AUDIOSLAVE
2002 – EPIC
Produced By RICK RUBIN & AUDIOSLAVE
1. Cochise
2. Show Me How To Live
3. Gasoline
4. What You Are
5. Like A Stone
6. Set It Off
7. Shadow Of The Sun
8. I Am The Highway
9. Exploder
10. Hypnotize
11. Bring Em Back Alive
12. Light My Way
13. Getaway Car
14. The Last Remaining Light
Audioslave should have been one monster of a supergroup. It just never worked out that way. When Zack de la Rocha quit Rage Against The Machine in 2000, the rest of the band went looking for a new lead singer. Rick Rubin suggested former Soundgarden frontman Chris Cornell, who was starting work on a solo album. The four musicians clicked immediately, and Audioslave was born. There was a world of anticipation over what this union could be…Rage was a heavier band than Cornell had worked with, and Cornell was a much bigger voice than de la Rocha had ever been. What actually happened on Audioslave was a group of lesser songs given the pristine rock band treatment by Rubin, resulting in an album that felt less heavy, and not nearly as raw and powerful, as either of the member’s previous works had been.
In other words, Audioslave turned out to be yet another disappointing supergroup. Cornell is in fine form…he’s a monster vocalist. His lyrics on the album are disappointing and light, though. And while Tom Morello and the rest of the band are more than capable, nothing jumps out and grabs you by the throat the way you would hope from this band. What Audioslave ultimately ends up being is an average hard rock album with a few ballads, forgettable lyrics, and a great singer. “Cochise” is the real high point: after that, you just won’t remember much. Audioslave made a couple more albums but never really got it right. De la Rocha came back in 2007, and Rage was reborn with Audioslave becoming a thing of the past. Stick with Rage Against The Machine and Soundgarden instead. This stuff doesn’t suck, but it’s also really not exceptional.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
ELTON JOHN
HONKY CHATEAU
1972 – UNI
Produced By GUS DUDGEON
1. Honky Cat
2. Mellow
3. I Think I’m Going To Kill Myself
4. Susie (Dramas)
5. Rocket Man (I Think It’s Going To Be A Long, Long Time)
6. Salvation
7. Slave
8. Amy
9. Mona Lisas And Mad Hatters
10. Hercules
11. Slave (Alternate Version)
One of the better Elton John albums of the 70’s, Honky Chateau is the one where he really came into his own. Here is where John really began to play less of the singer songwriter and more of the rock and roll artist, with his band finally able to record with him. The writing partnership between John and Bernie Taupin was really beginning to flourish as well here, with three of Elton’s biggest hits making their appearances here. “Honky Cat”, “Rocket Man”, and “Mona Lisas And Mad Hatters” established John as a true hitmaker, and his piano was becoming one of the signature sounds of the seventies. Here, he was starting to let loose and rock, becoming less restrained and taking more chances with his sound. The guitar work of Davey Johnstone and the rhythm section of Dee Murray and Nigel Olsson, which would be a steady presence for years to come, becomes a solid force for the first time.
Aside from the better known songs, which are all excellent, Honky Chateau also features “I Think I’m Going To Kill Myself”, a happy sounding New Orleans style track featuring a tap dancer. This release features two versions of “Slave”, one considerably faster than the other. Some of the rest is borderline filler, but otherwise, Honky Chateau is a good, solid album. The next step for Elton was the one-two punch of Don’t Shoot Me, I’m Only The Piano Player and Goodbye Yellow Brick Road, which would mark the peak of his hitmaking prowess. Honky Chateau is a fine piece of the Elton John discography, sometimes underrated, but always a good listen. And “Honky Cat” is one of his finest and most overlooked hits. In all, this one is definitely worth the time and money. One of Elton’s better moments of the seventies.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
LL COOL J
RADIO
1985 – DEF JAM
Produced By RICK RUBIN & JAZZY JAY
1. I Can’t Live Without My Radio
2. You Can’t Dance
3. Dear Yvette
4. I Can Give You More
5. Dangerous
6. Untitled
7. Rock The Bells
8. I Need A Beat (Remix)
9. That’s A Lie (Feat. Russell Rush)
10. You’ll Rock
11. I Want You
Most hip hop artists have very short careers, and a very short period where they will sell records. LL Cool J is still popular and relevant 30 years after Radio, his debut album. For good reason. In the early days of rap, Radio stood out like a laser, and still does today. This album shows why rap became popular, and why it has survived. Above all else, above the exceptional writing, sampling, scratching, and creative melding of sounds into songs, is the sheer energy of this album. If it were to be rated on energy and effort alone, this might be the best album of all time. It’s not…and because of where the technology was at the time, there are parts that are repetitious, clunky, and almost unlistenable (for example, the instrumental ending of “Three The Hard Way”). And while the album has numerous flaws like that one, it’s also evident that this was going to be a groundbreaking album, and that hip hop was not going to go away.
The biggest highlight here is “I Can’t Live Without My Radio”, one of the most influencial hip hop tracks of all time. It shows that rap can be so much more than just a clunky beat and a lot of fast talking. LL also hits on “I Need A Beat”, “You’ll Rock”, “Rock The Bells”, and “I Can Give You More”. The genre was in its infancy, but this was a big step in the right direction. LL Cool J has gone on to make 14 studio albums, and is currently the star of NCIS: Los Angeles. Radio remains his most important and most energetic work, not perfect, but probably better for its flaws. If you need to hear LL Cool J, this is the album you need to hear. He’s young, hungry, and at the top of his game, even if the technology of the times hadn’t quite caught up with him yet. Radio is not perfect, but it most certainly is a classic hip hop monument.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
THE SMITHS
HATFUL OF HOLLOW
1984 – SIRE
Produced By JOHN PORTER, THE SMITHS, ROGER PUSEY & DALE “BUFFIN” GRIFFIN
1. William, It Was Really Nothing
2. What Difference Does It Make?
3. These Things Take Time
4. This Charming Man
5. How Soon Is Now?
6. Handsome Devil
7. Hand In Glove
8. Still Ill
9. Heaven Knows I’m Miserable Now
10. This Night Has Opened My Eyes
11. You’ve Got Everything Now
12. Accept Yourself
13. Girl Afraid
14. Back To The Old House
15. Reel Around The Fountain
16. Please, Please, Please Let Me Get What I Want
During the short career of The Smiths (1984-1987), they released four studio albums and three compilations…basically seven albums in four years, an almost Beatlesque accomplishment. Hatful Of Hollow was their first compilation, coming just a few months after their debut studio album. Most of the tracks are live BBC Radio 1 recordings, along with the A & B sides of three singles that were not included on their debut. Their American label, Sire, did not release this until 1993, opting instead for a slightly different compilation, Louder Than Bombs. Many of the tracks here were on the debut, but these are different versions that appear here. More than anything, Hatful Of Hollow just adds to the legacy of The Smiths, who were one of rock’s more prolific bands, if only for a woefully short time. All of their albums have value, compilations and studio alike.
“William, It Was Really Nothing” is an excellent single, with “How Soon Is Now?”, maybe their greatest song, as a B-side along with “Please, Please, Please…”. “Hand In Glove” and “Heaven Knows I’m Miserable Now” were also stand alone singles, and are standouts. Of the BBC tracks, some are of interest given their differences with the versions on The Smiths…while some simply do not work. In all, Hatful Of Hollow could be seen as an album of excess and somewhat unnecessary, but it also gives a glimpse of the development of one of the greatest bands of their decade. If you’re a fan, you would definitely want to have this, and if you listen to The Smiths casually, there are enough quality tracks here to make it worth your while. You’ll want the studio albums first, but this, along with The World Won’t Listen and Louder Than Bombs, are worth your time as well.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
Of the BBC tracks, some are of interest given their differences with the versions on The Smiths…while some simply do not work.
Comparing the different versions of the songs that appear in both albums is quite an interestic topic, fans love endlessly debating about this kind of stuff.
In short, I would go with:
Still Ill - Probably the easiest one (I suspect this is the one you meant when you said that some of them don't work). The harmonica added in Hatful Of Hollow adds an unnecessary, if not outright goofy, aspect. that ruins the atmosphere. The straightforward approach of the debut does the song justice, the music ideally accompanies the lyrics and balances between offering glimpses of sunshine (i.e. the past was great) and shutting the door in this ephemeral positivity's face as soon as soon as it dares to make its presence felt (i.e. the past is gone and it's not coming back).
Hand In Glove - Not one of the BBC tracks, but it appears in both records, so it kinda makes sense to bring it up as well. Apart from the intro/outro thing, which I consider somewhat secondary to be honest, the main distinction between the two has to do with the vocals. I guess one could say that both versions suit their records just fine, but if I had to pick only one, it would definitely be the latter. So, in their debut they are more direct and uncompromising, while The Hatful Of Hollow version would feel right at home in The Queen Is Dead, as the vocals add a signature hazy dimension, committing to the idea that, when loneliness isn’t as tangible, it becomes comforting, almost euphoric. In the fathomless ocean of contradictions to be found at the core of The Smiths, this is quite possibly the most fascinating.
What Difference Does it Make - Despite being more lively, the Hatful Of Hollow version isn't as powerful when it comes to conveying the emotional state of the lyrics, it lacks the punch if you will, so I find the moodier, slower approach of their debut preferable, though I think I'm in the minority here.
You’ve Got Everything Now - Again, I prefer the one that's in The Smiths (the album). Being faster paced, it manages to come off as energetic yet apathetic, perfectly capturing the vibe of the song and the album.
Reel Around The Fountain - Not much separates the two versions, I can barely spot a difference and as a result I view them as equally good.
To sum it up, the BBC sessions constitute an important part of the greatness of this band that shouldn't be missed, but the originals are - in my opinion - the better take more often than not.
Romanelli wrote:
You’ll want the studio albums first, but this, along with The World Won’t Listen and Louder Than Bombs, are worth your time as well.
I imagine your point is that their studio albums are better and that's why one should have them first, which is totally understandable, but if one is trying to get into The Smiths, I'd say it depends:
If he/she 's already had a light exposure to them, I would also point him/her to their "proper" albums. But, if he/she has no idea who they are, I'd argue this one might be a better/more accessible starting point, though you can't go wrong either way. _________________ Bob Dylan Charles Mingus
Of the BBC tracks, some are of interest given their differences with the versions on The Smiths…while some simply do not work.
Comparing the different versions of the songs that appear in both albums is quite an interestic topic, fans love endlessly debating about this kind of stuff.
In short, I would go with:
Still Ill - Probably the easiest one (I suspect this is the one you meant when you said that some of them don't work). The harmonica added in Hatful Of Hollow adds an unnecessary, if not outright goofy, aspect. that ruins the atmosphere. The straightforward approach of the debut does the song justice, the music ideally accompanies the lyrics and balances between offering glimpses of sunshine (i.e. the past was great) and shutting the door in this ephemeral positivity's face as soon as soon as it dares to make its presence felt (i.e. the past is gone and it's not coming back).
Hand In Glove - Not one of the BBC tracks, but it appears in both records, so it kinda makes sense to bring it up as well. Apart from the intro/outro thing, which I consider somewhat secondary to be honest, the main distinction between the two has to do with the vocals. I guess one could say that both versions suit their records just fine, but if I had to pick only one, it would definitely be the latter. So, in their debut they are more direct and uncompromising, while The Hatful Of Hollow version would feel right at home in The Queen Is Dead, as the vocals add a signature hazy dimension, committing to the idea that, when loneliness isn’t as tangible, it becomes comforting, almost euphoric. In the fathomless ocean of contradictions to be found at the core of The Smiths, this is quite possibly the most fascinating.
What Difference Does it Make - Despite being more lively, the Hatful Of Hollow version isn't as powerful when it comes to conveying the emotional state of the lyrics, it lacks the punch if you will, so I find the moodier, slower approach of their debut preferable, though I think I'm in the minority here.
You’ve Got Everything Now - Again, I prefer the one that's in The Smiths (the album). Being faster paced, it manages to come off as energetic yet apathetic, perfectly capturing the vibe of the song and the album.
Reel Around The Fountain - Not much separates the two versions, I can barely spot a difference and as a result I view them as equally good.
To sum it up, the BBC sessions constitute an important part of the greatness of this band that shouldn't be missed, but the originals are - in my opinion - the better take more often than not.
I imagine your point is that their studio albums are better and that's why one should have them first, which is totally understandable, but if one is trying to get into The Smiths, I'd say it depends:
If he/she 's already had a light exposure to them, I would also point him/her to their "proper" albums. But, if he/she has no idea who they are, I'd argue this one might be a better/more accessible starting point, though you can't go wrong either way.
For all of your comments on these...I thank you. I appreciate and learn from your comments as well. It's obvious that you know your stuff when it comes to this band, so your input is of very high value to me. It's good to learn from someone who is more knowledgeable about them that I am. _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
DONALD FAGEN
THE NIGHTFLY
1982 – WARNER BROTHERS
Produced By GARY KATZ
1. I.G.Y.
2. Green Flower Street
3. Ruby Baby
4. Maxine
5. New Frontier
6. The Nightfly
7. The Goodbye Look
8. Walk Between Raindrops
In the 70’s, Steely Dan invented the world of adult contemporary music, which in turn gave birth to new age music. For these two sins alone, Donald Fagen and his Steely Dan partner, Walter Becker, should be forever scolded. But Fagen took it a step further with his 1982 solo debut album, The Nightfly. The Dan began life as a band that could rock some, but they moved steadily away from that from album to album. In fact, it could be said that Steely Dan was a band for people who wanted to like rock, but who didn’t really know what that was. The Nightfly contains two successful, very catchy and pretty fine singles in “I.G.Y.” and “New Frontier”, making it an album that still generates sales, and over which fans of Steely Dan continue to drool over. Those two songs are fine, and insured a nice solo career for Fagen for years to come.
As for the rest, there is a lot of music that is smooth, expertly played, and that is the epitome of what new age music really is…annoying, clinical, and elevator music for a new generation. Most cringe-worthy is the title track, which recalls Fagen’s time as a disc jockey, and includes a smarmy chorus of “An independent station/WJAZ/With jazz and conversation/At the foot of Mount Belzoni”. There’s a slightly interesting take on the classic “Ruby Baby”, and a lot of mostly unlistenable dreck that stands as a definition of what new age music really was when, five years later, the legendary Los Angeles rock station KMET became The Wave, and gave the music of the likes of Donald Fagen a real home. The two hits are worth hearing. The rest is not worth having…unless you happen to like your rock something that does not actually rock.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
1. Don’t Let Go
2. Photograph
3. Hash Pipe
4. Island In The Sun
5. Crab
6. Knock-Down Drag-Out
7. Smile
8. Simple Pages
9. Glorious Day
10. O Girlfriend
After their highly successful debut album, Weezer seemed to not be dealing with their fame very well. After the success of “Buddy Holly” and “Undone (The Sweater Song)” and “My Name Is Jonas”, Weezer made Pinkerton, a completely non-commercial album that almost no one bought, and which stands to date as their masterpiece. Five years later, the band resurfaced with their second self titled album (there are six of them), this one best known as The Green Album. The comeback was swift and huge. The Peter Gunn like opening riff of “Hash Pipe” signaled to the world that Weezer was back, and back with a vengeance. Between “Hash Pipe” and “Island In The Sun”, Weezer was inescapable in 2001, a breath of fresh air in their comeback from the obscurity of Pinkerton, which stands as a much better album, but not the Weezer we had all grown to love.
The fact is, Weezer almost broke up after Pinkerton. The band went on hiatus, and came back together only after Rivers Cuomo started writing songs again while back at school. It’s a good comeback album. Aside from “Hash Pipe” and “Island In The Sun”, highlights also include “Photograph” and the underrated “Simple Pages”. Also of note is “O Girlfriend”, which marks a maturity in the way Cuomo writes about relationships over his somewhat disturbing efforts in the past. Ric Ocasek of The Cars produces here, and the sound is brighter and more accessible than on Pinkerton. Weezer is still going, but their up and down career has never quite brought them back to the sound of the blue and green albums. This album is simply the third best Weezer album, always a good listen and a lot of fun. Well worth having and hearing.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
baystateoftheartNeil Young as a butternut squashProfile Massachusetts
Weezer is still going, but their up and down career has never quite brought them back to the sound of the blue and green albums. This album is simply the third best Weezer album, always a good listen and a lot of fun.
Have you listened to this album? I think BEA's ranking of it as #3 in their discography is deserved, and maybe you will too.
I have not...but now I will. Thank you for the rec! I'm always open to things I haven't gotten to yet! _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
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Romanelli
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