JANN ARDEN
HAPPY?
1997 – A&M
Produced By JANN ARDEN, ED CHERNEY & MARK GOLDENBERG
1. The Sound Of
2. Leave Me Now
3. I Know You
4. Holy Moses
5. Wishing That
6. Saved
7. Ode To A Friend
8. Shooting Horses
9. Weeds
10. Hangin’ By A Thread
11. To Sir With Love
Jann Arden is a big star in her native Canada. She’s won a gang of Juno Awards, and she’s even been given the Order Of Canada. Outside of her homeland, she’s had a taste of success, but she never became a household name. Her biggest successes came in 1994, when she had a pair of ballad hits in “Could I Be Your Girl” and “Insensitive” from her second album Living Under June. Happy? is the follow up to that album. It reached number 7 in Canada, and did nothing anywhere else. Arden is a decent songwriter with a powerful voice, but her material has lacked the necessary punch over the years to garner her any further stardom. These days, she’s better known for her charitable work, although she still records. And her two hits keep her afloat in the world that is adult contemporary. But that’s about the only place you’ll hear her.
Happy? looks a lot louder and tougher than it actually is. Arden’s voice is the plus here, and it shines throughout. Actually, her voice carries this far beyond what the material would dictate. Even though the songs are not up to par, it’s the vocals that will keep you coming back here. Happy? is a sad, but almost optimistic album, and Arden has the vocal chops to convey that more than adequately. If she had been able to follow up Living After June with even one hit, then the last couple of decades may have played out a bit differently. But as it is, Happy?...and the rest of her career…is buried in obscurity. The best moment here, and maybe the best moment of her career, is the US only bonus track “To Sir With Love”, a perfection of a cover of the 1967 hit by Lulu. This album has just enough pieces to make it worthwhile. But just not enough to make it great.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
BUTTHOLE SURFERS
LOCUST ABORTION TECHNICIAN
1987 – BLAST FIRST
Produced By BUTTHOLE SURFERS
1. Sweat Loaf
2. Graveyard
3. Pittsburgh To Lebanon
4. Weber
5. HAY
6. Human Cannonball
7. U.S.S.A.
8. The O-Men
9. Kuntz
10. Graveyard
11. 22 Going On 23
Wait…what? Butthole Surfers, from San Antonio, has been scaring the crap out of people since 1981. Led by singer Gibby Haynes, this band makes the music that your parents really SHOULD have been afraid you’d listen to. This band is loud, chaotic, down and dirty, grotesque, vulgar, and a hell of a lot of fun. Not surprisingly, they have had very little commercial success in their career, which, based on the name alone, seems just fine by them. This band is an acquired taste, and if you’re offended by them before listening, you should probably just stop there and move on. If you’re okay with them so far, the journey becomes interesting. Locust Abortion Technician is their third album, and maybe the best way to describe it in short terms would be this: Captain Beefheart on steroids. Big, loud steroids.
You know you’re in for something weird from the start. “Sweat Loaf” is a twisted reincarnation of the Black Sabbath song “Sweet Leaf”. And it just gets strange from there. There are lots of snippets of sound, noise rock, strange and undecipherable (thankfully) vocals, punk, and anything that was laying around flying through this album at lightning speed. It’s so chaotic that it feels like 15 minutes instead of 32. But it’s also listenable, and the songs are mostly short, sweet and to the point. Butthole Surfers has never been a band for everyone, and this album is living proof of that. But it’s also considered to be a classic by many for good reason…there’s a lot of stuff here that’s pretty genius. It was also one of Kurt Cobain’s favorite albums, which always seems to count for something. If you’re brave, you might just love this. If you’re brave.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
ELVIS COSTELLO & THE ATTRACTIONS
THIS YEAR’S MODEL
1978 – RADAR
Produced By NICK LOWE
1. No Action
2. This Year’s Girl
3. The Beat
4. Pump It Up
5. Little Triggers
6. You Belong To Me
7. Hand In Hand
8. (I Don’t Want To Go To) Chelsea
9. Lip Service
10. Living In Paradise
11. Lipstick Vogue
12. Night Rally
13. Radio Radio
Elvis Costello has been changing and morphing from one persona to the next for over 40 years now, but he was never more exciting and interesting than at the beginning. He lead, along with Joe Jackson and Graham Parker, the angry young punk solo artist brigade, and became a huge star with his debut album, My Aim Is True. This Year’s Model is his second album, and is probably his very best work. It’s certainly Elvis at his most bitter and angry, and his attitude and sneer was never more evident (or awesome) than here. What a persona…a geeky Buddy Holly type who would probably cut you in your sleep. And the songs here match that perfectly. This is his first album with The Attractions, and it’s the one that really cemented his legacy. And, more than anything, it’s as exciting and great an album as you will ever find.
This year’s Model does not have anything like “Alison” on it. And it doesn’t have an impressive array of hits. But what it does have.,..wow. The power pop excellence of songs like “This Year’s Girl”, “Radio Radio” and the irresistible dancefloor anthem “Pump It Up” cannot be denied. Everything here adds to the Costello legend in perfect ways. And, surprisingly, the almost absence of guitar (Costello was the guitar player, and it was not his strong suit) makes it even better. This album is carried by the keyboards, the rhythm section, and, most of all, Costello’s vocals and lyrics. If you were bored with the growing world of arena rock and the Eagles and Fleetwood Mac and Journey in the late 70’s, then this was the album for you. It still sounds perfect today…an exciting and raw nerve of an album that never gets old.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
TOOL
LATERALUS
2001 – VOLCANO ENTERTAINMENT
Produced By DAVID BOTTRILL & TOOL
1. The Grudge
2. Eon Blue Apocalypse
3. The Patient
4. Mantra
5. Schism
6. Parabol
7. Parabola
8. Ticks & Leeches
9. Lateralus
10. Disposition
11. Reflection
12. Triad
13. Faaip De Oiad
About a decade ago, in another lifetime, in another world, my wife, my stepson and I went for a day of skiing in Nederland, Colorado. When we tried to leave, we discovered that a storm had raised severe havoc on the roads, and we were trapped there. But we were rescued by a strange man who called himself J-Rod, who was a bartender at the lodge. He took us to his home in town (he had a 4 wheel drive vehicle), where we spent a very strange night drinking, playing bizarre board games, and witnessing this man’s unfortunate paranoia about the police, due to his multiple DUI infractions that supposedly allowed law enforcement to enter his home at any time. But that’s not the point here. The point is that J-Rod claimed to have no interest in music. With one exception. J-Rod absolutely loved the music of Tool. Which has become, to me, the most enduring piece of the J-Rod legacy.
I never listened to much Tool until years later. They are an interesting project to undertake, for sure. This is progressive rock, and it’s metal, and it’s a whole lot of other things as well. This band is smart, musical, and highly creative. They are also very private, very serious, and not in any hurry to give their fans a new album…they once went 13 years between releases. Lateralus is their third album, and it’s a powerful work, a powerful statement. It’s long…79 minutes is a lot of any band to take in at once, and a band as serious as Tool can be a real chore. But there are some genuine rewards for the dedicated listener here. There’s an Indian influence here, and a flow to the album that is seamless and keeps it moving despite its length. And there’s the fact that Tool is not your ordinary prog metal band.
The band uses odd samples throughout: “Parabol” features the drummer breathing through a tube. “Mantra” is actually the slowed down sound of singer Maynard James Keenan squeezing his cat. “Disposition”, “Reflection” and “Triad” work as a three song suite, and the time signature changes on “Lateralus” are wildly unique. People like my old acquaintance J-Rod love this band for good reason. It’s not typical in any sense. It’s not pop, it’s not music for the masses. This is a band that is not afraid to step way outside the norm, and Lateralus is their finest example of how a band live apart from the comfort zone of 3 chords and a danceable beat and create music that makes you think. And for that, Tool deserves to be applauded. You have to be patient to reap the benefits of Lateralus, and it’s not for everyone. But patience will reveal just how very good this band really is.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
BABE THE BLUE OX
PEOPLE
1996 – RCA
Produced By BABE THE BLUE OX & BRYAN MARTIN
1. Can’t Stand Up
2. Stand By Your Man
3. Rube Goldberg
4. Beat You To It
5. Fuck This Song
6. Breathe
7. Family Picnic
8. Resume
9. I’m Wrong
10. Shunpiking
11. Just Checking
12. Memphis
Babe The Blue Ox is a trio from Brooklyn specializing in fast, quirky, and catchy indie rock. There’s lots of bass, and each member takes turns with lead vocals. They made a couple of fine albums in the early 90’s that never brought them much fame. By the time of People, their sound had matured…but their songs had begun to lose their way. The band seemed to be favoring their musical chops over listenability, making this album a somewhat tough listen. They’re still entertaining here, but the songs are not. “Rube Goldberg” changes speeds left and right, and feels more like a collage of misplaced song scraps than anything else. “Fuck This Song” feels over the top, and sometimes, the whole thing just seems like a confusing mess. Which is too bad, because this band was capable of a whole lot more.
On the plus side, the parts that do work are very engaging. “Breathe” is a fine track that works better than the rest of the album. Bassist Rose Thomson has a sweet high voice that sounds kind of like Julianna Hatfield, and it serves as a great opposite to guitarist Tim Thomas’ sometimes angry sound. And, yes, this band can most certainly play. There’s enough here to keep you listening, just not enough for it to be memorable afterwards. To hear this band at its peak, you’ll want to go for their earlier albums: their 1993 debut BOX and, especially, 1994’s Color Me Babe are much better efforts. They have released only one album in the last twenty plus years, but they continue to play live. Babe The Blue Ox is an interesting band for sure…but People is not the best place to hear them at their best. (Note: except for their debut, all of their album titles are also titles of Barbra Streisand albums. The reason is unknown.)
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
AMM
AMMMUSIC
1967 – MATCHLESS
No Production Credit
1. Later During A Flaming Riviera Sunset
2. Later During A Flaming Riviera Sunset (LP Version)
3. Ailantus Glandulosa
4. In The Realm Of Nothing Whatever
5. After Rapidly Circling The Plaza
6. After Rapidly Circling The Plaza (LP Version)
7. What Is There Is Uselessness To Cause You Distress?
8. Silence
Free your mind, and maybe the rest will follow. You’ve likely not heard of AMM, but they have been releasing albums for over 50 years now. Formed in London in 1965, this group of jazz musicians wanted something outside of the constraints of what they had been playing, so they began AMM as a way to play outside of the musical boundaries they had always known. Starting as a collective with a fluid membership (Ornette Coleman was once a member), they trimmed the group down to four members and began recording their creations. Classified as free jazz and free improvisation, this is completely experimental avant garde music, recorded in single takes, and without any recognizable song structures. In other words…this is most likely going to sound like noise to you. Their music is never rehearsed, or even planned. So…be prepared for a weird ride.
AMMmusic is their first album, and it was shocking to pretty much everyone. Two of the tracks run over twenty minutes, but even the shorter pieces can be puzzling. This CD version includes some previously released bonus material, which is actually extended versions of the two longer tracks. Be aware: there is no music in the traditional sense here. This is all free form experimental sound made with guitar, saxophone, drums and piano. You may have a hard time even recognizing those instruments because of the way they are utilized. You might have a hard time sitting still for this at all. Paul McCartney once attended an AMM session during his time spent exploring the London avant garde scene…he said the pieces were simply too long. If you are brave, and if you want an extreme challenge musically, this would be that challenge. Definitely not for everyone…but highly influential in its own little world of experimental music.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
FRANK OCEAN
CHANNEL ORANGE
2012 – DEF JAM
Produced By FRANK OCEAN, MALAY, OM’MAS KEITH & PHARRELL WILLIAMS
1. Start
2. Thinkin’ ‘Bout You
3. Fertilizer
4. Sierra Leone
5. Sweet Life
6. Not Just Money
7. Super Rich Kids (Feat. Earl Sweatshirt)
8. Pilot Jones
9. Crack Rock
10. Pyramids
11. Lost
12. White (Feat. John Mayer)
13. Monks
14. Bad Religion
15. Pink Matter (Feat. Andre 3000)
16. Forrest Gump
17. End / Golden Girl
Frank Ocean’s time in the music industry began as a ghostwriter…meaning that other people would be given credit for songs he wrote. He was later signed as a solo artist to Def Jam Records, but was finding it frustrating that they seemed to have little interest in recording him. So he did it on his own, releasing a mixtape in 2011 that gave him a hit, and his label put him in the studio the next year. The result is his debut album, Channel Orange. This was an album that caught me off guard. How can it be so great if I’ve never heard of it? Turns out I was simply missing out. For starters, this guy can sing. Really sing. But he doesn’t OVER sing. There aren’t the vocal gymnastics here that you get from so much R&B. He sings these songs straight, and the songs are really well written and played with the way R&B should be played.
This album is modern, and it’s one that may take some time to get into…but once you do, the rewards are pretty phenomenal. There are some truly great tracks here: “Super Rich Kids”, “Pyramids”, “Thinkin’ Bout You”, “Sierra Leone”…all perfectly performed and wonderfully creative. Give Channel Orange a chance, and you will not regret it. One of the better R&B albums from recent years that you will hear. Ocean did not have a good relationship with Def Jam, and he left the label after an instrumental album in 2016…after which he finally released the long awaited follow up to Channel Orange with Blonde. His short career has revealed an artist with a solid and righteous grasp on R&B, and he’s someone to watch for new music from. In the meantime, check out Channel Orange. Give it a few listens, and you’ll be happy you did.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
PAUL STANLEY
LIVE TO WIN
2006 – NEW DOOR
Produced By PAUL STANLEY
1. Live To Win
2. Lift
3. Wake Up Screaming
4. Everytime I See You Around
5. Bulletproof
6. All About You
7. Second To None
8. It’s Not Me
9. Loving You Without You Now
10. Where Angels Dare
28 years after Paul Stanley and his Kiss bandmates each released simultaneous cringe-worthy solo albums, he finally put out a second one. First things first: you have to get yourself past his creeper stare and overly pouty poses, which adorn the front cover and 3 pages of the CD booklet. Once you get past that, you might actually be surprised. This isn’t great stuff by any means…Stanley is somehow still caught in the world of late 80’s and early 90’s hard rock, which can be pretty tiresome stuff. But this is infinitely better than pretty much anything Kiss ever recorded. The music of his massively successful band is clunky, horribly juvenile and largely unlistenable, but while he’s not breaking any ground here or showing any signs of greatness, he shows that he’s capable of so much more than he’s ever shown as a member of Kiss.
The title track was debuted on an episode of South Park (the one where they play Warcraft), and it’s typical hard rock anthem cheese. Most of the songs here follow suit, but he’s got the musicians to pull it off. The best track here is “All About You”, which is typical guy bitching about what a bitch his girlfriend is. Which is immediately followed by the not-an-album-requirement-since-the-early 90’s power ballad “Second To None”, which shows just how completely out of touch Stanley really is, complete with a wall of sincere sounding strings. The bottom line is this. Live To Win is better than any Kiss album, and shows that Stanley may well be better off without Gene Simmons. But that doesn’t make Live To Win a great album, or even a fairly good one. This might have worked in the 70’s or 80’s, but for 2006, it sounds uncomfortably out of touch and out of place.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
PORTISHEAD
DUMMY
1994 – GO! BEAT
Produced BY PORTISHEAD
1. Mysterons
2. Sour Times
3. Strangers
4. It Could Be Sweet
5. Wandering Star
6. It’s A Fire
7. Numb
8. Roads
9. Pedestal
10. Biscuit
11. Glory Box
If you’re not familiar with trip hop, you should be. If you want to really love trip hop, you should start with Dummy by Portishead. The debut album from this British combo is one of the finest examples of the genre, and in 1994 this was pretty much new musical territory for us all. Mixing drizzling lounge music, electronica, spacey atmospheres and the sweet, overpoweringly sad voice of Beth Gibbons, Dummy has been described as Gothic hip hop…a label that actually works. There is a deep sadness in the tracks of Dummy, matching Gibbons’ voice with deep and layered, yet never overdone beats and atmospheres. This is, for lack of a better term, a blues album. Slow yet not sleepy beats and tracks filled with sadness and longing and the feeling of being in a basement level poorly lit smoke filled half empty lounge. Or something like that.
Dummy created a buzz in the States well before Portishead ever toured here, and for good reason. Three singles, “Sour Times”, “Numb”, and “Glory Box” gave a great indication of what Dummy was all about. And ultimately, it’s an almost masterpiece of an album. It truly is a beautiful work, filled with songs that are smart, deeply moving and even catchy. Portishead has been sporadic in the years since Dummy, releasing only two other studio albums since 1994. And while Portishead from 1997 and Third from 2008 are fine works, the balance of what makes this group work the best is here on Dummy. The only possible negative about this is that it may be too dark and sad of an album for a lot of people, but if you are in that kind of mood, you’ll never do better than to listen to this. Save it for a rainy day…you’ll be glad you did.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
INCUBUS
MAKE YOURSELF
1999 – EPIC
Produced By INCUBUS & SCOTT LITT
1. Privilege
2. Nowhere Fast
3. Consequence
4. The Warmth
5. When It Comes
6. Stellar
7. Make Yourself
8. Drive
9. Clean
10. Battlestar Scralatchtica
11. I Miss You
12. Pardon Me
13. Out From Under
Incubus was a frustrating band, at least in the beginning. They were late comers to the funkified indie hard rock metal of bands like the Chili Peppers, so much so that their first two albums were almost embarrassing to listen to. This new band sounded so outdated that many believed they were over as soon as they came out. And then there was their third album, Make Yourself. On this record, Incubus did the right thing. They jettisoned most of their early sound…turntables, funk, and metal excesses…to make an album that was basically heavy pop. And for the first, and really only, time in their career, it worked. And it worked well. Incubus was everywhere in late 1999 and most of 2000, boasting a lean heavy sound and a suddenly found knack for writing catchy, radio ready singles. “Stellar”, “Pardon Me”, and especially “Drive” made Incubus superstars.
And for good reason. Make Yourself is a fine album. “Drive”, in particular, is a pretty terrific song, the centerpiece of this band’s finest moment. It’s got a great melody, it’s catchy as hell, and by golly, you can dance to it. The rest of Make Yourself is solid, very listenable, and very good (short of great) stuff. But it wasn’t meant to last. Incubus, who is still around to this day, had exactly one really good album in them, and this is it. So, you’ll want to skip their first two efforts, and you’ll want to go for anything after this one with caution, and only if you’re a big fan. Just know that there’s nothing as good as “Drive” on any of those other albums. The moment for Incubus was right here. Make Yourself is by far their finest hour, a very good album by a band that was never a truly great one. They never matched this career high, so this might be all the Incubus you’ll ever need.
Link _________________ I'm leaning on the threshold
Of her mystery
And crashing through the walls
Of dying history
You cannot post new topics in this forum You cannot reply to topics in this forum You cannot edit your posts in this forum You cannot delete your posts in this forum You cannot vote in polls in this forum
Romanelli
