Tim Brough's Black Leather Bookshelf

My Amazon Reviews: Madness “Divine Madness”

2015-09-02T00:33:00.000-07:00

Madness is all in the Mind
4 Out Of 5 Stars

Madness madness never quite caught on in the US, despite the success of "Our House." having a huge base overseas fueled the band for decades, with trippy hit after hit. "Divine Madness" catches the singles in all their glory. There are quite a few compilations of Madness out there, but this one is the keeper.

Yes, it does have "Our House," and the classic introduction of the band in "One Step Beyond," but also the goofy coming of age songs "House Of Fun" and "Baggy Trousers." There are the unique ska-ish instrumentals like " The Return of the Los Palmas 7" and "Night Boat To Cairo." But there's something else in the method that happened with the band. Lurking under the pop veneer is often a somber note. Even the big hit "Our House" has a caveat in the chorus; "something tells me that you've got to get away from it." Not all was goofy in Madness' world.

As the band soldiered on, so did the world view. "Tomorrow's Just Another Day" was so melancholy in its tone that Elvis Costello slowed it down for a remake that wound up darker than the original. The rebuke of "Embarrassment" wouldn't have been out of place on a Costello album. But the exuberance always shines through. When it came time to do a cover song as single, they chose "It Must Be Love," British singer Labi Siffre's 1972 hit. (It was also the band's second and last single to crack the American Top 40, creaking up to a #33 peak.) It's a cheery declaration of devotion, and maybe the lease 'mad' song here.

Working through the band's catalog chronologically helps, too, as the band had two distinct periods. There was the manic early days and then a mature period that left the ska behind and concentrated more on pop. "Our House" is probably the divining point, because what follows is less frantic and more measured. You have "Michael Caine," featuring a cameo from the man himself. Describing the onlooker's desire to get close to an idol, it's also about disappointment. The lounge like sounding "Yesterday's Men" postulates getting older, and "(Waiting For The) Ghost Train" contemplates death and what comes next.

But all that is part of the complete band package. Those early singles still carry a manic punch, while the later days are more layered in their approach. If there was any other complete Madness, I don't know of it. "Divine Madness" packs it all in with a 22 song salute.

My Amazon Reviews: Foo Fighters “Sonic Highways”

2015-09-01T01:08:00.001-07:00

Headed On The Highway
4 Out Of 5 Stars

Doing a studio tour of various cities, (Chicago, Austin, Nashville, Los Angeles, Seattle, New Orleans, Washington, DC and New York) with the idea of catching the vibe of each studio seems like a cool concept. Hauling in guests from each location would also seem like a way to make each track sound distinctive (Joe Walsh, Gary Clark Jr, Zac Brown among others). It's also a tie-in to the HBO (and now BluRay) series of the same name. But there's something a little awry with the concept. The songs all have the same vibe. The Foos may have been sucking it all in while making "Sonic Highways," but the listener doesn't get to share that experience.

There are moments when you get some of the action, like when the Preservation Hall Jazz Band contributes their sound to "In The Clear" (recorded in New Orleans). But they are pretty much buried in the mix, so you just get a minor variation to the basic Foo Fighters' sound. Joe Walsh has a cool solo in "Outside," but it doesn't burn in your mind that it's Walsh. Same for Zac Brown's vocals on "Congregation" (recorded in Nashville). If you want to hear a real Brown Collaboration, dig his work with Soundgarden's Chris Cornell on "Heavy Is The Head" from Brown's own "Jekyll and Hide." The lone exception is Clark's solo in "What Did I Do? / God As My Witness" (recorded in Austin). It's the one guest star who really leaves an impression.

And that kind of sums up the experiments. What you're left with is a pretty good Foo Fighters album. The songs still roar like they should ("The Feast and The Famine" and "Congregation"). They even try a little sonic soul with "I Am A River," "Sonic Highways" climax (which splits the difference, strings recorded in Los Angeles, the meat of the song in NYC). If you weren't aware of the concept of the album, you'd probably just regard it as the Foo Fighters doing what they do best. That's probably all you really need to know about "Sonic Highways"...it's Dave Grohl and the men in their element.

My Amazon Reviews: Muse “Drones”

2015-08-24T23:51:00.000-07:00

Gonna Make You, Gonna Break You.
4 Out Of 5 Stars

In all heir pompous glory, Muse are old fashioned prog-rock band, with the fat trimmed off and aspirations toward the big statement. With "Drones," that landed a live one. "Drones" is allegedly about the dehumanizing of men and the militarization of the world. Y'know, you're a drones, we fight with drones and don't you make me one. Packed with big guitars, flourishing keyboards and Queenly harmonies, it's just what a Muse fan would be looking for, The concept gets a little wavy at times, but it's all good music.

The best songs are where the band stretches out, like "Pyscho" or the sprawling "Aftermath," a 10-minute epic that starts with an Ennio Morricone whistle, plays into a Pink Floyd vibe before finally tearing into some muscular metal. And that's before Matt Bellamy even sings a note, which he does over another flourish of piano. It's not like Muse has not tread this turf before, there was the two-pronged title track to "The Second Law" and the three part "Exogenesis" off "The Resistance." Just this time, they crammed it all into one song and rock it into submission. Same for the album opener, "Dead Inside," which throbs like Queen's "We Will Rock You."

I'm all for bands making sloppy concept albums. Done well, the concept often takes a back seat to the songs (like "Drones") or overwhelms and makes the album fly along one big trajectory (think of the classic Jethro Tull album, "Thick as a Brick"). Either way, you'll get more bang for your buck, and Muse are such a great band that "Drones" is a big deal of fun, without the overwhelm. It's as much a concept album as a return to form. Top notch stuff.

My Amazon Reviews: Drake Jensen “Retro”

2015-08-24T01:46:00.000-07:00

Full Speed Ahead In Reverse
5 Out Of 5 Stars

Everyone's favorite out Canadian Cowboy, Drake Jensen, has set the control of his Wayback Machine for his new "Retro" album. Doing a covers album is always a risky venture as you're just as likely to step on a sacred cow than give a song proper respect. Drake walks that balance really well here, making his retro-world a place where Cyndi Lauper cuddles up to George Strait as easily as Pam Tillis plays footsie with Billy Idol. The thread that ties it all together is Drake's honey sweet voice, which, at times does resemble Strait's. It's not a completely country album, but you'll be surprised at just how much Lauper's "I Drove All Night" sounds with just a hint of Texas. Ditto for Idol's "Eyes Without A Face."

That's part of the fun of "Retro." There are a couple of die-hard country standards here, including the late Dan Seals' heart-breaker, "Everything That Glitters is Not Gold" and Strait's "Amarillo By Morning." He's also unafraid about some gender switching covering Tillis and Reba McEntire ("You Lie"). He also steps up to the plate to do a duet (originally by Seals and Marie Osmond) with Tia McGraff for "Meet Me In Montana." There are other artists here that you may be familiar with, some maybe not, But the result is pure; "Retro" may be a collection of oldies, but Drake Jensen makes them sound just like you'd want them to.

I can also recommend Drake's other studio albums linked below. "Stand By Your Man" is a good kicker single.

My Amazon Reviews: Breaking Benjamin “Dark Before Dawn”

2015-08-11T23:08:00.000-07:00

Meet the New Ben, Same as the Old Ben
4 Out Of 5 Stars

Six years and one messy public breakup later and Ben Burnley has recruited new members drummer Shaun Foist, bassist Aaron Bruch, guitarist Jasen Rauch, and guitarist Keith Wallen and leads this reconstructed version of Breaking Benjamin through "Dark Before Dawn." You could be forgiven for not noticing that the old band members are no longer around, but it also shows a minor flaw: the songs are little more than what you've heard on other BB albums.

So what does "Dark Before Dawn" have to offer? Well, you do have the fact that Burnley is the driving force (after all, the band name name-checks him), and his vocals still are as tough as ever. He does add melody to the well-hewn genre of hard rocking from the alternative zone. The push and pull between Burnley and the guitar licks are balanced nicely (although I will postulate that Aaron Fink was a hotter guitarist then either of the two newbies). There are the sharp, obvious singles ("Failure," "Defeated" and "Angels Fall") that stand out from the pack and a couple non-singles that sound just as good ("Hollow"). Then there is the moment where BB opts to provide a different sound altogether.

"Ashes Of Eden" has an atmospheric instrumental bed and gives Burnley the chance to drop the growling posture and actually sing. His natural voice is far more pleasant than you would have guessed. It's "Dark Before Dawn's" most original song and - by default - its best. It gives a fan hope that BB may have more hidden away in the trick bag than just worshiping Tool or Korn. So there you have it. There's little here to alienate longtime fans of "Phobia" or "Dear Agony" (still my favorite BB CD), but the new band doesn't break away from its sound after the long hiatus. It's just as you would expect it to sound in the scheme of things Breaking Benjamin-wise. That makes this review a minder for readers, if you like your alt-rock better than average, this CD will do just fine. Otherwise, you can take a pass.

My Amazon Reviews: Dawes “All Your Favorite Bands”

2015-08-11T00:48:00.000-07:00

Your New Favorite Band Brings It All Together
4 Out Of 5 Stars

On the new "All Your Favorite Bands," Dawes maintain their infatuation with that 70's California sound. I guess all that time spent on the road with Jackson Browne helped mold the band's shape, but on this album, as on the previous albums, Dawes mine that vein successfully enough that they claim it as their own.

As much as this album harkens back to the LA heydays of yore, leader Taylor Goldsmith roots much of the album in modern heartache. The title song may seem like a fond farewell, but it's really a bitter kiss-off. Same with the opener, "Things Happen." Replace "Things" with a four letter word starting with the letter 'S' and you'll catch my drift. All this lyrical tension is buttressed by the band themselves. The playing has become more organic, and they went to a live in the studio recording method. ("Things Happen" was reported to have been nailed on the first take.) It leads to a few surprises, like the electric guitar solo in "I Can't Think About It Now." Or most obviously on the near 10 minute closer "Now That It's Too Late Maria."

Starting with just a hushed drum and low key bass, Goldsmith sings lightly, "Nothing sadder than a street light/shining on a stretch of empty sidewalk." Builds to a slow burn solo before the final verse, then eases into a jam session that winds up as the song continues. It captures perfectly how much the band's chops and trust in interplay has grown, even with the short span of time between "All Your Favorite Bands" and "Stories Don't End." Credit should be given to producer David Rawlings, who captures the band in their natural element, and to Dawes themselves for the leap in compositional acumen. "All Your Favorite Bands" is modern folk rock of the finest caliber and a contender for the best thing I've heard this year.

My Amazon Reviews: James Taylor “Before This World”

2015-07-28T02:05:00.000-07:00

Sweet Grown Man James
4 Out Of 5 Stars

Hard to believe we've waited 13 years for new James Taylor songs, but "Before This World" was well worth the wait. His voice, still pure and world-weary has changed little over the decades, even matured a bit, The songs are comfortable, like your old blue jeans. He waxes nostalgic on "Stretch Of The Highway," touches a political nerve on "Far Afghanistan," and lays claim to an oldie for "Wild Mountain Thyme."

This is aural comfort food, impeccably produced with some lush orchestrations and often offering breathing space between the singer and his songs (IMHO a lost art among many current artists). The harmonies are lovely and there's even a drop by from Sting (on the title track). I particularly like "Angels Of Fenway," a tribute both to his Grandmother and a salute to the 2004 World Series winning Boston Red Sox. As a fellow member of Red Sox Nation, I've been wanting to hear the studio version ever since he sang it live at Fenway Park in early May (broadcast on NESN). I was not disappointed.

"Somehow I haven't died," James croons over the opening mellow folksiness of "Today Today Today." "Before the World" often looks back at his life, and to our benefit, James sound confident enough that maybe the next album will come before a 13 year gap occurs. But for now, enjoy "Before This World." Where singer/songwriters are concerned, there just isn't anyone to compare to James Taylor.

My Amazon Reviews: Todd Rundgren “The Definitive Rock Collection”

2015-07-15T00:38:00.000-07:00

Name Your Price, A Ticket To Paradise...
4 Out Of 5 Stars

Trying to boil Todd Rundgren's prolific output down to two CD's basically means nobody will ever be completely satisfied. That holds true for this "Definitive Rock Collection." While it tries mightily to give Todd's music a fair shake, I will still say that there's songs that I wished were here. But that hardly matters, as everything here is good to great. Not a dud in the set.

Todd has a little bit of everything. Classic pop songwriting ("Hello It's Me"), soul bred from his life in Philadelphia ("The Want of a Nail" with soul legend Bobby Womack), and harder rock (mainly with Utopia, represented here by "Hammer In My Heart"). There was even the prog-rock that some albums ("Ra" or "Something/Anything") reached for that is sadly not represented here. You do get many songs here that should have been hits (probably because of Bearsville Record's notoriously chintzy promotional tactics) like "Time Heals" or "Real Man." Same with Utopia, who were cheated out of a hit when England Dan and John Ford Coley covered "Love Is The Answer." However, this being the first Rundgren anthology that includes choice Utopia songs does give this set an edge over others. We can also add that the re-mastering is excellent and begs the question of why there haven't been deluxe editions of some of Todd's best (Come on Rhino, you already have the catalog).

I have some personal faves here, like "Compassion," "Love In Action" and "Change Myself." You get the hits themselves, "Hello It's Me," "We Gotta Get You a Woman," "I Saw The Light" and "Can We Still Be Friends" but not Todd's top 40 remake of "Good Vibrations" from "Faithful." The almost hits "Bang On The Drum All Day" (which has become something of a radio staple since), "A Dream Goes On Forever" and "The Verb To Love." Then there are the unsung heroes like the terrific Utopia songs, "Cry Baby," and "Love In Action" or Todd's "All The Children Sing."

As I noted previously, there are those who will nit-pick that "The Definitive Rock Collection" miss a whole batch of prime Todd (like skipping The Nazz's "Open My Eyes") but for a primer for Rundgren and Utopia, you'll have a tough time finding better short of your own playlist.

My Amazon Reviews: Mumford and Sons "Wilder Mind"

2015-06-24T21:21:00.000-07:00

With nary a banjo in sight.
4 Out Of 5 Stars

In what must feel as divisive as the day Bob Dylan plugged his electric guitar in at the Newport Folk Festival, Mumford and Sons put away all their acoustical instruments and jack in the electrics. I don't see how this album could do anything but divide those fans who listened to "Sigh No More" and "Babel," then come to this. "Wilder Mind" says so long to the banjos and hello to the amplifiers. Is this a good thing? How does the band deal with wanting to step into the shoes of U2?

I don't think it's any secret that Mumford and Sons always wanted to sound big. After all, even with the acoustic guitars, the songs were often all about the bombast. Think of how potent "Lover Of The Light" or "The Cave" are, even behind the sound. They are anthems meant to shake the rafters. A friend of mine even referred to "Babel" as "God and Bombast." Turning the amps up is kind of a natural progression for the band. But I still doubt anyone would have predicted the pounding that comes from "The Wolf" or "Ditmas."

What remains is Marcus Mumford's voice and his way around a lyric. The songs are credited to the entire band, which likely meant that each member designated his volume to the instrumentation, as the lyrics remain as soul searching as ever, and a little less on the God Quest side of things. And when the sonics aren't overwhelming, the songs sound as brightly as they might have on the band's earlier albums ("Believe" and "Hot Gates").

This may still come as a bitter pill to swallow for the fans expecting more of what the first two albums represent. I would suggest that you test the samples first or think about what U2 (or a heavier version of Coldplay) might sound like. The songs themselves are good enough for me to forgive the amplification, but "Wilder Mind" takes a little getting used to. Be prepared.

My Amazon Reviews: Walk The Moon "Talking Is Hard"

2015-06-23T21:23:00.000-07:00

Pop is Easy
3 Out Of 5 Stars

Walk The Moon are a band that makes the kind of effortless pop that can make a power popper go green with envy. Almost every song here is perky, danceable and anchored with a mighty hook. You've likely heard the invincible single, "Shut Up and Dance." But fair warning; it's the best song on the CD. Like a lot of bands enamored by 80's new wave and synth pop, much of "Talking Is Hard" is very derivative, even though it's a lot of fun. It's jellybean music, all sugar and chewy.

As a genre album, you can't do much better. Walk The Moon remind me more than a little of Neon Trees, who also specialize in this sort of dynamo pop. Even when they try and scream one out ("Up 2 U"), you're still playing spot the influence, even though you're still digging the hook. "Work The Body" has a hand clapping goodness about it - it could easily be the follow-up single. The overall effect of the album is one of effervescence and cheeriness. When they ask "What do you spend your money on?" and respond in kind, "I hope it's something of value," they could easily be describing "Talking Is Hard." There's nothing heavyweight here, but it's all in good fun. "Shut Up and Dance," indeed.

My Amazon Reviews: My Morning Jacket "The Waterfall"

2015-06-22T20:45:00.000-07:00

Chasing Waterfalls.
4 Out Of 5 Stars

Cleaning their sound up a bit while still maintaining their status as one of our best jam bands, "The Waterfall" finds My Morning Jacket relaxing into a great groove. There are plenty of Jim James' soaring falsetto and guitar hero chops, like on "Spring (Among The Living)." (I've seen MMJ three times now and can attest that he's a monster live.) From the bubbly synth that opens "Believe (Nobody Knows)" to the extended play out of "Only Memories Remain," this is the My Morning Jacket album that takes the experiments aside and concentrates on the band's strengths, much like "Circuital" did. And since they decided to stretch out of their comfort zone and record in the sunny spaces of California instead of the hallowed grain silo, it seems like a little California sunshine and polish made its mark on the boys.

They ponder nature ("In Its Infancy"), flirt with folk rock ("Tropics") and even commit to a relatively straightforward break up song ("Get The Point"). There is still a wall of sound aspect to the band, yet this time their seems to be a buffing away of some of the rougher edges. But it's always been the cascades of sound that has been the main attraction of My Morning Jacket. Their combination of folk, psychedelia, and instrumental prowess is one of many reasons that MMJ are one of the most interesting American bands currently making music. It's also soulful; the inspiring "Thin Line" and "Only Memories Remain" are cases in point. The band still keeps to their path of eclecticism and we're all the richer for it.

My Amazon Reviews: Alabama Shakes "Sound And Color"

2015-06-21T20:19:00.000-07:00

Flashing lights and blinding colors
4 Out Of 5 Stars

First of all, there is that voice. Brittany Howard is a force of nature, one to be reckoned with, and she makes it count on Alabama Shakes' second album, "Sound and Color." Now that they've established themselves with their still awesome debut, they used the time wisely to both road test the new songs and use the studio as an instrument. The opening vibes on the title track are your first clue. There's a touch of psychedelics there, but don't fret. "Don't Wanna Fight No More" is one of those songs where Brittany just cuts loose. It's a hot vamp for guitarist Heath Fogg to work over. Or take in the primitive stomp on "Gemini."

There's a lot of that going on for "Sound and Color." The band is mixing it up, the way the album's title would suggest. They still have that dirty south feel to the sound of it all, but they also want to expand their range. They're painting with a much broader palette than before. Be it the garage band pulse of "The Greatest" or the blues wail of "Gimme All Your Love," "Sound and Color" is a huge leap forward from "Boys and Girls." Once again, this band is a force of nature. Raw and roots, soul and rock, it all comes together.

My Amazon Reviews: Death Cab For Cutie "Kintsugi"

2015-06-20T21:05:00.000-07:00

Make Up For The Breakup
4 Out Of 5 Stars

"Was I in your way when the cameras turned to face you?" So asks Ben Gibbard, on what feels like a break-up album. He went through a tabloid-y divorce from actress-singer Zooey Deschanel and lost Death Cab Co-founder Chris Walla as the album was being recorded. That's a pretty big pair of voids to fill. Death Cab For Cutie's rise to that challenge is "Kintsugi," maybe their sparsest album yet. The title itself refers to the Japanese art of fixing broken pottery with lacquer dusted or mixed with powdered gold, silver, or platinum, the repair as part of the history of an object, rather than something to disguise. The literal definition of making up for the breaking up.

These potent messages abound on "Kitsugi," be it the new wave-ish "The Ghosts Of Beverly Drive" to the bare bones "You've Haunted Me All My Life." But for the most part, Gibbard sings above spare guitars and lightly brushed drums. Then he gulps down a line like “You’ll never have to hear the word ‘no’/If you keep all your friends on the payroll” and you can't help but wonder if the electro-pop of "Good Help (Is So Hard To Find)" is directed towards his actress ex. There's more ex-angst here than on a Taylor Swift album, and the album revels in it.

"Kintsugi" is a varied album stylistically, if not emotionally. It harkens back to "Transatlanticism" more than the chipper "Codes and Keys," Even with the despair and emotional disrepair, the album ends on one line of hope from "Binary Sea." "There's something brilliant about to happen here," Ben croons. It's a crack in his heart that he finds a way to repair, and signs "Kistsugi" off with a glimmer of goodness yet to come. It's smooth sailing, one hopes, and Death Cab finds a way to negotiate the twists and turns like masters. All breakups should be fodder for art this good.

My Amazon Reviews: Hozier "Hozier"

2015-06-02T01:07:00.000-07:00

That's a Fine Looking High Horse.
3 Out Of 5 Stars

Hozier hit the jackpot with his first pull of the lever. "Take Me To Church" is haunting, daunting and almost painful to listen to, which makes it virtually impossible to get it out of your head. It warranted the purchase of "Hozier," the self titles debut CD. He's got a decent voice for the near blues of the bulk of the album, and he's an OK songwriter, but one problem. None of the other songs catches fire the way "Take Me To Church" does. I'll give points to "Jackie and Wilson," it's a fairly clever bit of singer-songwriter workout. There's also the duet "In A Week" (with Karen Cowley), which offers some variety from Hozier's vocal angst. The lack of more memorable songs is exacerbated by the album's length; there's 13 songs that drag into each other. That's a shame, because "Take Me To Church" is a five star song, but the rest of "Hozier" just doesn't measure up.

My Amazon Reviews: Imagine Dragons “Smoke and Mirrors”

2015-05-19T23:21:00.000-07:00

No Parlor Tricks Required
4 Out Of 5 Stars

Beating the sophomore slump and improving the game in the production department, Imagine Dragons aim for the bleachers in "Smoke and Mirrors." Someone must have told them to get in touch with their inner U2, because much of the album looks to build anthems from scratch. For a change the reach does not exceed the grasp. "Smoke and Mirrors" hits its mark more often than not.

The first single, "I Bet My Life" exemplifies this direction. Pulsing verses with a chorus that looks to hit sing-along status where played, it adds some Mumford and Sons folk stomp to the mix while building to a crescendo climax. "Shots" has a guitar line worthy of The Edge, and "I'm So Sorry" brings back the distortion of the debut album with a raw intensity. But this time they sound like the screaming was intentional. That's a big difference from this album and the debut. The sucess of which seems to have given the band the courage to play every genre they ever had plans for in their incubation days.

That includes a bit of pomp to go with it. Who would have thought that the band that made the hooky "Radioactive" would end their second album with a six minute prog-rock opus? (And maybe the only misstep on an album that is quite assured of its footing.) Or that hints of the electronic dance would underpin "Summer?" Even if once in awhile they dip into the well that is Coldplay ("Dream"), "Smoke and Mirrors" is a surprisingly good album from Imagine Dragons, as they test their musical mettle.

My Amazon Reviews: Bryan Ferry “Avonmore”

2015-05-18T01:14:00.000-07:00

Avonmore Evermore
3 Out Of 5 Stars

There is still, always, that voice. The seductive, world weary croon that masters sublime mood and the occasional glimmer of funk-pop. The atmosphere of the best of Roxy Music and the various high points of his solo career, which has been maddeningly inconsistent. But at his best ("Avalon" will always be on my desert island list), Ferry has a grace few can equal. As he nears the age of 70, "Avonmore" strives to find those heights. Given his age, that old world weary man just slips into it like a glove.

Calling the CD "Avonmore" is hardly and accident. In much the same way that "Olympia" took a sample from "Avalon" to compose "Olympia's" "You Can Dance," the tempos and atmosphere are meant to evoke memories of that classic Roxy. However, the sound of "Avonmore" harkens more to "Boys and Girls" and "Bete Noire" than anything Roxy has recorded. Musically, I'd say he makes the mark about 50% of the time here. "Loop Di Li," "One Night Stand" and the title track are vintage Ferry, engaging pop with funky undertones, while "Lost" is the enigmatic Ferry (and also the shortest song here) and features Mark Knopfler on guitar. The cast also includes Flea, Nile Rodgers and Johnny Marr, even though you'd never know it because the sonics of "Avonmore" are just that consistent, even if the songs seem mostly to be retreads.

It's that consistency that lays a trap for the disc's final two songs. He covers Stephen Sondheim's "Send In The Clowns" and then Robert Palmer's "Johnny and Mary." Like his albums of classic cover songs during the Roxy era and his dreadful "Dylanesque," Ferry transforms these into his own. But covering Sondheim is a daunting task for just about everyone, and Ferry misses the target. It's just not a song to be Ferr-iszed. "Johnny and Mary" fares a little better by slowing Palmer's electronic groove down to a misty piano and bubbly synth. It makes the characters something of a middle aged couple who really do "need the world to tell him he ain't lonely." It's an odd way to end an album that, two songs before, had Ferry's position as an elder statesman of ennui secured. Adding these two songs at the end feels almost like an afterthought, like he just wanted to prove that he could take any song in the world and it would just drop into place. It doesn't work, and that is part of the reason I only rated "Avonmore" as an average, three star album.

My Amazon Reviews: Sinead O’Connor “I’m Not Bossy, I’m The Boss”

2015-05-06T02:35:00.000-07:00

In Charge
3 Out Of 5 Stars

Sounding more supple and vested than anyone could have expected at this stage of her career, "I'm Not Bossy, I'm The Boss" finds Sinead O'Connor still exploring her themes of romantic bruising, the push and pull of theology and the inner turmoil that has marked her work since the beginning. Her voice has gained a rougher edge over the years, which is masked on this album by multiple vocal overdubs. The pure voice is no longer there, but she hasn't completely ruined it (ala Joni Mitchell). She also seems a little more playful, in the tone of the album's title and latex love goddess cover picture.

While that playfulness slips into the songs ("How About I Be Me") and occasionally upping the tempo ("Take Me to Church" another theology rant bucked up by self-empowerment), it makes the album a delightful listen. There's also the O'Connor who creeps under your skin, especially on the potent "Streetcars," which loses the multi-tracked vocals and allows her to use that powerful voice backed by little more than a piano and bells. It closes the CD with a reminder of just how potent an artist O'Connor can be when she's at her best.

On the opposite end, she's trod this ground more than a few times and there's not much here thematically than you've heard if you've been a longtime follower. I like the song "8 Good Reasons," but I am weary of her railing against the music industry. She's had a career that many singers would die for, even if she's not the Miley Cyrus type that she's publicly chastened. But as she states on the CD's inner sleeve, "This Album is Dedicated to Me." She still has melodic fire and opinions to be outspoken with, and with "I'm Not Bossy..." O'Connor makes a nice return to form in the manner in which she wants to make it.

My Amazon Reviews: Cold War Kids "Hold My Home"

2015-04-06T01:43:00.001-07:00

Adult Kids
4 Out Of 5 Stars

The Cold War Kids have hit their stride, since "Mine Is Yours" and "Dear Miss Lonely Hearts." On the new (2014) "Hold My Home," they continue their streak of mainstream alternative albums. The album starts off strong, with three killer tracks, where the band embraces their inner U2 and shoot for the stadiums. "All This Could Be Yours" ("All That You Can't Leave Behind," anyone?) really has echoes of Bono and the boys. They are also literal types, where "Hot Coals" begs the question "whatever happened to the strong and silent type?" And to put the point into proper perspective, there's "Harold Bloom." He's an American literary critic and Sterling Professor of Humanities at Yale University (thanks Wikipedia).

"Can you be wise if you never leave the room?
There will always be another Harold Bloom
to criticize your every move."

Yes, the Kids have some fight in them. "Hotel Anywhere" looks at the process of achieving your goals, with lead vocalist Nathan Willett's call that he writes and paints, lives and breathes and "it's incredible how little I need." They also have grown braver with the stylistic choices, with the finale, "Hear My Baby Call" approximating a blues groove. With the diversity of music but clarity of purpose, "Hold My Home" is another solid effort from the Cold War Kids.

My Amazon Reviews: The Decemberists “What a Terrible World, What a Wonderful World”

2015-04-01T01:03:00.000-07:00

What a Beautiful World We Live In
4 Out Of 5 Stars

After pounding out an R.E.M. sound-alike in 2011 in the form of "The King Is Dead," The Decemberists back up a bit for the more middle of the road "What A Terrible World, What A Wonderful World." There are some subtle changes, like heavier strings and horn charts, which are good. The band that crafted CD long suites now starts off an album with a song where the band apologizes for making a commercial for Axe Shampoo ("The Singer Addresses His Audience"). They know they aren't the same band that cut the masterful "The Crane Wife," and openly admit such.

What they are for "What a Terrible World..." are a crafter of songs. They've found a sweet spot between the ornate structure of those early albums to a sense of pop melody. It makes a love song like "Philomenia" all the more jaunty and "Lake Song" a hip folkie haunter. The band also sound more integrated this time around, where "The King Is Dead" was a showcase for Chris Funk, here, piano dominates many of the songs. Me. I kind of like when they get into that folk vein, as one of my favorites here - Colin Malloy almost making a sea shanty song out of "Better Not Wake The Baby."

"What a Terrible World..." will probably polarize fans who can't get over the fact that the band hit an early peak and then decided to try other things. As for me, I can respect that The Decemberists are not content to stay in one place for every album. Maybe they still aspire to be R.E.M. or even 10,000 Maniacs (some of the poetic lyrics recall the Maniacs'). What ever direction they travel, I am happy to follow as long as the music is this good.

My Amazon Reviews: Blondie "AutoAmerican"

2015-03-25T01:22:00.000-07:00

And it's finger popping.
4 Out Of 5 Stars

Coming off the rocking success of "Eat To The Beat," Blondie hit 1980 ready to do whatever struck their fancy. The result, "AutoAmerican,' was a hodgepodge of styles, everything from disco, rap, rock, cabaret, a surprisingly well done showtune from "Camelot," even reggae. The album starts of eclectically enough, with the mostly instrumental drone of "Europa," which ends with Debbie Harry robotically speaking about phase gridlock and being left on your rims. Getting that out of their systems quickly enough, "AutoAmerican" breaks into a disco groove with "Live It Up," which seemed, in comparison the such monsters as "Heart Of Glass" and "Call Me," a bit tepid.

Which sets the tone for much of "AutoAmerican." Blondie was so all over the map that many of the songs kind of pale in comparison to other songs from earlier albums. The hits off the album itself show those flaws in sharp relief. The number one "The Tide Is High" (a cover of a Jamaican band called The Paragons) took reggae and used Harry's breathless vocal to make a striking pop song that stuck to the roof of your brain like the best of their singles. Then there was the truly unique "Rapture," in which a mostly underground and novelty form of music suddenly found itself at number one. It could easily be the first rap/rock crossover single. and still holds up remarkably well after over three decades.

One of the things missing from "AutoAmerican" was the rock. There's nothing here to compare to the explosive "Dreaming" or the muscle of "The Hardest Part" from just one album back. There are a couple tries, like the wild abandon in "Walk Like Me" and the horn driven "Go Through It." It also shows up on the bonus tracks, where the extended version of the number one "Call Me" blows away many of "AutoAmerican's" weaker moments. Harry was at Force 10 against Giorgio Morodor's Eurodisco pumping pulse. Which means that the best of the album are the singles, one of which is a bonus track. It didn't much matter at this point as the band was beginning to splinter (Frank Infante had to sue to be on the album) and the limp "The Hunter" would quietly close this chapter on Blondie. (They've made a couple of very strong reunion albums, including "No Exit" and "Panic Of Girls" in the new century, however.)

My Amazon Reviews: Fall Out Boy "American Beauty/American Psycho"

2015-03-15T20:32:00.000-07:00

Juxtapositions
4 Out Of 5 Stars

On their last CD, Fall Out Boy announced their mission was to "Save Rock And Roll." On the follow-up, "American Beauty/American Psycho," it sounds like they're still headed out on that path. There's some righteous rock here. And there seems to be a theme here, it's all about the juxtapositions.

For example, the title track. You're blending a Brent Easton Ellis horror novel with a Grateful Dead album of classic Americana. Add Patrick Stump bouncing the word "Psycho" into a bouncy sing along, and you have the makings for a concert staple. The same with "Uma Thurman." Placing the "Pulp Fiction" star inside a song that mashes in the theme to "The Munsters" is something close to a work of genius. Then there's the heroics. Suzanne Vega's "dit dit doo doo" hook from "Tom's Diner" teases the intro before Stump challenges the listener. "You Will Remember Me...for Centuries" Stump wails to music meant to be played over a sports highlights reel. Same goes with "Immortals." Fall Out Boy are back to make rock that knows no limitations (there's nothing here that resembles a sappy ballad), and you'll have a very good time if you just let yourself follow along.

My Amazon Reviews: Marilyn Manson "The Pale Emperor

2015-03-14T21:27:00.000-07:00

Retaking The Throne
4 Out Of 5 Stars

Sporting a deeper groove and riffs that would make a voodoo bluesman proud, Marilyn Manson takes back his seat at the table for "The Pale Emperor." With 2012's "Born Villain," Manson seemed to be getting his full swagger back, and here he takes full advantage of his place as elder statesman and lead crank in the old school of LA evil that Manson had as his own court back in the "Dope Show" days.

The sound is sleeker and more percussive than usual, adding menace where before might have been labored screaming. Manson, to his credit, still uses all sorts of voices for dramatic effect to get what he wants, but instead of hectic he goes for menacing. "Killing Strangers," "The Pale Emperor's" pulsing opening cut, sounds like it slithered its way out of some hell-hounded biker bar, made even more so by Manson's insistence that "we got guns, you better run" growled in a nasty fashion. He's no longer tethered to a media that demands that he produce a hit "single," leaving him to operate as an outsider of sorts in his advancing years.

I mean that in a good way. The man who was once blamed for mass school shootings now plies his trade in TV and movies along with his music. (His multi-episode stint on "Sons Of Anarchy" was actually kind of funny.) So he can be, as he puts it himself, "The Mephistopheles Of Los Angeles," all while sounding like he can still raise the devil when he wants to. He may sing that he's ready to meet his maker, but with "The Pale Emperor," Marilyn Manson still makes like he could scare that man off for a few more rounds. It's also been said that much of the album's songs were single takes. All the better to grit and glitter you with.

My Amazon Reviews: Maroon 5 "V"

2015-03-13T19:23:00.000-07:00

Effortless pop, Expertly delivered
4 Out Of 5 Stars

Better than the overproduced "Overexposed," "V" is Maroon 5's return to making candy-floss pop. I mean that as a compliment. As many bands that try to make this kind of music, few succeed at it quite the way Adam Levine and the boys do. Want more proof? Just think of Adam's TV stint on "The Voice," where assorted contestants vie for the opportunity to make this kind of music (with the odd country or soul belter mixed in for variety) and remind yourself that the show has yet to turn out a viable star. If it was that easy, they'd all have sales of the magnitude Maroon 5 have achieved.

For one thing, Maroon 5 know their way around a killer hook. Both "Maps" and "Animals" have hooks so big they belong in butcher shops and Adam's blue eyed soul delivery (and falsetto) make them stick to your ear canals. He also knows how to deliver one for the ladies, as the ballad "Unkiss Me" shows. The big piano ballad with Gwen Stefani, "My Heart Is Open" is a wonderful pairing, although "Moves Like Jagger" wins the duet contest by virtue of its snappiness. Yet Maroon 5 provides the fizz that pops in the 10's decade that it needs to stand above the fray.

I'll add an extra recommendation for the deluxe version of "V" in that two of the three songs are actually worthy of the couple extra bucks. There's the surprisingly bare bones version of the 90's one hit wonder Marcy Playground's "Sex And Candy." Then there's the Levine Oscar nominated solo track "Lost Stars," which Levine recorded for the movie "Begin Again" which he had an acting role in. They round out "V" and make it an album to rival Maroon 5's better entries.

My Amazon Reviews: The Dream Academy "The Morning Lasted All Day; A Retrospective"

2015-03-12T20:20:00.002-07:00

Ah hey ma ma ma ma...
4 Out Of 5 Stars

Long overdue but well worth the wait, "The Morning Lasted All Day" finally collects a solid set of The Dream Academy's best from their three albums, a few B-sides and oddities and the brand new "Sunrising." Augmented with a comprehensive booklet written by Nick Laird-Clowes, exquisitely remastered with his supervision, this is about as good a Dream Academy anthology as a fan could hope for.

While it naturally is heavily weighted in favor of their dynamic debut, both "Remembrance Days" and "A Different Kind Of Weather" are given exposure. (I've always been of the mindset that "Weather," despite the fact that it didn't even chart in the US, has been vastly underrated.) The band's chamber-pop gets much of its otherworldliness from Kate St. John's oboe and other reed instruments flowing beneath Laird-Clowes' folkish guitars and vocal delivery. There's a lovely sort of soft focus to many of their songs that made the majority of them difficult to fit in during the synth-heavy 80's, leaving such contenders as "Indian Summer" and "Power To Believe" (included here both in its instrumental version as heard on the "Planes Trains and Automobiles" soundtrack, and the vocal version from "Remembrance Days") frozen out of the top 40.

The ethereal quality of their songs a times masked the presence of noteworthy contributors. Friend of the band and Pink Floyd guitarist David Gilmour was a frequent collaborator and co-producer, Lindsay Buckingham co-producing and adding background vocals to "Indian Summer," and The Smiths' guitarist Johnny Marr playing on "Ballad In 4/4." It takes away nothing from the band's presentation, even offering proof just how powerful The Dream Academy 'sound' was to all the stages of the band's recording history.

I have a few of my own favorites to recommend as a fan, one of them being the lovely version of John Lennon's "Love," as featured on "Weather." Actually using a drum-loop, Laird-Clowes brings an emphasis to Lennon's message (including a portion of "#9 Dream") that few covers of Lennon have done. The cover of The Smiths' "Please Please Please Let Me Get What I Want" is good for a smile, and I have always thought "Indian Summer" was a single cheated out of deserved hit status. Then there's "Sunrising," the first new Dream Academy song in 30 years. It's a welcome treat and fits in with the band's legacy, with Gilbert Gabriel's piano painting the mood (alas, St.John is not featured on it).

Even with that minor wish not coming true, I am very happy to have "The Morning Lasted All Day" to augment my original CD's of The Dream Academy. The remastering enables you to hear things that were tempered in the originals, and makes for a satisfying listening experience. Now if only the original albums could get the deluxe treatment....

My Amazon Book Reviews: Douglas Whaley "Corbin Milk"

2015-03-11T21:23:00.000-07:00

The Spy Who Fell In Love
4 Out Of 5 Stars

Corbin Milk has a dilemma. Well, several dilemmas. He's a top spy for the CIA, who have no qualms about using the fact that Corbin is a drop dead gorgeous gay man as sexual bait while working undercover. His new found lover wants Corbin to stop using his sexual prowess on his spy missions. And to top it off, his supervisor is a closet case who wants a night in the sack. These are the main twists turning about in "Corbin Milk," a thriller in three parts.

First is a mission to the Middle East, where Corbin must find his way into a super secure palace. Then a trip to Amsterdam, to take down a sadistic Russian into rough sex, and then the most tricky mission of all...making a secure relationship with the new love of his life, George Yancy. All the while, he has to fend off the snooping supervisor who is far too interested in Corbin's love life and makes Corbin's job all the more difficult on the home front.

"Corbin Milk" makes use of its characters and fleshes them out well. Corbin himself is a complex man, a superior spy who winds his way through difficult missions in realistic fashion, and the other folk play important roles without succumbing to cliché. Corbin works hard and plays harder, and all the other members of the story keep up with the book's pace. A thriller with romance at its core, "Corbin Milk" is a book I savored, one episode at a time.