure. One needs to remember it was released at the time of “arena rock” with Journey, Styx etc. It feels campy at time, but the skill set is there for some shining moments. A “best of” collection might suit most, but this is a perfect time capsule capture of the music of the early 1980's to me personally.

Links

Get caught up using the official site here

Curious? Check out some MUSIC!

Heat of the Moment official video

Live version of Heat of the Moment

Only Time Will Tell

You can track down the record
at amazon.com

FDF Volume 3 - Issue 265 - Paw : Dragline

2012-05-04T08:00:00.000-04:00

Album - Dragline

Artist - Paw
Key Players – Charles Bryan – bass. Peter Fitch – drums. Grant Fitch – guitars. Mark Hennessy – vocals.
Produced By - Mr. Colson and Paw

Release Date - 1993

What caused me to blow off the dust? - I was actually in a local record shop and saw this cd just sitting at the end of a section. I was pretty sure I had it, so I made a mental note..and sure enough.

Overview – Formed in 1990 in Lawrence Kansas and blended “grunge” and southern rock at just the right time. A+M Records singed them to a three record deal after they were billed as the “next Nirvana”. The hype would be decent on the first record (this one here) and even though the second record was considered “better” by critics it fizzled and the band was dropped before their third album of the contract. They'd disband is 2000 but have since done a few shows in 2008.

FDF Comments (aka the songs) – Since two members share the same name I'll use their first (Grant on guitar and Peter on drums). “Gasoline” is a slow build track but then it takes off. Hennessy has a rough howl to his voice and Bryan and Grant seem to feed off each other. Peter wants to get everyone moving and they tend to join in and push it forward. They have a bridge after the second verse before the chorus which is a good change from the straight rock fee. The vocals fit the music style and the grunge/heavy metal of the time. At one point there is another breakdown and Hennessy speaks the lyrics before the band comes back in and Grant gets a solo. “Sleeping Bag” has another big intro. Hennessy is quick on this vocals. The bass work from Bryan is a bit more up in the mix. The track moves along nicely and then there is a longer acoustic guitar interlude where everyone takes a step back, but the band comes roaring back in at the bark of Hennessy. The single that most would know comes in the track “Jessie” a guitar buzz fest that chugs along like a train. Hennessy barks the vocals, but cuts back some when the chorus comes around. The track has a unique twist when there is a slide guitar section that is brought to the forefront. Even when Hennessy is singing at his most aggressive you can still hear it clearly. The tracks continue to be on the short side. Quick and to the point with “The Bridge” being no exception. Grant and Peter work together as Bryan is quick to be included and the vocals begin. Hennessy doesn’t have a remarkable range, but per the norm the style of this vocal is fine for the music that is played. There is a phased out guitar section that is played a little quicker after the final verse is sung, before the chorus comes back. Grant holds the sustain over the chorus and it is layerd with a second guitar for an even bigger conclusion. Things seem to be the same on tracks like
“Couldn't Know” and “Pansy”. Couldn't Know has a longer guitar solo on the back and Pansy has a rumbling drum intro from Peter. Grant doesn't want to be out done so he comes in and Bryan wants to play too so the track takes off. You are in full rock mode. Bryan stands alone at the start of “Lolita” with a bass line that has a nice punch to it. Grant and Peter join in and Hennessy seems to be a little more laid back when he is singing. The verse is sung and even before a chorus arrives the band comes in full, but it takes the chorus for them to take off. The band has found a good mix of quiet and loud on the track and it has a good full feel and pointed sound, “Dragline” has a far more erratic chopping intro before the band gets rolling. It is not long to get rolling and Hennessy seems to be full of angst on the track and there is a good wall of guitar used, but the mix of the acoustic guitar later in the track is a solid touch. The guitar is a bit more subtle at the start of “Veronica” that is until the chorus arrives when Bryan, Grant and Peter all meet in the middle and hit it down hard. Once again the band seems to be willing to mix it up with the quiet to loud approach but still having it feel and sound good. “One More Bottle” is more with the feel of other tracks, a straight forward rocking number while guitars once again reign supreme as “Sugarcane” rumbles from the headphones. Peter gives his drum kit a good work out and he seems to find a solid pocket with Grant. The album concludes with the track “Hard Pig”. Bryan takes the lead on the bass before Grant gives short bursts on the guitar. This sounds and feels like a grunge tune with the big guitars and the strong vocals from Hennessy. The band does a little bit of the spoken lyrics again, but the band is a bit too urgent and noisy for that to last too long. A decent closer with a longer drawn out wall of sound.

Where are they now? - Grant Fitch and Peter Fitch still write and perform music under various monikers.. Grant in a band called “The New Franklin Panthers” who have a release out. Peter works out of Las Vegas. Hennessy still performs music and has released a book of poetry. In the wildest “who would have thunk it” moment Bryan became the “the fastest human in suborbital freefall” hitting a speed of 327mph in 1997.
(Read about the dive)

FDF Personal Comments (aka the Live experience) – I actually saw the band live. The Paradise on May 4, 1994. I recall “Jessie” being a real strong stand out and the hype machine was rolling. The band appeared to be pretty buzzed on stage, but I don't recall them floundering much, if at all. Also I realize that this was review was posted 18 years to the day of the show. Hot diggity!

FDF Overall Take – After listening for the first time in a long time I found I hadn't missed it all that much. Sure there are some moments but it feels very much the same for the duration. Perhaps that is the case with the genre but barring a few bursts here and there the album as a whole didn't take me back in time, or have me longing for their other records. Not a terrible record, but it hasn't aged the best.

Links
The band on myspace
Facebook page

Curious? Check out some MUSIC!

Dragline

Sugarcane

Jessie

Buy from amazon

FDF Volume 3 Issue 264 - Men at Work - Cargo

2012-04-27T07:05:00.000-04:00

Album - Cargo
Artist – Men at Work
Key Players – Jerry Speiser – drums and backing vocals. Ron Strykert – guitar, backing vocals, lead vocals on”Setttle Down My Boy”. Colin Hay – guitar, lead vocals, synclavier. Greg Ham – flute, keyboard, saxophone, backing vocals, lead vocals on “I Like To”. John Rees – bass and backing vocals.
Produced By - Peter McIan

Release Date – June 28, 1983

What caused me to blow off the dust? - I have to admit, it was the death of Greg Ham Overview - This is the second album from the Australian band “Men at Work”. The album would have four singles released. It was a critical follow up to their massivly popular debut (Business as Usual). Formed in late 1978 the band would toil around some and add members before forming as a “unit” the following year. The bands debut would actually be rejected by the label twice in America, but touring and persistence of the management team had the record released. They'd be rewarded for their hard work and receive the Grammy Award for Best new Artist (A first for an Australian act) in 1983. Cargo was already completed, but held back due to the success of the debut. The band would release another album and disband by 1986.

FDF Comments (aka the songs) - “Dr Heckyll & Mr Jive” opens the record with a slow fade up and a clock bell tower ring. It quickly jumps in and the band finds their poppy bounce. Hay doesn't try to hide his accent and you can quickly hear the strong bass line from Rees. The guitars and drums are all held back some. This was one of the four singles released to radio and it has that sound that fans of their previous ablum would be comfortable with. The band is tight with good harmonies and solid mix on the instruments. There is a short instrumental section before the verse returns as well as an additional run at the chorus. One of the bigger singles “Overkill” follows. This track would peak at #3 on the top 100 (the highest charting single). Ham is a strong component on the track with the sax playing off the drums. Not to be left out though is the solid bass line from Rees and the quick guitar chords from Strykert. Ham has the sax be far more in the front on this track running a few notes at the after the first line of the chorus. Strykert gets a longer electirc guitar solo while the others seem to ease in to the back. After the guitar Ham gets his run at the solo before the verse comes back. Hay sounds great with a nice baritone, but pushes himself up in range after the solo to push the track further. Strykert takes the lead vocal duties on “Settle Down My Boy”. Rees has some bass work more up in the mix. Strykert has a fine lead vocal “voice”. His accent doesn't seem as obvious as the tracks from Hay. The track has a light feel to it with a solid backbeat pushing the band forward. Everyone, again, seems to be comfortable with their roles. Hay and Strykert have a nice section of harmonies before the guitar solo comes in, sounding almost flamenco at times. Ham has a great solo, albeit it very short at the end before the harmonies come in again. A very solid “deep track” with Ham taking off at the end. “Upstairs In My House” is another track with a slower and quiet fade up. It lasts about 30 seconds before Ress and Speiser seem to want to get things moving. As the vocals start its a bit quicker than other tracks, but other than the speed of Hay and Speiser things seem to be the norm for the band. Hay seems to push himself with his range on the chorus and they are short lines, saying on the song title and nothing furher. Upstairs is held for a bit, 16 or more beats worth. Strykert takes a guitar solo that is just the right length, not over playing and keeping things moving. Hay really goes up on the final few runs, a really solid “eye opening” track. Top notch. Strykert plays a few notes and “No Sign of Yesterday” begins. Hay joins in after a few bars, but it just the two of them. After a verse Rees and Speiser join in. The track continues to be slower with the focus on the vocals. The song is nothing too crazy and then suddenly Strykert comes in with a big guitar solo. Its not fast, but the overall sound is sort of that big “dramatic” slow note type solo. Speiser does some big rolls across his kit, and Ham rings out on the sax and even Rees comes along. It sounds like it would be a live set closer, which it may have been? Another one of the bigger singles from the record comes in “It's A Mistake”, this too would crack the top 10 (peak #6). Strykert plays a few short notes before Rees compliments on the bass and then the band all comes in. You can hear the smile in Hay's voice on the track. Rees is rock solid on the bass allowing Strykert to punch out a few strong chords during the chorus. A very solid example of the bands compitence. Excellent choice for a single. “High Wire” is another one of the four singles released. This charted on the “mainstream” chart vs the hot 100. This has more of a big rock sound again, with the full band taking off from the start. Speiser gives the drum kit a good workout and the vocals working with the layers of horns from Ham are solid. Ham starts right up as “Blue For You” begins. We are much more laid back, almost with the reggae feel on the track. It is not bad track, and as it played I just sort of listened. Nothing really strood out. Greg Ham takes the lead vocals on “I Like To”. This has that early 80's sound. That makes little sense when the record you are speaking of came out in 1983, but if you heard for the fist time you'd say “okay what 80's band is this?” Not a band thing to say, it just has that sort of pop and speedy backbeat to move things along. There is an odd guitar solo, mostly high up on the neck. Sounds a little campy but the band seems to gel on it just fine before the solo gets a better direction if you will. The song really seems to speed up and then comes to a crashing finish. The album concludes with “No Restrictions”* This has that big 80's feel as well with the guitar sound and electric drums. Hay's vocals seem to have a little effect thrown in on them. The speed on the track is right up there and the band is all but willing to play along at the speed. Ham has his most “up front” flute solo on this track. It adds a great touch and you want it to be longer. It has a quick tempo change, then it ends.

*there was a re-issue of the album in 2003 which includes 5 additional tracks.

Where are they now? - Extensive touring took a toll on the band. Speiser and Rees were let go by the management and Strykert followed later. The band would dissolve in 1986. Ham and Hay would reform the group and tour in 1996. Strykert released a solo record in 2009 called “Paradise”. Rees is a music teacher in Melbournse. Speiser plays drums for the band “The Afterburner”. Colin Hay has continued to write and perform live as a solo artist. He also played woth Ringo Starr in his All-Star Band. Greg Ham passed away on April 19, 2012.

FDF Personal Comments (aka the Live experience) – I never saw the band live.

FDF Overall Take – I recall in the early days of the compact disc it was hard to find the “less” popular cds. My girlfriend at the time wanted this on cd and we looked at many places. I would ask her “don't you mean you want Business as Usual?” and she'd say “No..I am sure its Cargo that I want”. I couldn't understand it then, but listening now I get it. There are some really strong moments here. Cast off for whatever reasons as just an 80's nostalgia act it is a shame. I've been hearing great things about the solo Colin Hay stuff as well has his shows. I really think its time I smarten up. All that aside, these guys are talented and write a decent song that doesn't sound dated. Well worth tracking their stuff down, its all in the “cheap” bin so treat yourself.

Links
The band on myspace
Colin Hayofficial site

Curious? Check out some MUSIC! Upstairs at My House (Live) before the album was out Upstairs at My House (studio) Highwire (audio only) High Wire (sort of bad audio) official video Overkill (just because/Colin Hay solo acoustic) You can still track down the record here.

2012-04-25T13:31:00.001-04:00

Sorry in advance..blooger made some changes and I am not sure how formats will be once we are live. There might need to be some edits. Hope you will hang tight while we work though things. Thanks!

FDF Volume 3 Issue 263 - High on Fire - The Art of Self Defense

2012-04-20T08:00:00.003-04:00

Album – The Art of Self Defense
Artist – High on Fire
Key Players - Des Kensel – Drums. George Rice – Bass. Matt Pike – Guitar, Vocals.
Produced By – High on Fire and Billy Anderson

Release Date – March 7, 2000

What caused me to blow off the dust? - The band released a decent new record and I wanted to go back to listen the older stuff.

Overview – This is the debut album from Oakland, California band High On Fire. After Matt Pikes band “Sleep” dissolved he went on to form High on Fire. Blending heavy metal, with a little of stoner, sludge and doom the band would release a series of records and tour. The band has remained a three piece since its inception.

FDF Comments (aka the songs) - The six song album (yes its a full length) starts with “Baghdad” in which Pike sets the buzzy tone with overdubbed guitars. Kensel finds the floor toms for the heavy bottom and Rice has a deep crunchy bass. Pike doesn't have much of a vocal range. It's gruff and he doesn't break out of the shell too much. He will go higher on the chorus, but you can tell he is straining. Doing this just makes it heavier and darker. The riffs are big. Real big. The tempo is surprisingly moderate for the weight of the tune with Kensel really finding the deep bottom of this tom toms. Pike takes a run at a solo and it is a decent length that is neither too fast, nor too busy. It comes back to the big buzzy guitar of the intro for a good round off point. A decent solo for the track. “10,000 Years” starts almost with no fade of the prior track. Kensel takes the lead on a slow rolling drum line before Rice joins. His bass seems to find the lowest of the low range and Pike works up over the top before he steps on the overdrive and the guitar gets going. When there are vocals they are short verses, leaving more room for the big wall of sound. Nearing the three minute mark Rice and Pike seem to find one another and the bass has a cleaner punch to it. Kensel just slaps the snare and the band roars back to attention finding those big swampy riffs. They seem to like the riff as they sit on it for a little too long before Pike takes a run at a solo. Kensel and Rice are not to be out done holding everything down tightly. “Blood From Zion” has the slow, swirly then buzzy build up. Kensel rings off the cymbals before the band bears down and takes off. The drum line is a little robotic, but it holds things together as Pike is busy throwing out big riffs as always. Rice has the same line on the bass so he is a little buried until they come out of the verses. About the two minute mark the band changes direction ever so slightly and you can hear Rice go one way as Pike goes the other, only to meet a few bars later. It is a nice break for the guys to show some diversity. You are up against a big wall of sound, and it is easy to get lost in just that “sound” so when things break out it can be refreshing. It keeps right on going as “Last” is up quickly. The band hardly seems to have broken stride and the feel continues to be heavy. The cool part (at least to me) is that music can be heavy like this, but not this fast, over the top double bass drum speed stuff. Its just HEAVY. You want to take a shower after listening to these tunes. Also, you get to think of the times where you hear these trios and wonder how the heck so much noise can be made. Pike really seems to shine on this track with what appears to be his longest, and most complex guitar solo. Rice is the lone player as “Fireface” starts. Striking out a few notes at a time, a progression he follows for the first minute or more of the song before Kensel hits the bass and floor tom with a thunderous “thud” and Rice goes back to his progression. Pike can be heard slowly swirling in the back then it all takes off, but not until two minutes in. The guitars buzz in and out of the bass line from Rice. There are few sections of instrumental breakdown which is always a plus leaving each member on their own. They go for the big downbeat chords and drum strikes over and over before coming to the big rock finish. The record concludes with “Master of Fists” and it finds Pike as the lead doing the slow build and then the band joins in. Pike sounds particularly gruff on the intro to the track. It is another slow burner, really dark and Rice and Kensel keep the thunder rumbles as Pike heads to the solo. After the solo the vocals come back and Pike howls even more aggressively. You can hear his throat seemingly shred to pieces. Pike solos again and the bass level rises up so you can hear more of the melody from Rice.

Where are they now? - The band is still active having just released “De Vermis Mysteriis” on April 3rd. Des and Mike have been constant members. Rice left the band after touring for the follow up (Surrounded by Thieves).

FDF Personal Comments (aka the Live experience) – Actually seen the band four times. The first was June 28, 2000 at the Linewood Grill in Boston. The funniest point of the night was right before taking the stage, Matt Pike took the mic and said “I am going to go outside and get stoned before we start to play...so come join me”. It was a solid, and very loud set. Took me six years to get to them again when I saw them at the Living Room in Providence on February 4, 2006. By this point it seemed like High On Fire was always playing multi band bills. This night there were four. I did enjoy Big Business, but don't recall much else, other than a fairly tame audience. October 12, 2007 was back at the Living Room to see them again. Again, a multi band bill, but they key on this Mono, a band from Japan that I really like was on the bill. (review I had done for the show can be found here). The last time was December 7, 2009 at the House of Blues in Boston, on support for Mastodon/Dethlok tour. They were great, playing to those that showed up. (Review for that one can be found here). I also swear this is one other time, with them opening for Nashville Pussy, but I don't see the date in my file.

FDF Overall Take – This might not be up your alley as an every day listen, but, if you like some heavy swampy rock and roll, this is for you. I'll be first to admit that Pike doesn't have the best voice (but hey does Bob Dylan?) its all in the music and vibe of the band. Worth checking out and if you get a chance to see them live its usually pretty darn tight.

Links
Get info on it all via the bands web site
Listen to some on myspace
Like em on Facebook

Curious? Check out some MUSIC!

Blood From Zion (Studio version)

Blood From Zion (live)

Last (studio)

Baghdad

Grab the cd
here.

FDF Volume 3 Issue 262 - The Jesus and Mary Chain - Honey's Dead

2012-04-13T08:00:00.003-04:00

Album – Honey's Dead
Artist – The Jesus and Mary Chain
Key Players – Jim Reid - vocals and guitar. William Reid – vocals and guitar. Steve Monti – drums and percussion
Produced By – William and Jim Reid.

Release Date – March 23, 1992

What caused me to blow off the dust? I heard the track "Head On" (actually the Pixies cover) and I realized it had been a long while.

Overview – This is the fourth studio album from the Scottish band The Jesus and Mary Chain. The band (brothers Jim and William Reid) began playing in 1983. There are various reports on where the band got their name, ranging from a movie to a “prize” you could mail in for off a box of cereal. The band would write and perform (sometimes not even asked to do so) they'd release their first single in 1984. The band would gain notoriety for loud, short and violent filled shows. Over time they'd release more records and “calm down” a lot. The band would break up, but have since re-formed.

FDF Comments (aka the songs) – Since the brothers both sing and both play guitar I'll use first names. Also after the song names if “blank” Jim had the lead vocals. William for example sings on track 4 (Almost Gold) so I've indicated as well to them singing. The album opens with a controversial track “Reverence”. The lyrics “I want to die like Jesus Christ” and “I just want to die like JFK” got the single banned in the UK. The track is heavily fuzzed out with drummer Monti keeping a steady pace but the brothers just hit you will the swirling wall of guitar. Jim has a fitting voice for the vibe of the band. Slightly nasal, and not a ton of range, but perfectly fitting. There is a longer guitar solo, one keeps the steady pace as the second takes over. The tracks machine like drumming remains a constant through out. “Teenage Lust” seems a little slower tempo wise, but still very dark. Monti is slower on the drum strikes and the guitar has a deeper bass feel, but still full of fuzz. The band seems to find a groove as the chorus approaches with bigger chords and more of a full sound vs the singular buzzy guitars working over the drums. “Far Gone and Out” is a track that found its way to radio. A quick track that has just the right mix of the fuzz and melody that make a solid track. One guitar has a fair more 'bright' sound to it as it rings off the top of the buzzy guitar that maintains the bottom The drums are accented with more percussion than prior tracks. We are even more “mellow” on the track
“Almost Gold” (William). The band is much less rushed and the instruments each seem to stand on their own not relying on such a “wall” of sonic sound. Nice to hear the band seem to try different things. “Sugar Ray” returns to more of the fuzz of earlier tracks. One guitar seems to sound like a siren while the other meshes with the drums for a seamless back end. The track is not overly quick, but feel “sonic” at times, just hammering the listener with the walls of sound. The vocals come right out of the gate as “Tumbledown” starts. Keeping with the vibe of the “Jim” speedier” fuzzy tracks it has a faster, almost “industrial” type feel at times. They actually seem to have enough fun they duplicate it on the back side of the track. We slow down again with a deep bass driven track as “Catchfire” (William) starts off. William is more of a “whisper” singer. His delivery adds a unique feel to the track which is refreshing. Jim tries to match William and “Good for My Soul” starts off calm like the previous track. The percussion starts to get the track moving more but it doesn't ever really take off, it keeps the steady pass. Monti clicks off “Rollercoaster” and the guitars are back up in your face. One guitar finds the same few chords chime out as the second really takes a more sharp attack. Monti never really has had a chance to open up it seems, and hits them hard, but keeps it in check. Still, this is one of the more “tight” sounding tracks on the record. “I Can't Get Enough” (William) has a “brit pop” jangle to the guitar at the start. The tambourine, whenever used, (on all the tracks) is right up on the same level as the guitars it seems adding, dare I say, a playful feel. “Sundown” (William) is a calm track from the band where the guitars really ease up, and the drums are seemingly played with brushes. As the track is played out the drums get hit a little harder, but it never really gets that full buzzy/heavy feel of other tracks, or so you think...listen as the track winds down. The album concludes with the William sung “Frequency”. The lyrics used are the same as the album opener. The tempo and feel of the track is the same as the first track, but the vocals are less distorted, thus leaving it open for the guitars to be even louder than before...and more heavily distorted. The track quickly ends though..leaving you wanting more.

Where are they now? - The band broke up whole on tour in 1998 after years of tensions between the brothers. They have since re-formed (2007) and play live shows from time to time. In reading they say there is new music forthcoming, but a number of years have passed since these updates.

FDF Personal Comments (aka the Live experience) August 7, 1992 was the only time I saw the band live. They were part of the Lollapaloosa tour. I recall them being in dark clothes (the stage was the shaded main stage) but it was daylight and there were a lot of people walking around. I recall one of the band members shouting “Where is everyone going?” They were not so bad that people were leaving, they were just not holding attention of a noticeable many. The band has said this was the “Worst experience of their lives”.

FDF Overall Take – The Jesus and Mary Chain are one of those bands where if you know who they are you dig them. It is sort of sacred ground for music fans so it can be a tough path to go down. There are some really solid moments on this record, and hardcore fans might point right away to any other record as being “better”. A few singles might strike a chord with the new listener. You can find their stuff used easy enough and your music cred goes up just a smidge if you've got one of their cds in the collection.

Links
Official page
Myspace
Facebook

Curious? Check out some MUSIC!

Reverence (live)

Far Gone and Out

Far Gone and Out on Letterman

You can still find the record here.

FDF Volume 3 Issue 261 - Don Caballero - American Don

2012-04-06T08:00:00.001-04:00

Album – American Don
Artist – Don Caballero
Key Players - Ian Williams – Guitars. Eric Emm – Bass. Damon Che - drums
Produced By – Steve Albini (credited as “the proprietor”)

Release Date – October 3, 2000

What caused me to blow off the dust? - Had a tune come up on shuffle recently and decided that a full exploration was again needed.

Overview – First, Don Caballero is a band, not a person. The name was taken from a Godfather Parody done on Second City Television. Formed in Pittsburgh in the early 1990's the band set out to have a singer, but it never materialized. “Math Rock” is the format typically pinned to the band they'd tour for a bit, gain, lose and regain members, move to Chicago, tour more, break up and re-form......This is the bands fifth studio album, and seen by some as the final under the “creative core” of Che and Williams.

FDF Comments (aka the songs) – Just as a note, so much goes on in these songs each track could get an albums worth of write up. I'll do my best to get you the point, but be as brief as I can in doing so. “Fire Back About your New Baby's Sex” is the first in a long line of tracks names that make you re-read it to be sure you read what you read. Che hammers the high hat and then Williams layers a few short guitar parts. Emm chugs out a few rumbling bass notes and then Che switches to his tom toms. The track feels like it will really take off, but the band suddenly slows it down and Williams finds a comfortable riff and the band seems to loop around on that. Then about the 2 minute mark everything seems to stop. Williams delay loops a few short guitar parts for half a minute, then Che comes in with quick tight bursts on the drums and then about the three minute mark you really get an idea what Che can do. Its not this super fast metal like drumming,but REALLY listen to what he ends up doing its impressive. All the while Emm and Williams continue their driving core set of notes. It continues at a torrid pace and even for sort of a convoluted set of notes, it all blends perfectly. Stellar opener. “The Peter Criss Jazz” is a much slower track with far less time signature changes. Che is kept in check for a lot as Williams speeds up the guitar well over two minutes in. Che seems to rumble the same drum line. Emm offers some distorted bass riffs, but Williams seems to want to keep the track on focus, even with the feeling it is about to burst at any moment. This seems to go on for a long time (the track is over 10 minutes long) at the 7 minute mark you think its wrapping up, it fades but comes back up with Emm finding a cool bass riff and Williams adds to the chaos. Still, Che holds it down with such precision. “Haven't Lived Afro Pop” starts off with each member seeming to go in different directions. Emm's bass is higher in the mix and Williams seems to pluck single strings as Che finds, what seems to be, a new drum to strike. At 1:20 the band just takes off. The chopping guitars match the drumming spot on. Then, Che decides he is going to have some fun, and it feels like follow the leader. Emm does okay for a bit, but Williams makes it his own. The hi hat is clapped together at such a rapid pace it seems like triple time. Emm and Williams seem to them trade off harmonics on their instruments for a very cool sound. Another great song title comes up in “You Drink a Lot of Coffee for a Teenager”. Again, it feels like the band is tuning up but wait for it. Emm strikes some bass, Williams does something, then Che is on the drums almost saying “lets go guys!” The key to remember on this one is Che doesn't have a double bass drum. That is all a single kick drum. Listen from 40 seconds in. Go ahead..I'll wait. Okay...tired? I am. Sheesh. Good thing the whole track seems to slow down for the second half. Everyone needs to catch their breath. Seem to slow it down again with the track “Ones All Over the Place”. Williams layers his guitar, but Che isn't really pushing the tempo. Emm drops a few big bass riffs but, that is well after the song has started. Williams seems okay with repeating his guitar line as Emm and Che seem to “wait” for the chance to jump. This is another longer track and the band seems to use the space and time to spread out. It never really takes off, but it is pretty interesting none the less. Switching between speakers the guitar bounces on “I Never Liked You” at the start. Che then jumps on his kit and Emm gives the thundering single bass notes to really grab the listener. Williams has a cleaner guitar sound on this track. With a song title like “Details on how to get ICEMAN on your License Plate” you'll be wondering what is really up! The band each seems to want to go in a different direction. Williams loops a guitar section and then plays over that. Emm and Che then find their pockets and roll with it. Emm seems to be doing the most interesting things and keeping it on point. Che, not to be outdone, takes off on his own moments later and it seems like Williams just wants to keep up. Che takes the lead as “A Lot of People Tell Me I Have A Fake British Accent” gets rolling. Emm and Che take off and make it a heavy rocker. Both Williams and Emm drop off and let Che rumble on the kit some. It is not really a solo as much as it is an interlude. They all come right back around and rumble forward. Closing out the record is “Let's Face it Pal, You Don't Need That Eye Surgery”. Emm repeats the same bass notes at the start as Che hits each drum like it stole money from him. Williams is slower to join the fold and he and Che seem to find a tandem in notes and structure. They all seem to want to go out on a high note and nobody shows any signs of backing down. Solid album closer.

Where are they now? - The band broke up while on tour for this record. The band was tired, and tired of each other and decided they'd break up after the tour. Their van hit a patch of ice on the way to Detroit for what was to be their final show. The van crashed into another truck and was heavily damaged. The members survived, but they disbanded on the side of the highway. The three have all gone on to other projects. Emm joined the band “Good Morning. Damon Che played drums with Bellini but has since re-formed Don Caballero, beginning in 2003 and they have released two more records. Don Caballero is listed as still being “active”. Ian Williams is the guitar player in the band “Battles”.

FDF Personal Comments (aka the Live experience) – I never saw Don Caballero live.

FDF Overall Take – Many people may struggle with the odd time signatures, or lack of vocals. There are a few really shining moments on this record of some stunning playing. Sure even I as a fan listen to parts and say “ehhh” but overall it impresses more than it disappoints. If you are scoring a record bin, or see any of their stuff its worthy of a few bucks. Something you might not toss on every day, but then again if you tossed the same music on every day you'd probably stumbled upon this web page, and read this far, by sheer accident.

Links
Myspace
The band on Touch and Go (label for many releases)
Relapse (new version)
Just what the heck IS Math Rock?

Curious? Check out some MUSIC!

Fire Back About Your Baby's Sex (studio version)

Live version of same tune

You Drink A Lot of Coffee for a Teenager

You can still track down the album on amazon.com

FDF Volume 3 Issue 260 - 'Til Tuesday - Welcome Home

2012-03-30T08:00:00.001-04:00

Album – Welcome Home
Artist – Til Tuesday
Key Players – Michael Hausman – drums and percussion. Aimee Mann – vocals and bass. Robert Holmes – guitar and backing vocals. Joey Pesce – piano, synthesizers and backing vocals.
Produced By – Rhett Davies

Release Date – 1986

What caused me to blow off the dust? - For some reason when I do the Boston bands I get an immediate reaction. I've been pondering this one for a few weeks so now was just as good a time as any.

Overview – This is the second album from the Boston band 'Til Tuesday. It would peak at #49 on the Billboard album chart. The band formed in 1982 and won WBCN's “Rock and Roll Rumble” in 1983. The band would get a name for itself even further with the debut album and track “Voices Carry”. That song and subsequent video would help the band win “Best New Artist” on the MTV Video Music Awards. Even with this steam the band released this record, and although a critical hit, it hardly cracked the top 50 and the lead off single didn't break the top 20. The band would release a third record in 1988 but then call it quits.

FDF Comments (aka the songs) - The album opens with the track “What About Love” which would also be the first single off the ten track collection. It is a heavily keyboard based track. Holmes has a few guitar chords, but Pesce fills the track with various tones. Mann begins to sing. Her vocals are somewhat hushed, and deep, but she is able to hit some decent range on the track. Her bass playing is sadly not very high in the mix as the drums from Hausman seem to swell even more with the keyboards. Holmes has a short guitar solo after the second verse. It is not horribly long, or overly interesting actually, but it fits the track fine. The band runs through the chorus again before closing out the track. The second track, and second single from the record comes in “Coming Up Close”. A very pretty rock track with a ballad vibe to it. The guitars on the track are solid. Mann takes the first verse with not much other than the guitar from Holmes and a few long notes from Pesce. After she completes the first verse Hausman lightly taps off some rim shots. Come the chorus the full band comes in and Mann really shines. Her vocals are haunting but filled with an abundance of emotion. Holmes changes with acoustic and a little more electric for some bigger ringing notes. Pesce has a few nice piano runs during the chorus, but this is Mann's track. It just is. “On Sunday” has an 80's synth pop feel from the start. Hausman has a steady and basic drum track with Pesce playfully bouncing off various keyboard runs. Its gets a bit more of a rock feel as the chorus comes and Mann is in fine form with some really strong vocals. The vocal overdubs are also very strong. A solid track from the musical and vocal standpoint. Pesce blends sythns and piano as “Will She Just Fall Down” starts. Holmes strums a few guitar notes and then Mann begins the vocals. Again, the use of vocal over dubs is strong with Mann having seemingly the perfect voice to do this with. Only Pesce seems to veer outside the comfort zone of the track, but he never goes too far out. Pesce and Holmes are both right up in the mix at the start of “David Denies”. It calms down as Mann begins to sing and Hausman joins in on a more restrained tempo. Mann has a little more of a flutter to her voice as it builds to the chorus, but she gets a lot stronger as the chorus is sung. Holmes plays some soaring guitar lines and Pesce plays equally as strong. Sounding very “late 80's” synth pop the track “Lovers Day” gets started. Pesce finds a particular vibe on the keyboards and Holmes is left to chime a few sporadic guitar chords as Mann sings. The urgency at the end is strong with her repeating the line about urgency. We slow it down for “Have Mercy” and the song picks up as the chorus approaches. The members all seem to swell at the same time and Mann continues to shine vocally. Holmes takes the longest solo he has taken in a few tracks and Hausman and Pesce seem to be okay, as they lay a solid foundation for him to work. Mann has strong work on the bass, something that peeks out now and again. Pesce and Holmes start of “Sleeping And Walking” together with Hausman keeping a steady, but subtle pace. The band seems to hit their stride on these more mid-tempo, semi rock tracks. Each member feels comfortable in their roles and the tracks stand out for that reason. “Angels Never Call” has a smooth bass intro from Mann who plays right with Hausman. Holmes add a few chords that fit right in. Pesce also adds in to the overall vibe if the track with some synth sections. “No One Is Watching You” concludes the record with Mann and Pesce being the only two at the start, before the band comes in. As the song grows Mann really seems to wear her emotion on her sleeve and the band compliments her well for a strong album closer.

Where are they now? Pesce left the band shortly after this album was released. I haven't found much on him. Hausman is a manager of various musical acts/performers and is Mann's manager as well.
Holmes has worked in various capacities as a musician, forming new bands and solo works. He lives in New England. Mann has released several solo albums, appeared on TV and film and continues to write, perform and work on her art. She has been married since 1997.

FDF Personal Comments (aka the Live experience) – I never saw the band perform live.

FDF Overall Take – The albums hasn't aged the best honestly. Mann sounds wonderful and the band is tight, but at the same time it feels very dated. Don't get me wrong, there are some solid tracks on here, but most folks would probably find this to be one of those “I like the tracks I like a lot” and the rest are sort of “there”.

Links
An older fan site can be found here.

Curious? Check out some MUSIC!

What About Love (Official Video)

What About Love (Live)

Coming Up Close

Amazon.com has your copy.

FDF Volume 3 Issue 259 - The B-52s - Cosmic Thing

2012-03-23T08:00:00.000-04:00

Album – Cosmic Thing
Artist – The B-52's
Key Players – Keith Strickland - guitars. Kate Pierson – vocals. Cindy Wilson – vocals. Fred Schneider – vocals.
Produced By – Nile Rogers and Don Was

Release Date – June 27, 1989

What caused me to blow off the dust? Admit it..you love Roam.

Overview – The new wave pop rock band was formed in Athens, Georgia in 1976 have released eight studio albums (this one being the fifth and biggest seller). The odd ball party band has had their ups and downs (the 1985 death of guitarist Ricky Wilson) and label issues, but their “reformation” in 1989 and the release of this record re-launched them as pop/party music masters. The album would sell well globally and spawn four top 100 singles and go 4x platinum in the USA.

FDF Comments (aka the songs) – The 10 song album opens up with the title track “Cosmic Thing”. It jumps right out of the gate. Schneider sings quickly and Pierson and Wilson offer the great high harmonies and wall of sound for backing vocals. Strickland is quiet on the guitar offering up short fills. The track is delivered at a quick pace and is a solid and fun opener. The keyboard repeat the same loop as “Dry County” gets off the ground. The track is a little slower as the vocals are sung. It does have a lazy feel. Strickland is responsible for the keyboard line along with Philippe Saisse. Sonny Emory keeps the track tight with the slapping snare drum. The homage to just sitting on your porch in a swing, being unable to drink alcohol is the message you get here. The track actually has two separate choruses. One is used early, and the other late. Wilson and Pierson get the credit for the lead vocals on the next track, “Deadbeat Club”. Emory plays drums on this track and once more shows his attention to the snare, snapping of it quickly and often. The ladies harmonies are wonderful with neither stepping on the other. Each is given their moment and they are just so tight the merge is seeming less. A really solid track. The most well know track from the band has to be “Love Shack”. Either you love it or hate it, I don't think there is a middle ground on it. When it comes down to it, and if you can listen to the vocals on the track. Between the Wilson and Pierson high harmonies to Schneider offering up his quirky yelps and lines. It is a fun song, really it is. The Uptown Horns are responsible for the compliment to everything. Pierson is plays the keyboards on the track, but it is not high up in the mix. Still, its a solid track. The sounds of spring was over the speakers as the track “Junebug” gets ready to start. Strickland has the keyboard into with Schneider striking the percussive instruments. Not to be outdone, drummer Charlie Drayton pushes everyone forward. Schneider takes the first few lines, but Pierson and Wilson take turns before the three sing together. The track is on the quick side, with the vocals seeming frantic at times with the ladies shouting “Go,Go Go!” with a lot of pep and vigor. Wilson and Pierson again join forces as another big hit from the band “Roam”begins. The ladies again are the lead vocalists on the track. Bassist Sara Lee (who has been on a number of tracks) is solid giving the solid bottom that Strickland finds easy to do guitar runs over. One thing I never realized, or noticed, is the fact Schneider is not on the track at all. “Bushfire” has drummer Charlie Drayton getting things moving. Schneider sings the first line, but the drums click down and the ladies share vocal duties again. Strickland has a crunchy and quick guitar line that pushes the cut forward. Although overall a strong tune, it doesn't really break itself out. A track I always dug, and perhaps due to a very cool split screen Saturday Night Live performance (I swear) of the track “Channel Z”. Drayton gets things off to a steady pace and it must be the twangy guitar rungs from Strickland that grab me, or, as always, the great work of the three vocalists. Solid “deep track” from this record. Producer Nile Rogers plays some of the guitar parts on “Topaz”. You can feel his funk influences as the guitars have short, almost cutting wah wah lines. Wilson and Pierson are a little lighter with their singing and Schneider will chime in about every third or fourth line. Sara Lee is on bass and drummer Leory Clouden and as per the album, tight and composed. The record concludes with the track “Follow Your Bliss”. Largely a “lead vocal” free track Pierson and Lee offer some backing vocals but this is a guitar showcase for Strickland. The track has a bit of blues guitar playing with Lee and Clouden again on support. There are three various keyboard parts by Strickland, Lee and Richard Hilton that all mesh well. An almost “calming” close out track to a fun, party record.

Where are they now? - The band are still active. They perform live at a steady, but casual pace (indications of 50-75 shows a year), but have been quiet with a studio album for a bit of time. The last studio album was the 2008 release “Funplex”. Wilson and Pierson always seem to be popping up as guest vocalists and Schneider hosted a radio show on Sirius for a few years.

FDF Personal Comments (aka the Live experience) – I've never seen them live.

FDF Overall Take – Okay so you hate Roam, or Love Shack, but get over it. The band is tight, and we don't get vocals like this very often anymore. There are some hidden gems on this record, so its okay to toss this on again (in your car is fine) and find the magic. They are not 1 or 2 hit wonders here, they've been doing it for a fair number of years. Your older ears will hear things you never knew were there. Try it again for the first time.

Links
Official site.

Curious? Check out some MUSIC!

Roam

Dry County (Live)

Channel Z (The SNL Rehersal) Very cool

The album is pretty easy to find.

Whoa...

2012-03-23T06:00:00.003-04:00

Happy Sixth Birthday to this blog. Never thought it would have lasted. Lots of changes, a few take downs (hence no more mp3's) but still somewhat fun.

Thanks for reading..really.

Best,
March

FDF Volume 3 Issue 258 - Chapterhouse - Blood Music

2012-03-16T08:00:00.002-04:00

Album – Blood Music
Artist - Chapterhouse
Key Players – Stephen Patman – guitars and vocals., Andrew Sherriff – guitars and vocals. Simon Rowe – guitar. Russell Barrett – bass.
Produced By - Ralph Hezzard, Pascal Gabriel, Simon Postford, Paul Rabinger

Release Date – October 1993

What caused me to blow off the dust? - Just combing the shelves for something new to write about and listen to all over again. No other reason other than, at this time, it hadn't been done.

Overview – This is the second (and final?) album from English “shoegaze” band “Chapterhouse”. Formed in the late 1980's the band would work on material for more than a year before recording their demo. They'd release a debut to moderate success and then follow it up in 1993 with this record. They'd struggle with some lawsuits regarding sampling and they'd go dormant for close to 15 years before doing a few shows and short tours.

FDF Comments (aka the songs) – The 11 track 55 minute albums with the dreamy “Don't Look Now”. There are syth samples that provide the ambiance as the vocals are sung. At about the 20 second mark it gets more of a “techno” electronic drum beat. The guitars hit like a wall after that atmospheric intro. The riffs continue seemingly on a loop before the main vocals begin. Close your eyes and envision a VERY foggy stage with slow pulsating lights and you get the idea of the vibe of the track. “There's Still Life” has acoustic guitars and then Barrett's bass line is more up in the mix. It still has a very atmospheric vibe as the two acoustic guitars mesh well with the bass line. A longer electric guitar solo comes forth about the one minute mark, but it wrapped up within 15-20 seconds. The band runs the same formula for the duration of the track. One of the songs released as a single comes in “We are the Beautiful”. A big, thunderous drum sound with the big riffed guitars throw up that wall of sound at the start. As the vocals start everything seems to settle back some, until the chorus kicks in. The vocals are brooding, but never forced. There is hints of female backing vocals which add a nice touch. For a band that has the spacy feel at times, this is a driving track. The drums are heavy, but the guitars are not at the same intensity as “Summer's Gone” begins. Once the vocals begin everyone settles back some. Barrett has a swooping bass line and Rowe and Sheriff seem to find a comfort zone. We get more of a techno beat for the track “Everytime”. The drum click seems to speed up some as the band joins in. Again, Barrett walks up and down the bass before the guitars strike. Again, the vocals are breathy and laid back which actually works okay with the temp of the track. There is a longer instrumental break down on this track before the looping drum track returns and the guitars come back in. The last minute plus is the same driving drum loop with a guitar solo over the top. The track fades directly in to “Deli”. After a bit of atmospherics a lengthy spoken word portion is spoken and the band seems to start to join. There appears, so it seems, to be a tabla being used (perhaps electronically manipulated). Other than the spoken word portion the track remains vocal free as the band is slow to really go anywhere with the track. The samples are the cornerstone of the track but you feel the band could have taken this song further. We continue with a tribal drum feel as “On the Way to Fly” begins. A long guitar slowly builds and with one crash the others join in. There are noticeable backing vocals in the track as “oohs” and “ahhs” add to the sound scape. The three guitars seem to go in various directions with various results. One is deeper, driving while the second rings over and the third chimes with the bass. The vocals are lush once more and the track has that infectious beat that holds your attention. Another song released as a single follows in “She's A Vision”. The guitars start off and the drums clack a mechanical beat, but the vocals sound great. “Greater Power” is slow to get off the ground and you wait for close to a minute before you are shocked awake. This is about as rocking a track as we've heard from the shoegazers. The vocals are strong and the music becomes this great wonderful wall of sound. A really solid example of the bands capabilities and sound. The bass continues to really shine (to these ears) and the band is very much firing off one another. Barrett rings out a few bass notes as “Confusion Trip” begins. We go back to the acoustic guitars once that comes in but the electrics are layered over. It has full sound but seems to be a little too slow for the music. The album concludes with “Love Forever”, a track that has a flowing back beat and it relies heavily on the percussive instruments. Again it feels very much the same, with the repeated guitar lines and vocal verses. It never seems to go anywhere. It sounds “okay” but sort of a let down for a closer.

Where are they now? - The band fell dormant after this record for a decade and a half. The guys would go off to their projects and their records would be out of print for many years. In 2008 they started to play some shows and in 2010 they did a few short tours. A US Tour was postponed due to the Icelandic Volcanic Ash cloud and then rescheduled. There is no news on new music from the band.

FDF Personal Comments (aka the Live experience) – I only saw the band once. Paradise in Boston opening for the WonderStuff. It was February 23, 1994. One of the biggest things I remember about the show was that it was snowing like crazy, all day. The show was on, then off, then on again. My buddy Jay and his girlfriend at the time picked me up and we headed in. The venue was pretty empty due to the weather, but we made it. Long ride to and from, but I recall it being a pretty darn fun show.

FDF Overall Take – There are some real strong moments on this record. She's a Vision and We are the Beautiful are stand out tracks for sure and there are a lot of “shoegaze” tendencies. Chances are you are or were aware of the band. Not a lot out there, but worth checking out for some spacy early 90's alt rock.

Links
Official Site

Curious? Check out some MUSIC!

Don't Look Now

She's a Vision

We are the Beautiful (Live)

The album was out of print, then reissued. Might not be super easy to find, but if oyu look at places like this you'll be all set.

FDF Volume 3 Issue 257: Various Artists - Saturday Morning Cartoon's Greatest Hits

2012-03-09T08:00:00.002-05:00

Album – Saturday Morning Cartoons' Greatest Hits
Artist - Various
Key Players -Various
Produced By – Ralph Sall

Release Date – December 5, 1995

What caused me to blow off the dust? - Just thought this would be a lot of fun to dust off again

Overview – A collection of alternative rock acts performing some of their favorite theme songs to Saturday Morning Cartoons. Is there much else to tell?

FDF Comments (aka the songs) – I'll go track by track on this. The links you will see here are to prior Forgotten Disc Fridays that have been done on that artist.

Liz Phair withMaterial Issue – The Tra La La Song (One Banana, Two Banana) from “The Banana Splits Adventure Hour”. The group as a lot of fun, with Liz having the bulk of the vocals and Material Issue being more the band. They don't deviate from the them much other than more of a focus on the rock band aspect. The original track actually cracked the Hot 100 in 1969 landing at #96.

Sponge - “Go Speed Racer Go” (from Speed Racer). Vinnie from Sponge has sort of a monotone delivery of the track. The full band is held back some, but it has the driving beat. The theme song was actually added for US audiences to the cartoon. This is a pretty straight up representation of the theme.

Mary Lou Lord with Semisonic – Sugar Sugar (from the Archie Show) – much like the first track, Lord is the lead vocalist with Semisonic being the backing band. The song has the fun bounce of the original version with Lord having a soothing vocal delivery.

Matthew Sweet - “Scooby-Doo Where Are You?” - Sweet could pass for the original version. He has just that right vibrato in his voice. When the full band comes it and Stuart Johnson gives the drum kit a solid beating you actually think it is the real theme. Sweet has a guitar solo so they do have a little more fun than the other artists up to this point. One of the stand out tracks to this point.

Juliana Hatfield and Tanya Donelly - “Josie and the Pussycats” - The two Boston based ladies harmonies really well on the theme song. Both Hatfield and Donelly play guitar and fire off one another. Lisa Mednick has a short Hammond B-3 solo after the second run through/verse of the theme.

Collective Soul - “The Bugaloos” - I had to look up what the Bugaloos were. It was a Krofft live action puppet (Land of the Lost/HR Pufnstuf etc) it aired from 1970 to 72. The song and show are unfamiliar to me so its hard to say if its true to form. It sounds like Collective Soul mostly due to lead vocalist Ed Rolands voice (duh). The band is well known for “Shine” in which there is a wall of guitars, and you get them here as well.

Butthole Surfers - “Underdog” - Now we are talking. Gibby Haynes has the usual vocals through a megaphone at the start as King Coffey rumbles across the drum kit. The band sticks with the “ooh ah oohs” from the song and actually keep it pretty true to form, but its a unique take at the same time. Paul Leary has a distorted, but quick guitar solo to offer up and they come back around for another run of the verse.

Helmet - “Gigantor” - This is the second Japanese series brought to America for this collection. It came to America in 1966. I don't recall this show either, but I like the way Helmet handles this track. John Stanier has the usual high piccolo snare drum sound. The band has the speed you'd expect and Page Hamiltons vocals are easy to hear. Guitars are big, and up in your face, but its that “thwap” of the drums that makes this a Helmet track. Just think big guitars and the stop/start riffs that go along with Helmet and you'll feel right at home.

Ramones - “Spider-man” - Hey, its the Ramones and Spider-Man..can you really go wrong. Probably the song that had me buy the whole collection this was showcased on many a mix tape (man I miss those days). There is nothing I can say on this realistically. Read that first sentence all over again. Nuff said. Oh, its over so quick, they do it twice.

Reverend Horton Heat - “Johnny Quest/Stop That Pigeon” (from Dastardly and Muttley in Their Flying Machines). - Quest actually started off in prime time in 1964 before getting moved. Scott Churilla gets a work out as Quest starts and Rev gets right on the guitar to play along. Rev says (in the liner notes) this was the most fun he had in the studio as the track changes key six times and that it was damn hard to figure out. There are no lyrics for Quest and they seq very well. Jimbo Wallce gets his big bass thumps going as Quest wraps up and then Rev starts the vocals for “Stop...” You can almost hear the smiles in their voices.

Frente! - “Open Up Your Heart and Let the Sun Shine In” (from the Flintstones) – As you probably have figured out this is not the theme. Pebbles and Bamm Bamm found their voices as a vocal duo in the episode “No Biz Like Show Biz”. The duo forms a rock band years later but this is a shining moment for the “duo”. Frente! Singer Angie Hart does a nice job and the song retains much of the same “sunny” sentiment.

Violent Femmes - “Eep Opp Ork-AH-AH (Means I Love You) (from the Jetsons) – Another track that was not a theme. Pulled from a 1962 episode called “A Date With Jet Screamer” Judy Jetson wins a date with the rock star. You can't escape that nasal delivery of lead singer Gordon Gano but the harmonies are fun. Gano has a quick guitar solo before a nice distorted melodic bass run comes from Brian Ritchie. They do this again later in the track and then go double time for the later portion of the track.

Dig! - “Fat Albert Theme” - The trade mark big bass intro is there. Phil Friedmann does a solid job. As the song start you get a real good true to form cover. It just sounds as big as you think it should. The band has a longer jam before the bass grabs you again. Singer Scott Hackwith gives us the “Hey Hey Hey..” and they come back around

Face to Face - “Popeye The Sailor Man” - Drummer Rob Kurth works slowly to get things to take off. Matt Riddle plays the theme on his bass and Kurth rings off the cymbal. The guitars come in and about the 50 second mark it takes off. Trever Keith pushes the guys with his vocals. You find you recall all the lyrics..even the second verse...its odd. Also, just so you know..its not Olive Oil..her last name is Oyl.

Tripping Daisy - “Friends/Sigmund and the Seamonsters” - Another one from Sid and Marty Krofft the band seems to be having a lot of fun with this. I recall the show, not the theme very well. Wes Berggen is given some time on the guitar to solo, but the track keeps it pretty tight. About the 2:35 mark it runs over to the actual theme which is sped up and DeLaughter is has his vocals pretty heavily compressed.
Tim DeLaughter has since gone on to front the band with the most members outside a symphony in the Polyphonic Spree.

Toadies - “Goolie Get-Together” (from the Groovie Goolies) – Even the picture of this cartoon doesn't strike a chord. I don't recall this at all. In reading the band sang a rock song in every episode. The Toadies drive the track with heavy guitars and pounding drums. I honestly can't compare it to the original.

Sublime - “Hong Kong Phooey” - Let me just get this out there...I LOATHE Sublime. They drive me crazy for some reason. The band make this their own, and one of the most memorable tracks on this collection is...well..skippable. I just can't get in to Sublime.

The Murmurs – “H.R. Pufnstuf” - The Murmurs are a female duo of Heather Grody and Lesha Hailey who both sing and play acoustic guitars. The ladies sound good together and the acoustic guitars are a nice touch to this theme. The theme is 'dark' at first when our hero “Jimmy” gets lost at sea. The second part is a far more psychedelic 60's sounding pop song.

Wax - “Happy Happy Joy Joy (from Ren and Stimpy) – A good song selection for an album closer. Also, not the theme, but the most memorable Ren and Stimpy song (Next to Canadian Kilted Yaksmen). Singer Joe Sib speaks the first few lines and then the band takes off. This is a hardcore/punk really sped up version. It has a ska feeling as well, with some horns tossed in. It is very chaotic, but a good fun take on the tune.

FDF Overall Take
If you love 90's alternative music you are golden with this collection. It will bring you back to your youth, have you crack a smile, and re-hear that theme song all over again.

Links
See the post, for links to past FDFs on those artists.

Curious? Check out some MUSIC!

Matthew Sweet - Scooby Doo Where are You?

Butthole Surfers - Underdog

Ramones - Spider-Man

Violent Femmes - Eep Op Ork Ah-Ah

Dig! - Fat Albert Theme

The album is out of print but not to hard to find, you can get it at
amazon.com

FDF Volume 3 Issue 256 - Ultra Vivid Scene - Rev

2012-03-02T08:00:00.001-05:00

Album - Rev
Artist – Ultra Vivid Scene
Key Players – Julius Klepacz – drums. Jack Daley – bass. Kurt Ralske – vocals and guitar.
Produced By – Kurt Ralske, Fred Maher

Release Date – October 19, 1992

What caused me to blow off the dust? - I did the old “stare” at the cd racks and said “oh here is one”.

Overview - Personally I stumbled upon the band on college radio. I was taking classes at a Community College and was driving back home listening to WZBC, which is Boston College's radio station. I had about a 20 minute window on my ride where I'd get the signal so I had to be sure to have a pen handy and hope the DJ would tell me about the band(s) played. I heard “Mercy Seat” (from their debut) and had to track down the cd. My friends were exposed to it soon after I got it and all seemed to like it more than the next. This was the third and final album from the New York based band.

FDF Comments (aka the songs) – The 9 track 50+ minute album starts with “Candida”. What stands out right away is the prominent bass line. Matthew Sweet is the guest bass player on the track. Ralske plays acoustic guitars and has a quite soothing voice. Klepacz and Sweet really seem to find a groove with each other as the bass and percussive instruments really stand out on this quirky pop rocker. “Cut-Throat” has a lone guitar and percussive shakers at the start. The electric guitar then phases up and Daley finds a nice pocket for the bass. Ralske has a unique vocal style. It can be viewed as a little whiny at times, but it fits the mood with this longer notes and he sings in a light baritone. This track finds a bit more of the swirling guitars and it gets a touch of the conga drums as well. Ralske once again takes right to the acoustic guitar as “Mirror to Mirror” begins. Klepacz has a simple drum portion but Daley once again seems to find a nice tight bass line. Ralske sticks with the acoustic guitar on the verses where on other tracks we get the electric, either as ambiance or as a lead. There is a short burst after the second verse, but it is a quick and dirty “solo” before coming back to the acoustic guitar. Klepacz gets to take off some and has some fun beating on his drum kit and the band tries to follow suit, and does so very well. “The Portion of Delight” has a very bright guitar sound (Rickenbacker perhaps?) The bass and drums are tight, but seem to be okay with the slower tempo. It feels a little “plodding” but he vocals sound great, just the right bend it pitch. Ralske finds some decent range but the over all “sound” of the song is big, which is awesome. There is a good solid long session of instrumental jam that is great. The bass and guitar are really subtle on the intro to “Thief's Love Song”. After a few moments Ralske gets heavier on the strings, but its more single chords. The song is on the slower tempo side of things with a slow drum line. Matthew Sweet returns to the bass on “How Sweet” a track that seems to phase between headphone speakers for a trippy experience. The bass line is very strong and there is more work on the backing vocals. The song has more of a verse/chorus/verse vibe keeping tightly focused. Ralske has a long guitar solo, but still it is kept brief. It actually has a funky feel too it after the solo with the percussive instruments playing off the guitars.. The guitars have a deep sound to them at the start of “Medicating Angels”. The bass then takes over as the lone instrument, with a little flutter from the guitars. It is a quiet, slow to get going, type track. As the song gets rolling, after close to 2 minutes, the bass line again is really the stand out instrument. It has just the right amount of compression and the band finds their Jesus and Mary Chain influence brought right up with a wild fuzzy guitar rumble to the thundering drum work from Klepacz. If there ever was a “single” from this record it would be found in the track “Blood and Thunder”. A lone guitar quivers before the bass joins. The tambourine slaps, the drums start to rumble. It is a slower, but big build up and at the 0:58 second mark it all comes together. This is the SHIT folks. The drums and guitar are perfect. This is 90's alternative music. The music just rules. When Ralske starts to sing everyone cools down and he sings over a predominate drum rumble but the “whacka/chaka” sound off the guitar that brings it all together just rules. Just watch the darn clip..crank it..you'll get it. The guitar solo owns too. One of the finest songs of the early 90's. A scratchy record sound is heard as the album closer “This is the Way” is played. The recording almost sounds as if it is a recording of a recording. Strings and guitar accompany Ralske. The song keeps this sound for the duration.

Where are they now?Ralske has gone on to do solo work, and has also produced albums for such artists as Rasputina, Ivy and Charles Douglas. His last known musical endeavor was the solo release in 2001 Amor 0 + 01. Since that time, Ralske has achieved acclaim as a visual artist

FDF Personal Comments (aka the Live experience) – I was pretty sure I saw the band twice, but I'll need some buddies of mine that might read this to help confirm. My one “for sure” moment with them was when they opened for Ian McCulloch at the Living Room in Providence. It may have been on tour for this record, but I could be off. My gut tells me their opening slot was part of the debut album, but I'd need to search the inter webs. According to the bands Wiki page there was not ever a lot of touring done by the band so I guess I was lucky. For this album alone they only did one month of US tour dates.

FDF Overall Take – Its not a bad record, but a little erratic. I think where its good its VERY good but there are a few too many “ehh” moments. Blood and Thunder make the entire cd worth it though.

Curious? Check out some MUSIC!

The album is out of print, but you can track down sellers of used copies on
amazon.com

FDF Volume 3 Issue 255: The Soundtrack of Our Lives - Behind the Music

2012-02-24T08:00:00.001-05:00

Album – Behind the Music
Artist – The Soundtrack of Our Lives
Key Players - Fredrik Sansten – drums and percussion. Ian Person – guitar, backing vocals, percussion. Ebbot Lundberg – lead vocals, sitar, harmonica and dulcimer. Martin Hederos – piano, Mellotron, organ, backing vocals, Mattias Bärjed – guitar, backing vocals. Åke Karl Kalle Gustafsson – bass, backing vocals, double bass violin and cembalo.

Produced By - Johan Forsman and The Soundtrack Of Our Lives

Release Date – September 24, 2002 (US Release)

What caused me to blow off the dust? - When this record came out I was ravenous for them. I couldn't get enough. They couldn't release a follow up record and tour enough for me. The story how I found out about them is fun. I used to order stuff from time to time from Parasol Mail Order (now closed) and they did a year end best of list from their staffers. If they had 10 people working 9 of them had it on their list and 8 of them had it as number 1. I figured I'd take a chance and I bought it sight unseen.

Overview – Formed in 1995 in Gothenburg, Sweden The Soundtrack Of Our Lives (or T.S.O.O.L) blend 60's and 70's punk rock and toss in a little psychedelic rock. The band has found success in Europe with all of their albums breaking the top 10 and the last two hitting #1 in Sweden. This is their third full length release and would be nominated for a Grammy Award in 2003 for “Best Alternative Album”. They have had moderate success elsewhere, and they continue to write and perform live.

FDF Comments (aka the songs) - The 15 track 57+ minute album opens up with guitars and drums sounding like they are around a campfire, slowly building, then an electric cuts through it and "Infra Riot" takes off. Lundberg has a deep baritone that seems to soar over the guitars. The band is fully on task as the Sansten rumbles across his kit. As the chorus hits Lundberg pushes himself even further. The band comes around on the same melody of the intro then they have a very cool jam on the backside with a lot of various instruments. Gustafsson has some swooping basslines and they rumble to a close. Sandsten locks the groove as "Sister Surround" begins and the tandem on guitar of Barjed and Person fire off one another. The song feels a little slow in tempo but the band has some good harmonies on the chorus as the two guitars really seem to fight each other while Gustafsson holds a strong bass line This was the first single I heard on the radio from the band, and it is a solid example of who/what the band is about. "In Someone Else's Mind” is a mellow acoustic lead track. The song title, the vibe of the track will have you thinking 60's psychedelic music for sure. The guitar riff repeats and there are bird songs, but nothing other than Lundberg on vocals. After the first verse we hear more of the Hederos keyboard parts, but it returns to its laid back feel once more. Acoustics are out at the start of "Mind the Gap" and Lundberg starts to sing. After part of a verse Hederos comes up in piano. This is the first really dominate piano track. The full band comes in after the first verse. Again, the song seems to be a mid-tempo affair, but Lundberg just has this voice that causes you to really pay attention. Once the chorus comes the band again has some nice harmonies and the slide guitars on the back side add to the quality of this very solid track. Hederos channels his church organ player as "Broken Imaginary Time” gets underway. It is a quiet and somber feeling track with Hederos getting the primary focus. Lundberg sings to fit the mood as well. The track doesn't seem to speed up or really change in mood, there is a string section, but it feels like a song that would work in a horror film. Hederos then pushes the organ to a pipe organ as the guitars swell along with it, ringing the notes and Lundberg quietly sings and is taken over by some spoken word parts (including N.Armstrong's “one small step...line). We get a little more uptempo and fun as "21st Century Rip Off" starts. This has a 60's pop feel to it. The strong bass work from Gustafsson returns and the guitars are quick and biting. The band channels some Rolling Stones like guitar riffs at the end as well. Hederos is alone on piano as "Tonight" begins. Again he is given room to get the song going before Lundberg begins. The track is just the two of them with no other instruments until some strings come in to fill out the sound. If anything this shows that Lundberg has both a strong and unique voice. The band is good at mixing up song styles as the track "Keep the Line Movin'" opens with a rumbling, marching band like drum line. Barjed and Person get to fire off one another and each takes a brief solo. Gustafsson continues to be the rock holding everyone on task with his bass work. "Nevermore" is another fun acoustic lead track, but it is not a mellow track by any means, just the guitars open up the track ringing out. It sounds as if the bass drum head is loose on Sandsten's drum kit as it has this loose “whap” to the kick drum. Hederos has a short piano section after the verse, in lieu of a guitar solo which is a nice touch. Even still, the slide guitar solo does appear, but the piano portion is more rewarding. Not to be outdone, there is a second, “cleaner” guitar solo but it is just the right length before the vocals begin. Sounding like a train Lundberg scats the intro to "Independent Luxury. As Gustafsson gets the bass rolling the guitars come in. This reminds me of a Kula Shaker type psychedelic track. Hederos find the right buttons on his synth and this track gets down and funky and the band almost seems to “bounce'. Its hard to describe, but when you hear it you can see the band all smiling at one another just wanting to jam on the progression for hours on end. Back to the acoustic guitars as "Ten Years Ahead" starts. Again the two guitars play before Lundberg starts to sing. He is left alone for the verses as the two guitars range from straight riffs to almost flamenco style strumming. Sandsten clicks the snare and then Hederos puts in some light piano/organ notes. Still its a showcase for the guitars and is even more to the point when the percussive instruments and organ really gel. A solid track. I find the track "Still Aging" sounding like a left over XTC song. That is not a bad thing by any stretch either. Another solid, fun track. We slow it down again for "In Your Veins" where the acoustic guitar starts the track. The second guitar is the electric but it plays a few short notes and Lundberg is joined by Hederos. Strings also make a return on the track giving it a much fuller sound. "The Flood" also starts off on the quieter side, but, don't let that fool you. It takes off and the band all comes together with Lundberg almost screaming his vocal parts. From bass, to drums, to the guitars everyone seems frantic. It is still put together though, it is a controlled chaos. The album concludes with Into the Next Sun". Hederos does the slow build and Lundberg sings his first verse before playing the harmonica. The track is a bit on the mellow side but is a solid album closer.

Where are they now? - The band is still active both in the studio and on tour. They have a new album slated for April of 2012 called “Throw it To The Universe”

FDF Personal Comments (aka the Live experience) - I only ever saw the band live one time. It was March 24, 2003 at Lupos in Providence Rhode Island. The band was first slated to play the much smaller attached club called “The Met” and it was moved to Lupos. We had a lot of elbow room...a lot. The band didn't seem to mind the lighter crowd and they brought a full rock set. I was actually thinking the band, and all their gear wouldn't have fit very well on the other stage.

FDF Overall Take – There are some really strong tunes on this record. Sure the band might not "look the part" but there is no doubt that they know how to write and perform. The band could use some PR here in the states as the last few records seem to have gone un-noticed. Check this one out though and be surprised and excited like I was. Trust me.

Links
Official Site
Facebook

Curious? Check out some MUSIC!

The album is still in print, you can find it here.

FDF Volume 3 Issue 254 Sonic Youth - Goo

2012-02-17T08:00:00.001-05:00

Album - Goo
Artist – Sonic Youth
Key Players - Lee Ranaldo – guitar and vocals. Steve Shelly – drums and percussion Kim Gordon – bass and vocals. Thurston Moore – vocals and guitar
Produced By – Nick Sansano, Ron Saint Germain and Sonic Youth

Release Date – June 26, 1990

What caused me to blow off the dust? - Not really sure. Probably thought “I need to write something for another post”

Overview – This is the major label debut from New York based band Sonic Youth. This album is the bands sixth studio album and they were signed to Geffen after “Daydream Nation” was released in 1988. Critics and fans seemed to have found this to be a very accessible album from the alternative rock band. With the strength of the song “Kool Thing” the band would find a little chart success and crack the Billboard top 200 peaking at 96.

FDF Comments (aka the songs) – On the lead off track “Dirty Boots” we slowly fade up to find a single guitar before Gordon gets going on the bass. Shelly starts to get the drums moving and Ranaldo and Moore join in. The vocals are hushed with Moore taking the lead. The band is tight and focused with Gordon really strong on the bass. No one player, other than Gordon, seems to really take off during the verses or choruses. About the 3 minute mark the band takes off and starts to have a noisy, fun jam. Each guitar takes off and the bass and drums rumble. It sounds like what older fans are used to, but the band comes right back after tearing it down. They continue until the track ends, and although it never gets frantic again, its a pretty solid session by the band. “Tunic (Song for Karen)” is a track about Karen Carpenter. According to notes its about her in heaven playing drums and meeting new friends like Elvis and Janis Joplin. The guitars at the start are really compressed and fire off one another. Shelley is quick to get things on task and the band plays for close to a minute before Gordon takes the vocals. Kim often “talk sings” but here deep voice is still unique enough to make it interesting. For the second week in a row we find J Mascis assisting in some way. He is on backing vocals on this track. Ranaldo and Moore found a real tight guitar sound and they use it often. A solid track. Shelley clicks off “Mary-Christ” and the band is off to the races. The song is fuzzy as expected, but the guitars and bass seem to be in tandem. The vocals have some compression and they use what sounds a little like a megaphone on parts. Clocking in at just over 3 minutes this is the shortest track so far on the record. As the track fades you can hear the start of the next track (Kool Thing) but it fades to silence. Perhaps the bands most well known song “Kool Thing” follows. Public Enemy member Chuck D guests on the track. The guitars on this track is what makes it for me personally, but the bass and drums are no slouches. Shelley is quick to show you that as he rumbles across his kit before the first verse starts. Gordon has the lead on this track. By the time Chuck D and Gordon have their banter mid song the pay off back to the music just explodes. The guitars are top notch, just firing off one another with big slides and screeching lines. The longest track on the album “Mote” follows. Clocking over 7 minutes the swirling guitars take center stage before the drums come up. Once again J Mascis helps with the backing vocals. Ranaldo take the lead vocal duties on the track and he sounds good. He seems to “sing” a little more than Gordon/Moore. Some of the vocals have effects placed on them, but he seems to have a decent range. The band, not to be outdone, play at a frantic pace at times and then seem to slow it down, to speed it up. This is a cohesive unit for sure. There is a longer “breakdown” mid song with Gordon repeating the same few deep bass notes and Moore and Ranaldo abuse their guitars. Mascis appears for the final time on “My Friend Goo”. Gordon has the lead vocal duties on this track and she seems to sing a bit more and you'll find her pushing herself in the range department at times. Moore tosses in a little vocal at the chorus, but its short. This is a straight up rock song, in and out in just over two minutes. “Disappearer” starts like many, a lone guitar making a lot of noise before the rest of the band comes in. The guitars again are the killer here, not as frantic on the track so it is a good change of pace. The track “Mildred Pierce” is named for the film of the same name. Gordon drops the opening bass riff before the others come in. This is one of the first songs the band ever wrote as a band and its nice to hear a clean well produced version of their early ideas. Until the completely absurd vocals come in the track is rather enjoyable. The screaming distorted mess is almost enough to get you to hit skip, but its over very quickly. “Cinderella's Big Score” sets the listener back in the mode of the album. Gordon has the vocals and she seems angry. Sure the music is energetic, but Gordon seems to particularly urgent on the track. “Scooter + Jinx” is a vocal free track that is just a lot of guitar noise. It's over at 1:06. Skip it. The album concludes with “Titanium Expose” the track has a similar structure of “Kool Thing” with its big guitars and booming drums. For me personally this is a great album closer. The band is loud but it is not this over bearing crazy feed back track. The guitars just stand out and Gordon has some nice bass fills. A very solid closer.

Where are they now? - The band is currently on an “indefinite hiatus”. Due in part to the separation of Kim Gordon and Thurston Moore. No new material is planned at this time.

FDF Personal Comments (aka the Live experience) – I have seen Sonic Youth live just two times. The first was part of Lollapaloosa 1995. July 25, 1995 at Great Woods/Tweeter Center/Comcast Center they played with Hole, Cypress Hill and others. I don't recall a ton of their set. The second time was opening for Pearl Jam at the same venue. This was August 29, 2000. They had a solid rocking set and during their set, Pearl Jam front man Eddie Vedder sang praise to the band for their longevity. At the time Sonic Youth as on or about 20 years, and Pearl Jam just 10. The set was good albeit short due to it being an opening slot.

FDF Overall Take – Let me just put it out there, I am a far cry from an expert on the band. I'd say I am a casual at best fan. I was introduced to them with “Teenage Riot” and own that cd (Daydream Nation) and two others. I don't rush to play their music, I don't think of them often but being in the genre of the music I most listen to I hear them mention a lot and really should dive in more. The record as a whole is pretty easy to get in to. Kool Thing still gets radio play and the other tracks really are similar. It might not be for everyone, but this is a good record to start with if you are curious.

Links
Official Site

Curious? Check out some MUSIC!

The album is still in print, you can get it here

FDF Volume 3 Issue 253 - Mark Lanegan - Scraps at Midnight

2012-02-10T08:00:00.001-05:00

Album – Scraps and Midnight
Artist – Mark Lanegan
Key Players – Mark Lanegan – vocals. A series of other musicians play on the records from Tad Doyle to J.Mascis, I'll make note on the tracks they perform.
Produced By - Mike Johnson and Mark Lanegan

Release Date – July 21, 1998

What caused me to blow off the dust? - Mark has a new solo album out and I was just bitten by the bug.

Overview – This is the third solo album from Mark Lanegan. Lanegan, who rose to fame as a member of the band “Screaming Trees” released his first solo record in 1994. This release many consider to be the final installment of a trilogy of albums. Lanegans first two records explored American roots and Blues and Lanegan was quoted in an 2004 interview he intended to make records with a blues feel but to not fall in to what many see as a blues record.

FDF Comments (aka the songs) – A lone guitar bends and twists a few times before the band comes in and “Hospital Roll Call” starts. The band is cool and Lanegan speaks a few lines but lets the band roll along. The track is rumored to be about a stay in rehab for Mark and he says “Sixteen” (Room or Patient number?) It sounds like the theme to a modern western movie at times. Johnson has a run on guitar but one can't escape that “Western Movie” feel. The moody acoustics come out as “Hotel” begins. Lanegan is in no rush and his whiskey soaked vocals are honestly to die for. He has one of the best voices in rock. Think a little Tom Waits, but not nearly as gruff and you'll get the idea. There are slide guitars but we don't really hear drums and the band is in no rush. “Stay” feels a little like Pink Floyds “Mother” in its single ringing guitar, but as the drums join in we are about as crazy as we have been up to this point. There is a longer guitar solo as well that is quick, and used during the fade out. “Bell Black Ocean” finds acoustic guitar, piano and some slide guitar to accompany Mark. The piano seems to be more of the focus with Mark, but its not a rushed, note filled piano part. A few notes here, a quick burst there, but when a short guitar section cuts it short you actually await the return. The slide guitar works well as it plays over the piano at time, but without being overbearing. The track “Last One In the World” follows. Rumored to be about Kurt Cobain it finds more of a band setting with the bass, guitar and drums. Think a dark and smokey bar, and you are there. The drum sticks tap off the rim of the snare as the acoustic guitars strum at times, bend notes at others for a dark and moody feel. Mark sings “good bye friend, thank you for the dream” you tend to believe its about someone dear to his heart. The track “Wheels” finds a collection of guest players. J.Mascis (Dinosaur Jnr) on piano, Tad Doyle (TAD) on drums. Also joining are Phil Sparks on upright bass and Mike Stinette on saxophone. Mark sings early on within the track. Stinette plays the sax after the first verse and then you hear Sparks bass work a little more. Mascis holds the melody together nicely on piano. Known for his big wall of guitar it is a nice touch. Mark starts to sing early on “Waiting On A Train” accompanied by two guitars. To paint the picture think three people on a stage, sitting on bar stools just playing for the audience...cigarettes in the ash trays billowing swirls of smoke as glasses clink in the background. For the first time a female vocal can be heard along with mark. It is Liz Burns who lends her voice, its not very up in your face, but its there. Phil Sparks returns on the bass for “Day and Night” and Terry Yohn plays the harmonica parts which can be heard from the start. The vocals are primarily with the acoustic guitar with the harmonica washing in at times. Personally I find this track to be a challenge to listen to for some reason, it just seems almost “beyond heavy” emotionally. Hard to really describe. We don't perk up that much as “Praying Ground” starts. Again the piano and single guitar seem to be Lanegans go to accompaniment and big change come in the closing track “Because of This”. It feels like a band really wants to get rolling. Its nice to hear a drum get hit, a guitar seem to get struck a little harder. A blend of this on the record would have been nice, but it sounds good overall. The subtle instruments seem to wrestle and the cool fade down, before bringing everyone up and Marks final vocal run are top notch. It is so cool they do it twice.

Where are they now? - Mark released a new solo album in February of 2012.

FDF Personal Comments (aka the Live experience) – I have never seen a “solo” Mark Lanegan show. He doesn't seem to tour the east coast, or the US for that matter as a solo artist. I've seen him in guest slots with Queens of the Stone Age and have seen the Screaming Trees, but a solo Mark show continues to be on the “bucket list”.

FDF Overall Take – As noted I think Mark has one of the best voices in music. There is just something so honest, and just awesome in his vocals. The solo stuff early on is very similar. Mark was doing a trio of records at the time, and as “nice” as they are you may not win a ton of friends trying to get them to listen. Mark was doing something he wanted to do and its his voice and support cast that help make the records even better. I use the line “you won't throw this record on to get the party started” and this is a key time to use that line. Still, his voice just destroys my insides and I'd suggest any and all of his records to the person willing to give it a chance.

Links
Official page is here.

Curious? Check out some MUSIC!

You can still find the album, even right here.

FDF Volume 3 Issue 252 - Skunk Anansie Paranoid and Sunburnt

2012-02-03T08:00:00.002-05:00

Album - Paranoid & Sunburnt
Artist – Skunk Anansie
Key Players – Cass (Richard Keith Lewis) – bass. Ace (Martin Ivor Kent) – guitars. Robbie France – drums. Skin (Deborah Dyer) – vocals
Produced By – Sylvia Massey and Skunk Anansie

Release Date – September 21, 1995

What caused me to blow off the dust? - I am actually surprised that I haven't done one of this bands records yet. I am/was a big fan of them both in studio and Live. I wish they'd come to the US more.

Overview – The name comes from a combination of words. A West African folk tale speaks of “Anansi – the spider man and the band added “Skunk” to make the name “nastier”. Formed in 1994 in London the four piece would dominate the UK charts. They'd have a total of 141 weeks of albums or singles on the charts. The band would find themselves on the soundtrack to the film “Strange Days” and an early fan of the band was radio personality Howard Stern who announced the band would “be huge”. They'd release a few more records in the US, but success here would elude them. (none of their albums would crack the US charts, but the first three were all top 20 releases). The band would disband in 2001, but reformed in 2009. They released their fifth studio album “Wonderlustre” in September of 2010.

FDF Comments (aka the songs) – The album opens with the rocking “Selling Jesus”. The instruments slowly build before crashing in. Once Skin starts to sing it is with a fierce growl that at the same time seems to soar above the chaos. Skin has one of my favorite female voices in rock of all time. She just pulls it from her toes to her throat. Cass throws some cool bass slides and fires off France. One thing the band is not afraid of is pushing the boundaries with the lyrics or song titles. After the second verse there is a short bridge with Skin having overdubs on her vocals and they bring it back seemingly even more urgent. Skin then really pushes the range at the close. An absolutely kick ass album intro. The guitars are abuzz as “Intellectualize my Blackness” starts off. Cass finds a funk bass groove and France keeps things in check. We are little slower on this from the opener but the bass is very high in the mix allowing the vocals to really be on the upfront. I am not sure what this song is about, but Skin is pretty passionate about it and you really start to think. Ace doesn't have any flashy guitar runs, instead he holds on to some big riffs to play off the others. As the song progresses Skin seems to really push herself even further in range and urgency. “I Can Dream” finds Skin seemingly hushed at the start with the guitar bass and drums keeping things in check. After a few lines Ace gets things rolling and as the chorus approaches it grows until the chorus just reaches out and shakes you. As a casual bass player myself its fun to hear Cass toss some in some big booming fills as the band clicks along. The song is a really a strong example of how powerful a voice Skin has. File under a song that could be dissected in a few dozen ways “Little Baby Swastikka” is next. Yeah, you read that right. On this track Skin is almost whispering the verses as Ace strums his guitar and France finds time on the hi-hat. As the chorus strikes Cass pops off on his bass and he does this a lot. The song is angry, rocking and another strong example of what the band is capable of. Hard song to admit you like due to content, but its a ripper. France doesn't want things to slow down so he has a big thunderous drum intro on “All In The Name of Pity” and again Cass gets to stand back and drop the bass grooves. Ace seems to sit back to just give the riffs heading to the chorus with Skin singing along to just the bass and drums. “Charity” is about as slow/mellow as the band gets. Even with that being said, everyone fires off at the start, but as Skin sings everyone cools down. This is a showcase for Skin to show her range. She ranges from 'vein in the head' screams to hushed lullaby style. The chorus finds everyone getting a little frantic so it is by no stretch a ballad, but this is about as calm as we've heard the band to this point. Cass has a few bass chords he plays and “It Takes Blood and Guts to Be This Cool But I'm Still Just a Cliche” kicks off. Ace seems to be a little frantic and Cass continues to lay the bass pops and thumps. The band tries to slow things down leading to the chorus, showing a little more musical diversity vs just these front to back rockers. Ace also seems to have found more effect pedals and slides across the strings like a machine gun while France goes from cymbals to hi-hat rolls. “Weak” is a “clean” track. It just seems to find the band in a comfort zone and comfortable with their positions in the track. Not sure this makes sense, but this is sort of just a straight ahead and clean track. You hear everyone, Skin sounds great but it doesn't have that big riff, or fill, or huge hook. Bigger is better though and when the band gets “And Here I Stand” going you'll feel it in your bones. Cass, Ace and France seem to chug things along and they seem to almost “jam” longer than on any other tracks before Skin comes in. When Skin starts the lyrics they settle back a little but come the chorus we have, what seems like only the second time, backing vocals. The track is dirty and grinds to a gradual swell, finally really taking off and the band getting to rumble and Skin howls over everyone, she is about as angry as you'll hear, but in that good rocking sort of way. Ace plays a few delayed guitar notes and Skin comes in to get
“100 Ways to Be A Good Girl” started. She sings just about a full verse before Cass comes with a few bass notes. The drums are kept to light taps of the cymbals and snare strikes. The song keeps the same feel through the second verse and choruses. “Rise Up” closes out the record and has a similar feel. A decent closer, but not as rocking as we'd hope.

Where are they now? - Skin, Ace and Cass as noted have reformed and perform. Drummer Mark Richardson joined the band soon after the debut. Original drummer Robbie France passed away on January 14, 2012 at age 52. Skin worked as a solo artist for a bit after the band disbanded. Ace released a record and worked worked with others, as did Cass. Mark will write and record and work with Ace during down times.

FDF Personal Comments (aka the Live experience) – The first time I saw the band live was at the Paradise with the Australian band Ammonia. Ammonia was actually supposed to be the headliner, but the rumor was the band couldn't see themselves going on after Skunk Anansie so they traded slots. The show was great, but so horribly undersold, I swear there was less than 100 people there. Made for a fun show and Skin was just all over the stage. (We took a look at "Mint 400" from Ammonia here. In May of 1997 they were back opening for the Rollins Band at Avalon. A 30 minute set set the room on fire. We looked at the Rollins Band "Weight" album here. On August 26, 1999 was the last time I saw the band live (and perhaps one of the last times they were in the states?) opening for Sevendust at Lupos. Again, the band did their best with an early and short set. I talked to the bass player after and he said they were thinking of moving to the States for some time to try to get a bigger presence. I guess that meeting didn't go well. One other time I saw them was with Jawbreaker as part of a Newbury Comics birthday concert. I don't have the date, but it was at Venus DeMilo in Boston.

FDF Overall TakeI am surprised this record doesn't have a parental advisory sticker. Its pretty heavy at times lyrically and musically. Skin just has this awesome voice and its different to hear a female fronted “hard rock” band. Might not be for everyone, but worthy of a spin for you to decide if they are for you.

Links

Official page is here.
The page for Skin is right here.

Curious? Check out some MUSIC!

The album appears to be out of print, but you can still find it
here

Favorite records of 2011

2012-01-13T09:19:00.001-05:00

If you want to see what I enjoyed the most (music wise) in 2011 you can check out my 25 favorite albums of the year right
here.

FDF should be "back" next week. The "25" took a while to get posted.

Thanks as always for reading.

Just an update...

2012-01-04T18:53:00.002-05:00

Due to the holidays and short weeks its been a struggle to sit and write.

Working on my favorite records of 2011 as well. This should kick back up hopefully for Friday the 13th, but I'll probably post links to that list for the music fan in you.

Happy New Year!

FDF Volume 3 Issue 251 - The Brian Setzer - Boogie Woogie Christmas

2011-12-23T08:00:00.006-05:00

Album – Boogie Woogie Christmas
Artist – The Brian Setzer Orchestra
Key Players – Dennis Farias, Kye Palmer, Kevin Norton, Will Murillo – Trumpets. Robbie Hioki – Bass Trombone. Craig Woods, Alex Henderson and George McMullen – Trombones. Don Roberts – baritone saxophone. Ti Misica, Ray Herrmann, Matt Zebley and Jim Youngstrom – Saxophones. John Hatton -bass. Bernie Dresel – drums. Brian Setzer – guitar, vocals.

Produced By – David Darling

Release Date – October 10, 2002

What caused me to blow off the dust? - It is the Christmas season, and who wants the same old same old right?

Overview – Brian Setzer made a name for himself in the 80's Rock-a-billy revival band “The Stray Cats”. After a few years he branched out with his “Orchestra” taking on swing music and finding a second wave of success with hits like the remake of “Jump Jive and Wail”. Setzer surrounds himself with competent players for a fun take on some of the songs of the season.

FDF Comments (aka the songs) – The album starts with the old standard “Jingle Bells” but quickly has the swing/poppy bounce to it. You can see and hear the band just snapping fingers and bobbing back and forth. The lyrics are quick and gritty with some fun play on words. Pretty true to the original, but a lot more “full” as you'd expect with an Orchestra treatment. Setzer himself is a great guitar player and has a great short solo before the horns come back in for the final verse. “Boogie Woogie Santa Claus” is a little smoother vocally, but the band is having a great time with the big fills and strong bass line. The drums are kept it check so the horns really stand out. There is a saxophone solo mid song that the trumpets seem to get ignited by before Setzer takes a solo. “Winter Wonderland” is true to form, with the BSO twing to it. Setzer starts singing without much accompaniment, before the horns come in. Setzer has a longer, and earlier guitar solo before making way for the saxophone solo. The bass work from Hatton continues to be very strong and right up in the mix. Another classic comes in “Blue Christmas”. Setzer works with a percussive background and background singers rather than being surrounded by the band for the first verse and in to the second. Its not until the second verse is done do we hear a guitar section that lays nicely over the percussive back beat. Setzer has enough fun he continues the solo. The solo is strong, and to the point. The harmonies return at the start of “Santa Claus is Back in Town”. Once the verse begins Setzer has more of a growl to his voice, really reaching down with the 12 bar blues there for the dissection. The horns are back with full effect and seem to really come at the right time with big fills and then fade, before doing it all over again. The lyrics are sung slowly with, as noted, heavy feel for the blues. Ann-Margret joins in a duet on “Baby It's Cold Outside”. Ann begins the singing and its hushed with her taking the lead and Setzer offering a line here and there underneath her. The band is hardly in the mix as the two trade lines. You can hear brushes on the snare drum and a muted horn, to a strum of guitar, but we are focused on the vocals. Setzer has a short solo before the lyrics start up again. It repeats the style for the duration. “The Nutcracker Suite” is an instrumental medley of selections from the Nutcracker. It has the big band touch which really perks the track up fun. “(everybody's waitin' for) The Man with the Bag” has a staggered vocal delivery with focus on the downbeats and the horns are bright and round out the sound. The horns and saxophones again take solo runs which is refreshing and the band is able to showcase their talents. “Sleigh Ride” will have you longing for this version all the time. It just has your feet really moving and the horn accents are tight. Miss the whip cracks, but I'll take the saxophones for a nice mix up. “So They Say It's Christmas” begins with a flamenco style guitar and Setzer is very “loungy” in this vocal delivery. Tracks like this can throw off a listener of the whole record as it is very different than the others. The plus side is the diversity of the band, able to speed up/slow down and still sound great. “O Holy Night” has Setzer on guitar with a choir singing behind him. He does the first verse alone, and the second verse as just rim shots dropped in. Still has the BSO vibe, but also a pretty straight forward version (for these guys). “The Amens” closes out the record and it is just shy of a one minute track. It has a church feel to it, not the big swing track you'd think as an album closer. Pretty and nice, but sorta odd at the same time to close the record out with.

FDF Overall Take – You get the traditional, and not traditional all spend up and “swung” out. For all its good parts it does get old fast though. Toss a song on a holiday mix though, to perk things up.

Links
Official site is here

Curious? Check out some MUSIC!

Jingle Bells
Nutcracker Suite

Looks like you can still track the album down
here.

FDF Volume 3 Issue 250 - Northside - Chicken Rhythms

2011-12-09T08:00:00.001-05:00

By: March

Album – Chicken Rhythms
Artist - Northside
Key Players – Warren Dermody – vocals. Timmy Walsh – guitar. Cliff Ogier – bass. Paul Walsh – drums.
Produced By – Ian Broudie

Release Date - 1991

What caused me to blow off the dust? - All this talk of the Stone Roses re-forming have me being a little nostalgic for music of the time.

Overview – Formed in 1989 this is the lone release from Manchester, England's “Northside”. They'd blend shoe-gaze with dream pop and be placed under a “rave scene” band as well.

FDF Comments (aka the songs) – The full band comes right in at the start of “Take 5”. After a few runs Paul Walsh runs the percussive instruments and Tim Walsh chimes on his guitar. Ogier has a swooping bass line, but the tambourine and jangly guitar really stand out. Dermody doesn't start to sing until after a good minute, leaving the listener with a wall of music to absorb. It has the Manchester sound of the era, deep bass lines and ringing guitars. The band as a cool break down mid song with Ogier and Paul Walsh getting to show off some, before the chorus returns. Very strong, solid opener. “Weight of Air” has another bright start with Ogier leading out of the gate with a punctuated bass line before the Walsh boys join in. The vocals are a little less frantic than the opener, they lean back to a bit more of the atmospheric approach. Timmy Walsh finds a real bright jingle to his guitar as “Funky Munky” starts. Paul and Ogier jump on board for a fun romp as the song seems to bounce forward playfully. Ogier has the bass high in the mix and Paul seems to keep his drum strikes in check moving forward with ease. “A Change is On Its Way” finds Paul rolling across his cymbals as Timmy lightly strums. After a few rolls Paul gets things moving a long some and Ogier finds his place on the bass. Dermody is still a little hushed, not really pushing himself rather giving a full baritone delivery of the lyrics. Listening on headphones they phase between the headphone speakers and it almost dis-orients the listener. I don't ever recall hearing this or feeling this way. The song actually seems to fall apart in the later sections before it kicks back around, but its not overly exciting. “Yeah Man” really shows off Ogier on the bass. He chugs out this quick bass line and the Walsh’s do what they can to keep up it seems. Timmy gets to have a few quick runs on the guitar after Dermody just says “Yeah Man”!! It is a psychedelic romp if you will. Hard to use those two together, but the guitar and drums have one feel, but the bass gives you a total different view. Its largely an instrumental track with only the songs title being shouted out. We slow it down again on “Tour De World”. Dermody has a more “breathy” vocal delivery on this track and it also feels like Timmy has his first real guitar solo, a wah-wah infused jam that is far too short. Ogier gets to play along with the birds as “Wishful Thinking” starts up. Timmy comes up with some light guitar strums before Paul comes on drums. A trippy, slow, almost plodding track, but it somehow has a bright feel to it. The longer guitar section at the end is a nice touch. The track that got me to buy the record comes in “Shall We Take A Trip”. Dermody says “L”, “S”, “D” as Timmy strikes the guitar. What unfolds as the band comes in is nothing short of Madchester nostalgia. Harbor to guess anyone that was in to this genre recalls this song. A tripped out drug infused track that finds the band really moving along. Timmy is all over his guitar but its Ogier finding a really solid bass line that keeps this tune on track. A true time capsule moment of a track. The short wah-wah portion with just the drums for 20-30 seconds gets me every time and Dermody calls out “Baaaaaasss guitar” and Ogier comes in with his hook, great stuff! “Who's To Blame” is again another slower feeling track than the one prior, but that can't fool you. The guitar riffs blend with an acoustic guitar and Paul Walsh seems to be in a contest with Ogier for who can keep better time with more of punch of their role. Lets call this a draw. We get raging again as “Practise Makes Perfect” takes off. The band is tight and really on task. You may not think of “tight” when you think of bands from this era, or genre, but they are. The album wraps up with “My Rising Star”. Paul Walsh rumbles across his drum kit before Timmy comes in with big ringing chords. Ogier plays along with his usual tight bass lines and Dermody is hushed and breathy, perfect for the vibe of the closing track.

Where are they now? - There is not a lot of information. A lone record before the internet took off sort of limits and web pages and the like. If anyone has any information, please feel free to comment it up. I for one am curious!

FDF Personal Comments (aka the Live experience) – I never saw the band live. I am not even sure the band toured the States?

FDF Overall Take – If you like the “Madchester” scene you will be right at home. The probably just slipped under your radar. Based of what you may have heard at the time it may feel like the same old same old, but they had some really great ideas and production work pulling the bass and drums up is really strong.

Links
A myspace page.

Curious? Check out some MUSIC!

Shall We Take a Trip
here.

FDF Volume 3 Issue 249 - The Mighty Mighty Bosstones - Let's Face It

2011-12-02T08:00:00.004-05:00

By: March

Album- Let's Face It

Artist – The Mighty Mighty Bosstones

Key Players – Joe Sirois -drums. Dennis Brockenborough – trombone, backing vocals. Kevin Lenear – saxophone, backing vocals. Tim “Johnny Vegas” Burton – saxophone, backing vocals. Joe Gittleman – bass guitar, backing vocals. Nate Albert – guitar, backing vocals. Dicky Barrett – lead vocals. Ben Carr – dancer/bosstone

Produced By – Paul Q. Kolderie and Sean Slade

Release Date – March 11, 1997

What caused me to blow off the dust? - The band is due to play a local show, and was surprised I hadn't actually talked about this record yet for the site.

Overview – Formed in 1983 the Boston based ska punk band Mighty Mighty Bosstones (Also called simply Bosstones) found influence in the 2 Tone Ska scene coming out of England in the late 1970's. They'd seem to struggle in the underground scene with light album sales, but a fevered live show and ravenous following would keep the band active. They'd catch their biggest break with the release of this record. The album would have three singles, all that would chart on billboard charts and the album would go platinum in the US. They'd go on hiatus after 2003 and reformed in 2007 where they remain active releasing albums, singles and occasionally touring.

FDF Comments (aka the songs) – The 12 song, just a bit over 30 minute album begins with “Noise Brigade”. Sirois gets things rolling and the smooth bass line from Gittleman joins. The horns blaze in and Barrett is off to the races. He has a gruff/gravel voice but sings to be light on himself almost having a bubbly pop song vibe, before it skanks it up good. The horns add a real punch and are not overused. The band has a slower interlude with various vocals coming in before Barrett launches in to the final verse. A song that would eventual make its way in to the top 10 (#7 peak) on the Alternative charts is “The Rascal King”. Again the bass and horns are the focus at the start. Gittleman has a high punch to his drum, almost a piccolo snare drum”ping” to them being struck. Musically the band is tight and focused. Albert has some lighter guitar fills but the horns and the duo of Sirois and Gittleman seem to be the showcase. Gittleman is all over the bass with a wonderful walking bass line. Rather than a guitar solo there is a horn section that leads to a cool organ section as well. “Royal Oil” also charted (at #22) and seems a little mellower than what we've heard. Sirois slowly rolls off the drums and the track is just a more laid back vibe. The horns do punch through but the ping of the snare seems to really ring out over and over. The big single from the record comes in “The Impression That I Get”. Albert gets to lead off with his choppy guitar riff and is joined with the horns bass and drums. Again Gittleman really shines on the bass. Really listen to the bass line the next time you hear this track (see below) and I think you'll be impressed. The gruff sing along chorus gets even the stuffiest of stiff shirts fist pumping and pogo dancing wherever there is room. A solid track that still sounds great.. “Let's Face It” keeps things moving right along. The band never seems to slow things down, as they have found what works for them. There is some light organ fills again on this track. Albert has a quick and distorted guitar solo and then Brockenborough gets a quick shining moment on a strong, albeit short trombone section. Feeling far more punk at the outset “That Bug Bit Me” finds Albert riffing fast and hard with Sirois playing along just about as fast. Up to this point the fastest track on the record. The horns don't appear until the second verse and provide longer tones rather than fills. Barrett has a particular howl to his voice on the track. A great barn burner of a track. Clocking in at an astounding 3:50 “Another Drinkin' Song” follows. This is the longest track on the record starts off almost smooth with the horns taking the forefront. Barrett is much more laid back and Sirosis and Gittleman provide the simple back beat. Albert throws a few guitar riffs, but noting overly flashy. About the 2 minute mark the track seems to change direction and gets interesting with the band really firing off one another. It has this really “full” sound to these ears as well, before Barrett mellows things out, but by then the band is right there for the sing along choruses. Alberts guitar punches the speakers as
“Numbered Days” begins. The band all come in urgently but when Barrett starts to sing it backs off some. There is some slick production here with the loud to quiet and back aesthetic, but it really works. “Break So Easily” starts quieter with Albert playing a few light notes, but don't be fooled. Brockenborough leads the charge with the horns in to the verse. Parts of the verses are spoken rather than sung, and when sung it seems like the whole band is right in your face. It gets loud, urgent and almost frantic. Barrett is gruff again (more than usual) and you almost feel your own throat hurting after listening. Sirois quickly gets “Nevermind Me” rolling. Gittleman has heavy compressed distortion on his bass but the horns steal the show again. The horns chip right through sometimes with longer notes, others with short 16th note precision. The horns hit like a machine gun. We keep the speed up with “Desensitized” and the closer “1-2-8”. If you feet don't move on these two tracks, I really can't help.

Where are they now? - The band is still active but on a lighter schedule. They will play a few shows a year. The band is slated to release a new record on December 6, 2011 called “The Magic of Youth”. Dicky Barrett is the announcer for the Jimmy Kimmel Live late night show. Bassist Joe Gittleman, Tim Burton and Ben Carr have been the other consistent members of the band.

FDF Personal Comments (aka the Live experience) – Actually have seen the band live three times. Considering they are a “Boston” band it could be seen as being a little too low. The first time was July 25, 1995 as part of Lollapalooza. They then did two shows are part of the WBCN River Rave at the Tweeter/Comcast/Great Woods on June 7 and 8, 1997. They headlines those two shows over Foo Fighters and Porno for Pyros. A true homecoming indeed.

FDF Overall Take – Have to admit it has been some time since I played this record front to back. Its really pretty great. If you like the style enough this is well worth your time. Its fun, uptempo and overall really great. There is a reason it sold well. Chance are you have a copy, dust it off..if not check out some of the clips. It has been too long.

Links
Official Page
myspace page

Curious? Check out some MUSIC!

The Impression That I Get
Royal Oil
Rascal King
Rascal King Live

The album appears to still be in print. You can grab one here

FDF Volume 3 Issue 248 - downset. - Do we Speak a Dead Language?

2011-11-25T08:00:00.001-05:00

By: March

Album – Do We Speak A Dead Language?
Artist - Downset
Key Players - James Morris – bass. Chris Hamilton – drums. Ares Schwager – guitar. Rey Oropeza – lead vocals.
Produced By – Roy Z

Release Date – September 10, 1996

What caused me to blow off the dust? - I try to mix things up on the site. Going 80's one time, to 90's alternative and even dipping in to harder stuff. Just felt like mixing it up.

Overview – This was the second full length album from Los Angeles California band downset. Blending rap metal, hardcore and alternative the four piece would be seen as a political band before they'd realize it. Singer Rey Oropeza's own father died had the hand of the LAPD so the band would turn to political and deeply personal songs. The band would tour, release a few albums, but never garner much mainstream success. They'd disband in May of 2009 just saying the band had “run its course”.

FDF Comments (aka the songs) – Fifteen tracks in under fifty minutes gets started with the track “Intro” which is a segment of a speech from Martin Luther King with chimes and bass. “Empower” takes right off with the grinding fusion of rap/rock. Schwager finds big guitar riffs while Hamilton focuses his anger on the hi-hat. Oropeza pushes himself hard on the vocals and the band has that grinding heavy feel through out. Schwager and Morris have a good tandem run with Hamilton keeping pace and the tempo locked in. It is a heavy and hard intro track. Morris gets the intro on the track “Eyes Shut Tight” riffing a few times before the guitar and drums come in. Oropeza is a little less rushed on this track, but the track is still heavy, but the vocals are a lot less “shouted”. The band does some heavier stop/starts about 1:45 in to the track with Schwager really buzzing on his guitar and after a verse of that Morris gets up in the mix as the band settles back and Schwager throws some delayed guitar riffs over the top. It swells up again and gets a lot heavier. They repeat the chorus again and the track comes to a close, but not before Schwager gets another run. “Keep on Breathing” has Schwager starting with a distorted guitar before the band comes in quickly. Morris finds a tight groove and Schwager joins while Hamilton keeps it all in check. Oropeza continues be angry, and on point. His vocals may not be flashy, but they fit right in with the music. The band is good about some stop/start time signatures, usually with, in this case, a big bass riff to bring it all back in. Hamilton starts things off on “Hurl a Stone”. Oropeza is back to a quick vocal delivery, barking at times and giving tight rapped lyrics at times. Schwager found a great riff on this and won't shake it loose, which is fine with me. Schwager seems to go even faster on “Fire” and Morris and Hamilton are just fine playing along, as quickly as he is. The track has some backing “shouts” in the chorus as the big down beats get your head bobbing at a rapid pace. We seem to settle things down with “Touch” as Morris and Schwager both calmly play and Hamilton slowly rolls across the drum kit with some lush cymbal rolls. The tempo is set from Hamilton and suddenly it picks right up and Oropeza breaks the silence with the vocals asking if you have “any love in your heart?”. The song reverts back to the smooth intro for a time, then Oropeza opens it up again, the track follows this pattern for the duration. Schwager seems anxious to get things started on “Against the Spirits” and again Hamilton is happy to play along, he teases it some, but Morris comes in and it takes off. This is about as fast as the band has been, they are just in the zone and its all out there. Morris pulls a funky bass riff out before the full band gets back in to it and off they go again. This is some speedy stuff. Oropeza leads off “Sickness”. This is the first track that comes to mind where it is only vocals first, before the band comes in. We get full, and heavy, before letting Oropeza sing with the band easing up some. Still heavy, but a refreshing change from the norm of the record. One might think, due to the vibe of the record that a song like “Pocket Full of Fatcaps” has to do with bullets. Wrong. This has to do with spray painting. How gangster is that? It is actually pretty gangster. This was the lead single that I recall hearing from the album with its punchy drums and buzzing guitar. It seemed so new, so heavy and so on point. Check out the sample below, if you like stuff of this genre, you'll dig. “Sangre De Mis Manos” is sung in Spanish, but even language doesn't slow down the urgency and heavy vibe of the track. “Horrifying” continues what he have heard which leads in to a reprise of “Sickness”. The tracks all see like bookends. We actually get a piano??! intro on “Permanent Days Unmoving”. The vocals are spoken and it appears to be a soft spoken poem. The album closes out with “Ashes in Hand” a track which has Schwager and Hamilton slowly growing in intensity as Oropeza comes in shouting “sex kills” before the band gets heavier right along with him. Schwager uses some delay on this guitar again, while Morris and Hamilton grind the track forward to the point where Hamilton appears to grow two more arms and just goes wild on the drum kit. Suddenly we change directions, everyone eases off the throttle and the track wraps up. The track still rolls to silence until about 8 minutes when an unlisted track begins, again it starts out mellow and remains a loose instrumental jam.

Where are they now? - As noted the band broke up in 2009.
James Morris worked with a band Supervillain but their site hasn't been updated since 2005. I wasn't able to find much else on what the guys are doing now.

FDF Personal Comments (aka the Live experience) – I saw the band one time opening for Deftones and Orange 9MM at the Middle East in Cambridge MA. I am not sure of the date due to a lack of a ticket stub. The downset page has a tour history, but it only goes back as far as 2000. This was on the tour for this record as I had the guys sign the cd.

FDF Overall Take – If you are a fan of bands like Rage Against the Machine you'll be right at home. Fast, heavy but still melodic at times. It might seem a little dated, but I hadn't listened to this record in a long time and found it refreshing for some reason. Honestly though if you like the style to begin with there is little for you to NOT like on this record.

Links

Official Page
Facebook page.
Twitter
myspace page

Curious? Check out some MUSIC!

Pocket Full of Fat Caps
Empower
Eyes Shut Tight

The album appears to be in print still. You can track it down here.