Triumph - Allied Forces

Oh yeah, this is definitely a trip down memory lane indeed, all you waveriders! My brother, Thomas, got me hooked on these guys - as with so many other bands in my formative years - the day he brought home their Never Surrender LP. That album is fantastic but pales in comparison to it's predecessor Allied Forces. So buckle up folks...a hot time in this city tonight is upon you!

It never falters. To this day whenever I put on Allied Forces and Fool For Your Love rips this album to life my teenage years collide with my current old ass and I headbang relentlessly. And as in my formative years I grab my imaginary Gibson and go to town on the invisible fretboard pretending to be the guitar hero I will never be...like Rik Emmett. Still and I just turned 41 so I guess in some ways I will never grow up which I is good I suppose. Because the moment you stop being a kid at heart and start feeling your age you wither away. So being "into" metal and heavy rock is my fountain of youth, as soon as aches and pains appear I just put on an album like Allied Forces and I feel great for days. What need is there for pharmaceuticals when you have Triumph?

Alright, alright I'm straying from the subject but indulge me if you will dear waverider. This is after all a trip down memory lane up. As I mentioned earlier Fool For Your Love gets the album going with a slight southern rock feel for a few seconds but it quickly changes into a mid-tempo rocker once drummer Gil Moore starts to sing. Lyrically it's basically a love song but where the love goes wrong. Perfect album opener with some amazing riffing.

Second song out is the beautiful Magic Power, the first to feature Rik Emmett on vocals (Rik and Gil share the lead vocal duties). It tells the tale of young people struggling to make things work while having the whole world at their disposal...and music is what helps them on their way. Great song!

Third on the list is the short instrumental intro Air Raid. Sounding like it was taken from an arcade game it leads straight into the stomping title track Allied Forces.  A call-to-arms to all rockers this rocker simply annihilates. Rik Emmett is on top of things as always with some very smart and deft guitar playing. Gil Moore sings his heart out while keeping the beat behind the drums and Mike Levine's bass playing is impeccable.
The last song on side A is Hot Time(In This City Tonight) a fantastic homage to 50's music, think Chuck Berry, and Rik's wicked guitar playing peels the paint of the walls.

Side B opens up with Fight The Good Fight which is one of the longer songs on the album. The band speaks of making the right choices in life and doing the right thing, regardless the cost. Tough it out and you will be better for it. Musically the band changes slightly from here on leading into a more progressive field as Fight The Good Fight is more technical and subtle.

Their progressive leanings continue with Ordinary Man. Although it starts out with a choir before slowly moving onto a semi-acoutic segue, the song eventually explodes turning into a predecessor of thrash metal...seriously! Emmett is shredding and riffing like there's no tomorrow putting ANY accomplished thrash metal guitarist to shame. Moore and Levine follow suit and this is an absolute corker of a song...definitely my favourite on a great album.

Second last song on Allied Forces is Petite Etude which even further enhances Emmett's traits as an all-round guitar virtuoso of the highest order. This is a short, acoustic classical piece akin to what any of the classical masters would have composed...except Rik wrote it.

Triumph rounds off the album with Say Goodbye, a break-up song if there ever was one. Musically it's a return to the more straight-forward rock of side A although it's more mid-tempo with a heavy reliance on slide and lap steel guitars.

Overall Allied Forces is a fantastic album that touches on many various rock styles. Still the band manage elegantly to keep the music and the structure cohesive, engaging and simply crushing. The musicianship is out of this world and I have already spoken a lot about Rik Emmett but let's not forget about Gil Moore and Mike Levine. Gil is a tight, technical good rock drummer which is extremely apparent since he handles a lot of the lead vocals...while drumming. That is quite an accomplishment. And apart from being a solid bass player Mike plays all the synths, organs and pianos on this album. And this muscial ability is not only for the studio, they did the same live...just like their fellow Canadians Rush. Must be something in the water up there in Canada!

Swedebeast

UFO - Seven Deadly

Anyone who has ever loved the sound of a crushing electric riff, a perfect melody, a rousing chorus, rough-hew, soulful vocals, or a guitar solo so freaking fast and dynamic that it makes your eyeballs water, needs no introduction to UFO. After more than 40 years in the business, these crazy Brits have earned their place in the honored halls of rock and roll, both for their music and their mad antics. So let's cut to the chase shall we.

UFO's last album, The Visitor was, without a doubt, the best UFO album since the band reformed with Vinnie Moore for You Are Here, which was the best UFO album since the short-lived Schenker reunion Walk On Water, which in turn was the best UFO album since the vastly under-rated Paul "Tonka" Chapman days. You want it shorter than that? The Visitor was one great rock and roll record, and it deserved to climb right up there near the top of UFO's vast cannon of great albums.

But you can't please everybody.  I heard some people complaining that it didn't "sound" like a UFO record.  Too bluesy.  Not riffy and rocky enough. Whine, whine, whine.

Welcome to Seven Deadly.

As if in direct response to these "critics" (people who refuse to let a band grow in whichever direction they choose, but no, they MUST sound the way I want them to!), UFO come raging back with the latest installment in the Vinnie Moore-era UFO, and they sound positively pissed.  Reinvigorated since the joining of Moore, UFO sound  re-energized here, like they've somehow unlocked the code and opened the fricking rock-and-roll fountain of youth. Bustling with energy, punch, and verve. Ready to rock the shit outta you or kick your face in. You choose which.

There's still a now-familiar blues-y vibe to the album but there's also a string of pure, kick-to-the-balls rocking.

The jump in adrenaline is evident from the very first track. "Fright Night," kicks off with a straight-forward, simple-yet-mean, riff that cuts right through the mix, like the kinda riff  UFO have explored so successfully in the past on songs like "Too Hot To Handle," or "Only You Can Rock Me." Think of this song following in the same vein, and from there I promise you, I will make no more references to UFO songs of the past. It's the easiest thing to do, refer back to some song on Lights Out or Obsession for reference, but the truth is, this album is so strong it should be the point of reference for future albums. Mogg's voice layers on top of the sounding more textured, more soulful, more plaintive than in recent memory. This is full-on charging UFO, crushing riffs held together tightly by an instantly catchy melody, all leading up to that chorus that will just lift you right outta your chair and in this case, thank God for salvation.

Moore's guitar work is dead on. Moore is a shredder in the best sense of the word, and most importantly, fully adept at melody. When he wants to bust out, he can wail into a jaw dropping solo, notes flying faster than spit flying from an auction barker's mouth. Then he can drop into a perfect acoustic passage, shoot off some harmonics or crush your cerebellum with the strength of his riffs. Moore's tone isn't so much reminiscent of Schenker as it is more indicative of the classic UFO sound, and yes, the band has been around long enough to declare that they have a sound all their own. God bless em.

UFO without Schenker was always a dicey affair (except for the previously mentioned Chapman years) because Mogg needs that guitar energy to set his songs ablaze. At the same time, Schenker showed us with his solo career that he needed Mogg's sense of craft and melody to create a memorable tune. It was that combative chemistry that always fueled the band's best work, and with Moore in place, Mogg seems once and for all to have found that perfect foil. Power and melody. Sizzling chops and structure. Perfect. Absolutely fucking perfect.

"Wonderland," spits out next with a fast-paced rocker in the "Lights Out" vein.  Spirited and mean, this song absolutely chugs with passion, belying the boys advancing years.   Moore comes up with a closed-fist attack of a riff, the band is tight as the glue holding Donald Trumps toupee in place, and Mogg proves once and for all that he's lost none of his fight or passion.  Play this one live and it woulda fit comfortably on their classic Strangers in the Night.  A future classic UFO song, one that our children will one day ask us if we remember it when it first came out. Then, lest you think the boys are blowing their wad too early, "Mojo Town," tears out on the back of a fierce and twisted blues riff.  Mogg sounds great, reminding us once and for all that he's always been one of rock's most unheralded vocalists. Moore's tone is dead-on, and I'll tell you, the return of "no neck" Andy Parker on the drums seems to be the final ingredient necessary to drive these chaps over the top. The only ingredient missing was the presence of legendary bass player, Pete Way.

"Angel Station," follows next, in the absolutely classic UFO power-ballad vein, like "Out on the Streets." Delicately plucked strings start it off amongst a symphonic background, then the whole thing explodes into a melodic guitar ballad that could make a grown man cry.  Paul Raymond's work, always the glue that held the band together, fills in here, leading the track into perfect hard rock territory.  Melodic rock for the ages, by one of the bands to first create the genre. Power and beauty all wrapped up into one track.

"Year of the Gun," jumps right back into the Mississippi swamp, while "The Last Stone Rider," nails a down-and-dirty mutated, menacing blues number. Another standout track, Mogg sounds positively charged here. "Steal Yourself" is a ballsy blues-rock attack and a killer album cut, while "Burn Your House Down," rocks with a dark menace, smoldering under the intense melody.  "The Fear" is another pure nitro distorted blues assault with some tasty harmonica licks and rollicking guitar.

And the album continues from there all the way to "Waving Good Bye," a gentle closer, the band mounting their horses and riding off into the sunset.  Although I gotta say, I'm a bit disconcerted by Mogg's very final lyric line.  His last line on the entire album.   "I'm saying good bye, for the very last time."  Let's hope that's not a not-so-hidden message for the future. 

For all those naysayers out there who claim that UFO haven't unleashed a great album since Walk On Water, open your ears.  Here's another brand new, fresh burst of classic UFO. Building upon their past, not revisiting it.

Misty green and blue forever.

--Racer

My First Album - The Rolling Stones - Tattoo You

 

If I’m completely honest the actual accuracy of which album was the first I ever bought with my own money is pretty hazy…we’re talking 30 odd years here!!! It could well be something by the Police or maybe even Adam And The Ants. I can say with absolute conviction though that I definitely did buy Tattoo You by the Rolling Stones with my own dosh. I can even remember the sticker on the front that said £3.50. You try buying a brand new vinyl album for £3.50 nowadays…I tell you it can’t be done!!!

Let me just give you a little background as to why I chose this album to buy in my tender years (I would have been 11, maybe 12 when I got it). All credit must go to my dear old dad. You see, my dad has been a huge influence on my listening habits. As a child the house was full of music. In the early 70’s Sunday mornings would play host to my dad’s record collection and I remember a lot of old soul and funky stuff being played. In the car we would have some prime original ska like Prince Buster or the Skatalites that I would request on every journey. My dad, however, always had two abiding passions; the blues and The Rolling Stones and had done since he was a teenager. Even now in his 60’s if a new Stones album comes out he’s right there and he’s out most weeks to check out whichever obscure blues artist is passing through town. For a man known as the “white sheep of the family” by his wayward brothers due to his outward respectability he sure has a black man’s music taste!!!

So as a kid I was exposed to some of the best music ever created and when I entered the record department that day (it would have been Woolworths or W.H Smith) and saw a Rolling Stones album I suddenly had access myself to this treasure chest of awesomeness…plus I knew my dad would be proud as hell!!! I was immediately struck by the cover…Jagger on the front and Keef on the back both covered in tribal artwork. My young mind couldn’t grasp that they hadn’t actually had their faces tattooed for the cover, my knowledge of graphic design would come later. Either way this looked like a badass album!!! At this point I wasn’t aware that bands may have purple patches and wasn’t aware that the previous album was, by all accounts a sack of shit!!! Nor was I aware that “Tattoo You” was a bit of a stop gap album cobbled together from various unreleased bits and bobs dating back nearly 10 years at that point. All I was aware of was that it rocked and was righteous!!!

The album kicked off with “Start Me Up”. Come on people, you have to admit this is one the all time classic Stones riffs!!! As soon as it kicks in the spine starts to tingle and those erogenous zones go all a quiver!! Even as a young boy I knew that when Jagger sings “you’d make a dead man cum”…it had to be some pretty hot shit he was singing about…I didn’t even know what it meant but to make a dead guy do anything is pretty incredible right? “Hang Fire”, “Little T & A” and “Neighbours” all rocked hard and fast. “Slave” was a down and dirty funky fuck of a song and “Black Limousine” brought the blues. Flip this sucker over and the Stones give us their mellow side. Now we already knew from tracks like “Angie”, “Fool To Cry” and “Wild Horses” that they could tug at the heart strings like no-one else and they proved that here. “Waiting On A Friend” even proved to be a big hit with Jagger and Richards making out like they’re best buds in the video!!!

It doesn’t matter whether this album is rated as one of the Stones best albums or not…maybe it is, maybe it isn’t. In the cold light of day it sure as hell ain’t no “Exile On Mainstream” but it was my first and like your first fuck it stays memorable and special. In fact I may go and put it on now and get my groove on to that riff…you know…”Start Me Up”!!!


--Ollie

Thin Lizzy - At the BBC

 

This holiday season there are some very cool presents for the heavy rock fan in your life (i.e. yourself, your dad, older brother, the dude you buy weeed from behind the gas station). Deep Purple has a killer looking 2LP/2CD collection of all their BBC sessions and there's a box set of all the good Whitesnake albums (meaning the ones up to 1982). But number one on everyone's wish list should be this monster 6CD/1DVD Thin Lizzy box set of all their BBC recordings. Jeezus, these guys were busy! Thin Lizzy was pumping out albums on a regular basis and touring constantly but still managed to do all of these killer radio sessions and concert broadcasts.

Thin Lizzy did a total of eighteen sessions for the BBC between 1971 and 1977 and all of them except four are represented here. Given the BBC's tendency to erase tapes from the library it's a miracle we have 3 very full CD's of primo performances in excellent fidelity. Disc one is with the early trio version of the band with Eric Bell on guitar. This is an era I'm the least familiar with so it's great to finally get acquainted with songs other than "The Rocker" and "Whiskey In The Jar." This line up was clearly Hendrix inspired but also trying to find their way. The playing is top notch and the songs are good but it's easy to see the band still had a ways to go before becoming the powerhouse unit we all know and love. Disc two is killer because about half of it is still the trio but with Gary Moore as the guitarist. I'd always wanted to hear more from this line up and now I finally have it. Too bad they never did a full album together in 1974 but the 12 songs here are the closest we'll ever get until we join Gary and mainman Phil Lynott upstairs. Gary smokes on a raunchy sounding "Little Darling" and the VD inspired "Sitamoia." There are very funky versions of "Showdown" and "It's Only Money" that hint at what Thin Lizzy would later do on "Johnny The Fox Meets Jimmy The Weed."

The second half of disc two and all of disc three is the classic line up with Scott Gorham and Brian Robertson on twin lead guitars. Phil was tired of guitarists quitting the band leaving him as a duo with drummer Brian Downey. It's fun to compare their version of "It's Only Money" from just a few months after Gary's version and hear how it changed. It took awhile for this group to find their niche but when they did, they were totally unstoppable. I don't care how many times you've heard "Rosalie," "Emerald," "Warriors," "Killer Without A Cause" and all the other classics before, having different KICK ASS performances of them is totally mandatory. The arrangements are the same as the records but the takes are more raw and a bit faster.

Speaking of fast and raw, the other three CD's are all live recordings. It's well known that I love live albums and this is definitely my favorite half of this great box set. There's a show with Eric Bell from 1973 that opens with an excellent version of "The Rocker" and a Jimidelic "Gonna Creep Up On You." Brian Downey really pounds his drums hard and young Phil's voice is spectacular. A 1974 concert with Gorham/Robertson finds the band playing with even more confidence and laying down a heartfelt "Still In Love With You." The solos on "Showdown" are very funky. By 1981 Brian Robertson had been replaced by Snowy White and disc five contains a full hour from Hammersmith Odeon in London. The albums this line up made are kind of a mixed bag but they were still a potent live band. Heavy versions of current songs like "Angel Of Death," "The Pressure Will Blow" and "Killer On The Loose" mix well with the older classics. Disc six from 1983 captures the line up with John Sykes replacing Snowy White. Sykes definitely gave the band a heavier sound and he plays great. Sometimes he plays a bit too much and his use of pinch harmonics can be a bit annoying but that's a minor complaint. The addition of keyboards to the band was never really a plus in my book, either, but there's really no reason to complain about any live Thin Lizzy, is there?

The DVD contains the same "Live And Dangerous" show you've owned for years as well as the 1983 show that came as a bonus on the original DVD. There are appearances on Top Of The Pops from 1973 through 1981 that's the band lip synching to their current hits. It's cool but nothing you're going to watch too often. The footage of Gary Moore & Friends from 1979, however, you'll watch all the time. You've probably been drooling over it on youtube for a few years now but now you can enjoy it in better quality. Gary Moore, Cozy Powell, Scott Gorham and Phil Lynott make an incredible team. Too bad they didn't do more together.

Anyway, 2011 has been a pretty crappy year but you've been good. Do yourself a favor and end the year with a bang and treat yourself to this. You won't regret it. Special thanks to Joerg in Germany for hooking me up with a cheaper copy due to the shitty US economy and favorable exchange rate for Europeans. Cheers!

--Woody

Scorpions - Tokyo Tapes

 

Another week, another review of a double live album. I could have sworn I wrote this one up a year or so ago for Ripple but was amazed that I did not. Good thing, too. I've been looking for a cheap copy of the LP to replace the one that went missing over 25 years ago and finally tracked one down last week. 5 bucks for this muther at a used place on Long Island in a bin full of crappy metal like Americade and Kane Roberts. I've had the remastered CD for many years, and it sounds great, but when it comes to double live albums you just gotta have the gatefold sleeve. For fans of 70's heavy rock, Tokyo Tapes is an essential companion piece to Unleashed In The East, Strangers In The Night, Made In Japan and Live & Dangerous. Next time you're having a party put all those albums next to the turntable, rotate playing sides from them and watch the chicks magically disappear. Works every time!

Tokyo Tapes captures the Scorpions at a key point in their career. Guitar wizard Uli Jon Roth had already made up his mind to leave the band (check out his song "I've Got To Be Free" from his last studio album Taken By Force) but honored their touring commitments in Japan. Recorded live in 1978, this captures the end of Uli's Hendrix inspired version of the band before they evolved into a more conventional and commercial hard rock/metal band in the 1980's. Most fans of the popular era are either unaware or flat out don't like this version of the Scorpions. The truth is that most Scorps records until the mid-80's are pretty solid and they remain a kick ass live band to this very day. The Scorpions have announced that they will be retiring so if you've never seen them, you better do so soon. The next best thing would be to check out the great live DVD of their show at the Wacken Festival from 2006 with special guests Uli Roth and Michael Schenker.

Getting back to Tokyo Tapes, opening song "All Night Long" is one of their best. It was never on any of their studio albums and is one of the few (maybe the only one) written by Uli and vocalist Klause Meine. It's everything an opening song should be - fast, loud and with a killer groove. Uli's solos are incredible but so is Rudolf Schenker's kick ass rhythm guitar. Rudy really pushes the band hard and he's a very underrated player. The rhythm section of Francis Buchholz (bass) and Herman Rarebell (drums) are pummeling. "Pictured Life" and "Backstage Queen" get massive reactions from the Japanese crowd and the band delivers tight renditions. As always Uli's lead guitar work blazes.

Uli really lets loose on the slower and more Hendrix influenced songs like "In Trance," "In Search Of The Peace Of Mind," and, especially, "We'll Burn The Sky," co-written by Monika Dannemann, the woman who Hendrix was involved with when he died. The Scorpions met her when they played the Marquee Club in London and she became Uli's companion until her death in 1996. "We'll Burn The Sky" is credited to being written by Rudy Schenker and Monika but Uli owns this song. His guitar playing is out of this world. Next to Robin Trower, Uli is one of the few to have been able to incorporate Hendrix's playing into a unique style. As great as Uli's playing is, sometimes his singing isn't so great. Especially on "Polar Nights." It was actually dropped from the CD version of Tokyo Tapes to keep it a single disc but is a bonus track on the CD of Taken By Force. Still, it contains a great solo and is not worth getting up off your bean bag chair to move the needle when playing the LP. His vocals on "Dark Lady" are much better mainly because he lets Klaus handle the high notes on the chorus.

Another fun aspect of Tokyo Tapes is the between song banter. Klaus addresses the Japanese audience in English with his thick German accent. Who knows if anyone understood each other but one of my all time favorite stage announcements is when he says "I hope we get a good feeling together" and then yells out a few words in Japanese. The crowd really goes wild when they do a version of the Japanese song "Kojo No Tsuki." That must have earned the band a huge amount of respect. Another classic Klaus moment is when he shrieks at the crowd "do you like rock n roll" before they launch into a high energy meddley of "Hound Dog" and "Long Tall Sally." They were probably inspired to dust these off as a reaction to Deep Purple's usual encore of "Lucille."

The front cover is a classic with Rudy bending waaaaay in front of the bass player. Sure it looks a little gay, but can you do that in giant, white platform boots? There are great photos in the inner sleeve and almost everyone in the band has ridiculously big platforms. Probably the main reason why if you see photos of them today they're wearing sensible shoes. Back in the 70's everyone wore those giant shoes, kimonos and had massive fog machines on stage and the world was a better place.

--Woody

HUMBLE PIE - EAT IT

Too much free time on my hands is a dangerous thing because that means I can check ALL of the bins at used record stores. The kids today are buying lots of vinyl, and that's a good thing, but an even better thing is that they're ignoring all the great classic rock albums they've never been exposed to. This is where I come in. Used Johnny Winter and Joe Walsh albums for 3 or 4 bucks in decent shape - how can I not give them a good home next to their long lost friends Robin Trower and Mountain? So when I found this very nice copy of Humble Pie's Eat It for about 10 bucks there was no hesitation. It needed to be reunited with of Smokin, Thunderbox and, of course, Performance: Rockin' The Fillmore on my shelf. Eat It was released in 1973, a year that I've gone on record here many times saying it might be the best year for rock (Tres Hombres, Raw Power, Billion Dollar Babies!). Eat It is not as monumental as any of those records but it's still a great album and one that deserves a place in every heavy rock fan's library. Each side of this double album is a different thing. Side one is all hard rock songs, side two is covers of soul tunes, side three is acoustic and side four is live and loud in concert. No matter what kind of party you're having, Humble Pie have got you covered.

Side one rocks hard with kick ass songs like "Get Down To It" and "Good Booze and Bad Women." These are very much in the vein of the songs on 1972's great Smokin' album. "Is It For Love" is a moody R&B influenced song and "Drugstore Cowboy" is faster and funkier. Steve Marriott's vocals are excellent as always and the band really grooves. Very few English bands could play authentic R&B and a lot of that has to do with the Pie's killer rhythm section of Greg Ridley (bass) and Jerry Shirley (drums). These guys can really swing. Clem Clempson and Steve make a great guitar team.

Most rock bands trying to play soul music is pretty much a joke, but Steve's vocals have the range and expression needed for the material. Ike & Tina's "Black Coffee" is given a real workout. What a groove! Edwin Starr's "Shut Up & Don't Interrupt Me" is a lot of fun. There are also dramatic versions of the Ray Charles classic "I Believe To My Soul" (also covered by the MC5 in their live show) and Otis Redding's "That's How Strong My Love Is." Good side for when you're trying to convince a lady to move to the backseat of your car. If that doesn't work, side three might do the trick. Four acoustic, bluesy songs all written by Steve Marriott. "Say No More," "Oh Bella" and "Summer Song" are more back porch than the kind of mystical acoustic stuff that Led Zeppelin would do. The last song "Beckton Dumps" is more uptempo and has some electric guitar on it.

Once you drop the young lady off at the end of the night, it's time to CRANK UP side four and rock the fuck out. Recorded live in Glasgow, this is Humble Pie at their finest. "Up Our Sleeve" is not only one of Humble Pie's greatest songs, but it's also one of the most kick ass jams you will ever hear. Flat out, balls to the wall, driving rock n roll. This version is slightly less ferocious than the one that was later issued on Humble Pie's awesome King Biscuit CD recorded on this tour. The rest of side four is taken up with a  good version of the Rolling Stones' "Honky Tonk Woman" and an extended jam on Junior Walker's "Road Runner."

Humble Pie rocked like no other. They were such a potent band, it's a shame that they don't get more recognition. The domestic CD of Eat It is out of print but the import is still available. But the best way to experience this is on vinyl. The double album comes with a very cool booklet glued inside the gatefold sleeve with illustrations and action live shots. Musically, it also makes much more sense when you change the sides. Either way, it's a great record. And if you don't like it - EAT IT!


--Woody

Sly And The Family Stone - A Whole New Thing

Scene:  It is mid-afternoon.  Penfold is sitting in his office.  He is listening to music.  His friend enters the room. (Conversation intended to be read quickly)

“Hey Penfold.”
“What’s going on my friend?”
“Nothing much.  Same old, same old if you know what I mean.  Say…what is that?”
“What is what?”
“That thing.”
“What thing?”
“That thing,” says my friend as he points his finger.
“The stereo?”
“No, not the stereo.  What is that thing that you are listening to?”
“Oh, that thing.”
“Yes, that thing.  Is it new?”
“Yes it is.”
“When did you get the thing?”
“The thing came in the mail today.”
“Do you like the thing?”
“Oh yes.  This thing is special.”
“Because it’s new?”
“Not exactly.”
“Then what’s so special about the thing?”
“Everything.  It’s a whole new thing!”
“A whole new thing?”
“Yes indeed.”
“Are you pulling my leg about this thing Penfold?”
“Would I joke around about a thing like this?”
“You joke around about things all the time.”
“But this thing is different.”
“Because it’s new?”
“Wholly new!”
“Can I believe you about a thing like this?”
“Can you afford not to believe me about a thing like this?”
“The thing is you do seem to know a little bit about these things.”
“Yes.  These things are things I like to know about.”
“They’re kind of your thing.”
“Precisely!”
“So I should get my own copy of the thing?”
“That seems to me like the thing to do!”
“Do you really think I’ll like the new thing?”
“Absolutely.  You’ll like the new thing a lot better than that old thing you’re into.”
“Fine.  You talked me into it.  I’ll pick up a copy of the thing.”
“Great!  I promise it’ll be just the thing!”

There is no point in beating around the bush waveriders.  I’m confident that nearly every human being on this planet has heard a Sly And The Family Stone song.  It is certainly possible that some individual out there is operating under the assumption they have not yet been exposed to this group, but let’s face it…they’re wrong.  Maybe “Everyday People”.  Perhaps “I Want To Take You Higher”.  Almost certainly “Dance To The Music”.  Some folk might not have known the name of the band, but I guarantee an overwhelming majority would hear the beginning of one of those aforementioned songs and say to themselves, “Oh man.  I love this song!”

Sly And The Family Stone’s second, third, fourth, and fifth albums are considered all-time classics.  This is a statement that I wholeheartedly agree with, but I am going to talk about something else today.  I am going to talk about my personal favorite Sly Stone album; his debut, A Whole New Thing.  From the first moment I began listening to this album my ears knew that they had found a new soul mate.  Waveriders, I’m sure you have all experienced one of these musical connections yourselves, but if you have not had the pleasure let me explain further.  To say that the music clicked with me immediately is an enormous understatement.  It was magical!

Admittedly, I’m a sucker for bands that combine musical elements I already like in a new and interesting way.  I like rock n’ roll.  I like funk.  I like classic r&b/soul.  I like the blues, and I like pop.  SATFS manages to combine elements from all of those genres into an immensely listenable sonic gumbo.  The main reason I like the music on A Whole New Thing more than later Sly Stone releases is that the songs are less refined than what followed.  What does that mean?  Well, the energy level of every song is off the charts and the compositions are often quite complicated.  Most songs utilize multiple singers, have horns blasting intricate note patterns, and layer truly funky guitar/bass/organ instrumentation on top of some wicked rock n’ roll drumming.  In short, it’s a dream come true for folks like me!

Those in need of proof concerning what I’ve reported need look no further than album opener “Underdog”.  Horns build up listener anticipation before the full band kicks in around the twenty second mark.  From there we have highly motivated start/stop drumming, rock solid basslines, tasteful guitar and organ playing, and positively massive sounding waves of unified instruments and voices following irresistible sing-along choruses.  Oh, and the lyrical content is nothing to laugh at either.  And that is only the first song!  It gets even better!  The energy level is lowered slightly for the next two tracks, “If This Room Could Talk” and “Run, Run, Run”.  Then the throttle is stomped to the floor for the barn-burning “Turn Me Loose”.  Knowing that the listener needs a breather, the band delivers the stunning blues/soul number “Let Me Hear It From You”.  Waveriders I apologize.  This writeup is getting out of control, and I didn’t even talk about other favorites like “I Cannot Make It”, the psychedelic “Trip To Your Heart”, or the bonus track “What Would I Do” from the 2007 remaster.  Alas, you’ll have to discover these delectable sonic morsels for yourselves.

On several occasions I’ve read that A Whole New Thing is a ‘lost album’.  Due to the success of later Sly And The Family Stone albums, the debut release is largely forgotten.  This is a travesty of the highest order!  But fear not waveriders, for we can rectify this grave injustice.  All you have to do is pick up a copy of this magnificent album, let the music it contains fill your days with happiness and good cheer, and then spread the word to anyone who will listen.  We can do this!

--Penfold

Alice Cooper - Welcome 2 My Nightmare

He’s back…the man behind the mask. Well, strictly Alice has never really gone away. Now Alice, in my humble opinion, has never made a truly terrible album although some do shine far brighter than others. 1975’s original Welcome To My Nightmare set, however, stands head and shoulders above anything else in his solo career. As a die hard Alice fan, when I heard in 2010 he was working on a sequel to that album, Hell, I was intrigued…I even got wood!!! When I heard that the surviving members of the original Alice Cooper band were also involved then I was sold…and I got wood…damn, I could have done with having two dicks!!! When I heard Bob Ezrin was back in the production seat…yeah you guessed it, I don’t need to draw you pictures now do I!!!

This album has some pretty big shows to fill so how does it fare? Being honest, this album is everything it should be…and more. Alice has taken the grandiose, hard rocking concept blueprint he laid down in the 70’s and revisited it like an old and trusted fiend whilst understanding that it ain’t 1975 no more. This album is pure Alice 2011 style. How many other artists can you think of that have a career spanning over 40 years who are able to continue making music that is as relevant to their past as it is to the current musical climate…yeah, you’re struggling to think aren’t you? Look no further.

The basic concept is not that far removed from the original story, Alice’s dreams plunge him into a horrific world but this time there is a twist. Without giving too much away this is Welcome To my Nightmare meets Alice Cooper Goes To Hell in one tidy package.

Opening with “I Am Made Of You” shows Alice in contrary mode. Instead of the big statement that sets the scene from the off this is a subtle slow burning piece of dark, heavy pop. I will admit, this caught me off guard on first listen and the vocoder affected vocals did make me wince…what the hell is Alice playing at??? Repeated listens, however, reveal the song’s true strength and the delicious melody not to mention Steve Hunter’s sublime guitar solo. Throughout the album Hunter’s playing is at the top of his game and the years have done nothing to dull is ability or his ideas. This is both new and old ground for Alice as piano themes echo the original “Welcome…” album whilst exploring modern, contemporary musical turns.

Things really kick off on the next track, “Caffeine” where Alice realises he can’t face entering the dark world of sleep and needs to stay awake at all costs. Co-written by and featuring Buckcherry’s Keith Nelson this is, as you may expect, a balls to the wall slice of ass kicking hard rock and roll that throws riff after riff after riff into the melting pot. The song itself is packed full of ADHD driven twists fuelled by the variety of stimuli that Alice catalogues in the lyrics.

Unfortunately for Alice, the caffeine doesn’t work and “The Nightmare returns” (see what I did there?). A brief but brilliant segue between the original 1975 set and the new album, this explores the familiar piano themes from the original and reprises the dark, orchestrated horror sound that set the original “Welcome…” album apart.

And now, here’s where I start to salivate. “A Runaway Train” is the first of three tracks written with and featuring the surviving members of the original Alice band; Dennis Dunaway on bass, Neal Smith on drums and Michael Bruce on guitar. As Alice rides the train into his hellish nightmare world it is clear that the guys are relishing working together once more. A motorvating, rockabilly fueled slice of rock and roll, you can almost hear the tethers break at the start as the band throw themselves into the track with the energy of a band a third their ages and with every ounce of gusto they mustered on the original classic Cooper albums.

The train crashes and Alice realizes he is “The Last Man On Earth” and with all the freedom to allow himself any level of debauchery that entails. Here Alice shows the diversity he used to display back in the good old experimental 70’s days with a drunken, Tom Waits styled hoodoo blues stomp that sounds as though it comes straight from a Vaudevillian theatre in the Louisiana swamps. Banjo, violin and tuba power this irresistible piece of irreverence…but wait, the round of applause Alice receives at the end suggest all isn’t as it seems and Alice isn’t really alone!!!

Rob Zombie appears and takes over Vincent Price’s role from the original album to act as Alice’s guide on “The Congregation”. Zombie points out the various levels assigned to the wrong doers and undesirables including lawyers and…mimes!!! The track itself is pure, high energy metallic Beatles with Alice delivering his finest John Lennon impression. Throughout the album he is in fine vocal form exploring all aspects of his character from tender balladry to acidic hard rock. To still have a voice at 63 is remarkable, to have such a strong voice is almost miraculous!!!

The original Alice Cooper band appears for their second shot on the album, and one of the undoubted highlights. “I’ll Bite Your Face Off” is a sleazy slice of gutter level rock and roll that harks back to the days of “Killers” and “Love It To Death”. The Rolling Stones have been trying desperately to write a riff as irresistible as this for the last 30 years and failed…give the Cooper band a few days in the studio and look what happens!!!

No sooner have you showered off the grime from the sleazy onslaught than Alice hits us with one of the most bizarre and left field tracks on the album. “Disco Bloodbath Boogie Fever” is, as the title suggests, a disco infused up tempo piece of frippery that sees Alice throwing his tongue round some hip hop style wordplay. It’s an unusual move for sure and bound to divide opinion but the track is saved by a guest appearance from John 5 who delivers an incendiary guitar solo over a balls out thrash to the conclusion. Whatever people may think of this track it proves that Alice isn’t prepared to play safe and if pushed into a corner will come out fighting.
Alice continues to confound expectations as he parties on down with a bunch of surfing zombies…presumably they are the victims of the disco bloodbath and what better way to recover than going for a surf and beach party. Keep up folks, this is a nightmare after all, it isn’t meant to make perfect sense!!! Alice intended this to be a homage to the Beach Boys but once it’s been rocked up it has more than a little Ramones in its blood. Imagine Alice jamming with Johnny and the brudders whilst Brian Wilson and the guys sing pitch perfect harmonies…you’re imagining that right? It works doesn’t it!!!

Now, in the mid 70’s Alice gained notoriety amongst the rock fraternity but widespread recognition for his ballads. “Only Women Bleed”, “I never Cry” and “You And Me” were all smash hits back in the day and it seems Alice and writing partner of the time Dick Wagner kept a little something in the back pocket for a moment such as this. Originally written back in the 70’s, “Something To Remember Me By” never saw the light of day as Alice didn’t feel he could do it justice…but now he can. The track is as vital and heart warming as any ballad he’s ever done in the past and proves that some things are worth waiting for. Ezrin’s lush orchestration takes us right back to when Alice was storming the mainstream airwaves…and should be again.

The original Cooper band make their third and final appearance on the dark and deceptively heavy “When hell Comes Home”. Riding on a riff that Sabbath would have been proud of it shows that there is still plenty of life in the old dogs yet and they’re still capable of sending a frosty shiver down the spine in this tale of alcoholic spousal abuse, you see folks, it ain’t all fantasy in Alice land..

And so, in his journey through the Underworld, Alice meets a chick…and she is hot!!! “What Baby Wants” is a slick pop rocker that would have been a huge hit if it had followed “Poison” into the charts. The fact that Alice has drafted in bratty electro pop diva Ke$ha to join him on the track also shows that he is fully aware of the current musical climate as well as being able to spot talent where none of the rest of us can. Playing the Devil to Alice’s victim Ke$ha nails a performance that drips with seduction while Alice desperately tries to control his libido and retain his soul.

In an album full of left field twists, Alice delivers yet another on “I Gotta Get Out Of Here” co-written with Patterson Hood from Drive By Truckers and featuring country legend Vince Gill on guitar, this is a prime piece of rolling Americana. The genius stroke appears half way through with a chorus of heavenly voices that repeatedly ask Alice “what part of dead don’t you get”. What do you know, it seems that Alice isn’t really in a nightmare after all but has died and gone to Hell…or has he? The question is never fully answered and doesn’t need to be…maybe not until the third instalment!!!

And so we come to the rousing conclusion. “Underture” is an audacious piece that pulls themes from the 1975 original though the title track, “Steven”, “Devil’s Food”, “Only Women Bleed” to name but four and mixes them up with themes from the new work such as “Ghouls Gone Wild” and “Something To Remember Me By” to create an orchestrated instrumental denouement that puts a lid on the album in the only way it could possibly be finished.

Welcome 2 My Nightmare is a wild ride. Alice and his newfound partnership with Bob Ezrin have succeeded in pulling out all the stops to create an album that stands as Alice’s best work in at least 30 years…in fact make that 36 years since the original album came out. It’s as big, bold and brash as it is subtle and proves that Alice need no longer just be remembered by the younger generation for “Poison” and that for the older generation, he is still the master of the bizarre. Alice, we’re not worthy!!!


--Ollie

Rainbow - Rising

You know you’re old school or just plain old if you’re into this album. I’ve known and loved it for years but recently picked up the excellent LP reissue on England’s Back On Black label and it’s been on non-stop rotation on my turntable. Talk about classic! Everything about this 1976 album is perfect. The striking front cover artwork by Ken Kelly is truly denim jacket worthy. The classy black and white band shots are powerful and mysterious. Martin Birch’s production is outstanding. But, most important, is the incredible songs and the superpowers of the musicians who created them.

After leaving Deep Purple, guitar wizard Ritchie Blackmore formed Rainbow with the one and only Ronnie James Dio to form one of the greatest alliances in all of heavy rock. Both men made great music before and after Rainbow Rising but this might be the peak for both of them. Then when you add the powerhouse drumming of Cozy Powell that’s a lot of talent and sky scraper egos in one unit.

“Tarot Woman” starts off with some atmospheric keyboards from Tony Carey. Right off the bat you know this was not meant to be a clone of Deep Purple, Jon Lord would never play like this. Not better or worse, but very different. When the band comes, the rhythm section of Cozy and bassist Jimmy Bain stomp hard and leave plenty of room for Blackmore’s guitar and Dio’s vocals. “Run With The Wolf” is another mid-paced rocker with a nice bluesy solo from Ritchie. Side one wraps up with the ass kicking “Starstruck.” Featuring an awesome riff that gets stuck in your head as soon as you hear it and a great arrangement, Dio’s vocals are so powerful.

Side two opens with the raunchy “Do You Close Your Eyes.” Dio’s lyrics are usually fantasy oriented but rarely sexual in nature and it’s a lot of fun to hear him howling “when you’re making sweet LOOOOOOVE to me!” on the chorus. It’s also a great lead in for the centerpiece of the album – “Stargazer.” The overused term “epic” really does apply here. Here’s a song that rivals Zep’s “Kashmir” in full on exotic heaviness. Cozy’s drum intro is breathtaking and Ritchie’s riff is one of the heaviest of all time. On the inside of the gatefold sleeve this is the only song that has the lyrics printed. If used the inside of the gatefold sleeve correctly then by the time this song came on your attitude had been properly adjusted and you could bug out on the amazing tale that Ronnie relates. The production on this song is majestic. There’s tons of phasing effects on all the instruments and towards the end the Munich Philharmonic Orchestra make this heavy song even heavier. It’s impossible to follow up this song, but the fast headbanger “A Light In The Black” wraps up the album nicely.

It’s a short album, only a little over half an hour that leaves you wanting more but it’s perfect as an LP. The Back On Black reissue is pressed on heavy duty vinyl and the short sides mean there’s plenty of room to spread the grooves for maximum fidelity. I’ve been listening to this album for many, many years and it’s never sounded better. It ain’t cheap but when you’re cranking it twice a day you’re definitely getting your money’s worth.

  --Woody

Thin Lizzy - Live in London 2011

To me, it was inconceivable.

Thin Lizzy without Phil Lynott could be a lot of things, but Thin Lizzy wasn't one of em.  A cover band.  A tribute, perhaps.  but not Thin Lizzy.  Not the real thing.

Well, Phil can never be replaced.  He remains one of the most galvanizing, mercurial figures in rock history.  But the new version of Thin Lizzy playing his music are good.  Damn good.

Twenty five years have passed since Phil's untimely death.  The world has changed, but the amazing body of work that is Thin Lizzy still retains all of its vibrancy and influence. A new lineup has formed to take Lizzy's music to a whole new generation of music fans. Led by alumni Scott Gorham, Brian Downey and Darren Wharton (all of whom played in Thin Lizzy with Phil Lynott) the stellar lineup is completed by Def Leppard's Viv Campbell (guitar), Bassist Marco Mendoza (Whitesnake, Ted Nugent) and The Almighty's Ricky Warwick on vocals and guitar.

So where to start?  With Scott Gorham and Viv Campbell on guitar you knew the axe work was gonna be just fine.  Acutally, it's better than that.  It's as awesome as Lizzy ever were.  Gorham, of course, has the Lizzy touch, and Campbell brings that melodic harmony guitar work in seamlessly.  In truth, he would've fit in just fine with the band back in the day, his playing is that good.  Drums are solid with the original Downey pounding the skins, and Mendoza does an admirable job on bass.  Darren Wharton is another Lizzy alum playing just fine.  So without a doubt, musically, this version of Thin Lizzy sounds as good and tight as any version of the band.  Those trademark guitars just sing like angelic harmonies aimed right at the heart.

So really, the question is the front man.  Who could do it?  Who has the balls and the proper charisma to take the place of Phil on stage.  Talk about being set up to fail!  Well, let me tell you, the Lizzy boys couldn't have found a better man than Ricky Warwick.  Nothing in his resume of the Almighty or New Model Army prepared me for what I heard.

First off, Ricky doesn't try to ape Phil.  But his phrasing is about as dead-on perfect as you could ask for.  His throaty deep tenor sound enough like Phil that if you didn't know who it was, at times you could be fooled.  But it's done right.  It feels natural, not like Ricky is trying to be Phil or even sound like Phil.  It just sounds like the way the songs are supposed to be sung.  And this is critical.  Any firestorm directed at the band would be aimed right at Ricky, and damn if the man doesn't have the cajones to pull it off.  Hats off to you Ricky.   Really.

So with that said, what have we got here?  A killer set of fantastic Lizzy songs, fired up and ready to bring Phil's music and the Lizzy sound to a new generation.  "Jailbreak" is as mean and fierce as ever.  "Don't Believe a Word", one of my favorite lost Lizzy cuts, sounds razor sharp.  Killer and to the point.  "Massacre" another mind-blowing highlight is on fire, with that spectacular guitar work lighting up the night sky.  Ricky really shines here, pulling the spirit of Phil out of rock and roll heaven right back down to the stage. 

"The Boys are Back in Town," is pulsating and pounding, "Rosalie" is inspired, and "Bad Reputation" is street grit and pulsating sex.  In between we get the whole spectrum of Lizzy's catalog, 19 tracks in all. 

Phil is gone and missed.  No one can ever replace him.  But let me tell you, Live in London 2011 stands true as a fine Lizzy album, the music sounding fresh and new, ready to incite the fire in a new generation of fans.  If you're a Thin Lizzy fan, you won't be disappointed.

--Racer

Modern Day Moonshine Plow Their Allman Brothers-tinged Classic Rock Sound with Their New Single, "Fitting the Mold"

Classic rock.  Music to the ears of rock lovers everywhere.  With it's variety of styles and influences, there was a classic rock sound for every taste.  Now Ripple Music is bringing back that feeling of the heyday of 1970's Classic Rock Radio with it's ever-expanding roster of authentic, rock and roll bands.  And the latest band to forge head-first into this territory is San Francisco's Modern Day Moonshine with their Allman Brother's-tinged new single, "Fitting the Mold".

Back in the day, fans explored every facet of rock without need for clear distinctions and boundaries.  If you loved Led Zeppelin, you probably loved Lynard Skynard.  If you were a fan of Thin Lizzy's guitar attack,  there also was a Molly Hatchet.  And if you loved the blues-based rock of Free you could also lose yourself in the blues jamming of the Allman Brothers.  Modern Day Moonshine fills that space in the Ripple roster, plowing their bluesy, southern guitar-fried sound amongst the heavier tones of other Ripple bands-- and success is staring the boys right in the face.

Modern Day Moonshine's latest full-length record, Refuge, made an immediate impact on  radio charts, finding itself nestled among the likes of genre stalwarts The Black Crowes, Ray LaMontagne, and Robert Plant. Now Modern Day Moonshine looks to build on that success with the release of their latest digital single.  With it's spirited, fiery guitar, "Fitting the Mold" will harken back to those glorious days of 1970's Classic Rock, resurrect thoughts of classic Allman Brothers, and be sure to satisfy listeners who crave the variety that classic radio had in it's peak.

Released through Ripple Music, "Fitting the Mold" can be found on iTunes, CDBaby, and Ripple's own Bandcamp page.

Check it out and see what all the fuss is about.

Black Country Communion 2

 

I had absolutely no intention of ever trying to hear this album let alone review it, but for some reason Glenn Hughes is playing a recurring role in my life these days. A few weeks ago I picked up the Deep Purple Mk.IV documentary Phoenix Rising. The day after watching it I stumbled upon a used LP copy of Come Taste The Band and I knew it was destiny compelling me to buy it yet again. Then the new issue of Classic Rock arrives the day after that with a big article on Glenn’s band Black Country Communion and their new second album. I read it with mild interest but had no real plans of hearing it. Well, I didn’t have to since someone just handed me a promo copy and I must admit it’s pretty good so here I am writing about it.

Black Country Communion is sort of a supergroup that was put together by producer Kevin Shirley to combine the forces of Glenn Hughes with blues guitarist Joe Bonamossa, drummer Jason Bonham (no introduction necessary) and keyboard player Derek Sherinian. The players are all top notch pros but they rock together really well. Led Zeppelin is the main influence and they do it better than anyone I can think of. The guitar riffs are very Zeppy and the keyboards (mainly organ) add an obvious Deep Purple tone but there are some “Kashmir” style synth effects occasionally, too.

The band rocks hard right out of the gate on “The Outsider” with an “Evil” speedy jam that’s totally Cactus worthy. Glenn Hughes turns 60 on August 21 this year but can still sing with more gusto than dudes one third his age. He really has no right to be able to sing this well after all the hard living he’s done. Someone upstairs likes him.  Glenn’s bass playing sometimes gets overlooked because of his powerful voice but he can really groove. He’s always been a heavily R&B influenced player and his role in BCC is no different. He never gets carried away and blends well with the powerhouse drumming of Jason Bonham. I’ve heard very little of Joe Bonamossa’s music prior to this but he really gets the Led out on his riffing and solos and Derek Sherinian’s keys fit the songs very well.

Although it’s their second album, Zep III is more the template here with the Presence turned up to 11. “The Battle For Hadrian's Wall” will have you swinging from the gallows pole while “Little Secret” will have you ordering “Tea For One.” By far my favorite song is “Smokestack Woman” because it sounds like Krokus (One Vice At A Time-era) covering “Custard Pie.” How can you not love Glenn bellowing “Smokestack woman gonna steal my soul” like Marc Storace on a crystal meth powertrip? You can’t!

The eleven songs clock in at about an hour with a few of the songs going on for a minute or two too long. The production is great, the band sounds like they’re all playing in a room together and having a blast so I’ll chalk it up to the spirit of the boogie that prevented them from doing too much editing. All the members have pretty busy solo careers but hopefully they’ll continue to make time for this band.

--Woody

www.bccommunion.com/

Mountain – Climbing!

 

As I write this, Mountain’s legendary guitarist Leslie West is recuperating in the hospital following leg amputation surgery due to his long term diabetes. Mountain was scheduled to perform at the Hard Rock in Biloxi, Mississippi when Leslie started having problems that led his operation. Reports say that Leslie is doing well and should be discharged shortly. Not long after the surgery he called into his friend Howard Stern’s radio show and sounded in good spirits. I know I speak for everyone involved here at Ripple that we wish him a speedy recovery and look forward to hearing his incredible guitar tone again very soon.

On to happier things, like celebrating Mountain’s awesome debut album Climbing!, originally released in 1970. Leslie released a solo album titled Mountain in 1969 but not long after that he and bassist/producer Felix Pappalardi decided to form a full time band. One of their first shows was at the Woodstock festival in 1969. The band was not complete until powerhouse drummer Corky Laing joined and the rest is history. Most people consider Mountain a power trio and forget about 4th member Steve Knight on keyboards. Felix wanted a keyboard player to avoid comparisons with Cream but Leslie could have cared less and has never really said nice things about Steve over the years. Either way, this is the line up that produced one of rock’s greatest heavy albums.

Opening with the most identifiable cowbell lick ever, “Mississippi Queen” erupts from the speakers no matter what you play it on – transistor radio, massive PA system or anything in between. The result is always the same: 100% KICK ASS!! Unlike many other popular rock songs, I never get tired of hearing it. If it comes on the radio you immediately forget about what was played before it and you will be furious if the DJ follows it up with Billy Joel. Not all Long Island rockers are equal. Once you get past the cowbell what really hits you is Leslie’s utterly MASSIVE guitar tone. Many have tried but no one comes close to that sound. He’s gone on record many times as saying that he wound up using a Sunn PA amplifier at the Fillmore West because the Marshall amps he was expecting never arrived. He liked the sound of his Les Paul Junior plugged straight into it so they used it on the album. The main thing about his guitar tone is that it just sounds really fuckin’ LOUD and makes you want to turn the stereo up.

If “Mississippi Queen” doesn’t melt your speakers than “Never In My Life” will. Faster, harder and almost twice the length of the hit single, “Never In My Life” is simply one of the most kick ass songs of all time. Legend has it that Jimi Hendrix was in the studio next door and Leslie asked him to come in when they were mixing it. Jimi was knocked out by the riff and later on played bass behind Leslie during a jam with Corky. Not a bad endorsement for your debut album, eh?

But Mountain Climbing! is not all just speedy blues riffs and pounding cowbell. Songs like “Theme from an Imaginary Western” and the Woodstock anthem “For Yasgur's Farm” (both sung by Felix) offer nice counterpoint to the heavy rock jams. Probably the biggest strength of this album is the balance between heavy and quiet, light and dark. Acoustic numbers “The Laird” and “To My Friend” set up the rockers “Silver Paper” and “Sittin’ On A Rainbow” perfectly. Variety is definitely a lost art amongst most of today’s bands. Leslie’s vocals are shouted and raw while Felix is much more melodic. When you combine that with great songs and excellent musicianship you have a timeless classic like this.

Climbing! is a real one of a kind and belongs in every rock fan’s library regardless of generation. It goes without saying that the louder you play it the better it sounds and it gets stronger year after year. Send Leslie some good thoughts and crank this one up soon.

--Woody

Buy here: Climbing

Classic Rock Revisited - Doobie Brothers Live at the Greek Theatre 1982 On CD & DVD Out Now

On June 28, The Doobie Brothers Live At The Greek Theatre 1982 will be released on CD and DVD through Eagle Rock Entertainment. 

The rafters of Berkeley, California’s famed Greek Theater shook with rock’n’roll fervor as the final date of the final tour of hometown heroes The Doobie Brothers brought many in the crowd that night to tears. Billed as their “Farewell Tour,” the band, guitarist/vocalist Pat Simmons, keyboardist/vocalist Michael McDonald, drummer Keith Knudson, guitarist/violinist/harmonica player John McFee, saxophonist/keyboardist/flautist Cornelius Bumpus, drummer/percussionist Chet McCracken, bassist Willie Weeks, and conga player Bob LaKind, pulled out all the stops on a set that revisited their every era.

This incredible night included the surprise return of band co-founder Tom Johnston for the final two numbers. On their biggest hit, “Listen To The Music,” original member John Hartman also joined the band as did former members Tiran Porter and Michael Hossack. It would prove to be the last onstage Doobie Brothers music for five years.

The two-hour 21-track DVD includes five bonus songs cut from the original film of the event:  “Little Darlin’ (I Need You),” “One Step Closer,” “Dependin’ On You,” “Real Love” and “”No Stoppin’ Us Now” as well as interviews with the band and its manager.

Since their self-titled debut in 1971, The Doobie Brothers have released thirteen studio albums, as well as several live albums and “Best Of” compilations. Live At The Greek Theatre 1982 is a welcome addition to their stunning musical repertoire, that captures an unforgettable celebration of their career.

CD Track Listing:

1) Listen To The Music

2) Sweet Maxine

3) Rockin’ Down The Highway

4) You Belong To Me

5) Take Me In Your Arms (Rock Me)

6) Long Train Runnin’

7) Black Water

8) Minute By Minute

9) Slat Key Soquel Rag

10) Out On The Streets

11) What A Fool Believes

12) Jesus Is Just Alright

13) Takin’ It To The Streets

14) China Grove

15) Listen To The Music

BONUS TRACKS:

16) Little Darling (I Need You)

17) One Step Closer

18) Dependin’ On You

19) Real Love

DVD Track Listing:

1) Listen To The Music

2) Sweet Maxine

3) Rockin’ Down The Highway

4) You Belong To Me

5) Take Me In Your Arms (Rock Me)

6) Long Train Runnin’

7) Black Water

8) Minute By Minute

9) Slat Key Soquel Rag

10) I Keep Forgettin’

11) Out On The Streets

12) What A Fool Believes

13) Jesus Is Just Alright

14) Takin’ It To The Streets

15) China Grove

16) Listen To The Music

Been Obscene - The Magic Table Dance

I’d like to start this review with an apology to Been Obscene . . . and to Elektrohasch . . . and to my cohorts in cohorts in crime at The Ripple Effect. You see, I’ve had this Been Obscene album topping my stack of CD’s for easily six months and it constantly got shifted from one side of my desk to my car stereo, back to some other corner of my desk, then back to my car again, and so on, such forth, etc, etc. The Magic Table Dance didn’t deserve such poor treatment. In retrospect, this album should have immediately had glowing words penned about its existence, exalted for its musical exuberance, revered by yours truly. But for some reason, I decided that it was best to let the sonic 70’s splendor represented on this disc to ferment within the very cells that make up my being for a good long time. In many ways, I’m glad that I’m just now getting to writing about this record. It’s passed the test of a fairly great amount of time and the luster hasn’t dulled in the least . . . in fact, it may have actually grown in radiance!

I don’t know a whole lot about the band in terms of how long they’ve been around or what their musical intent is or what their favorite flavor of ice cream is, and I can only draw from the music that makes up The Magic Table Dance. From what I hear, Been Obscene is a band that channels the best moments of 70’s-era Deep Purple, Jethro Tull, maybe a little Sabbath . . . basically, anything that sounds like it originally came from the early 1970’s rock arena without sounding like anyone particular band . . . and mixed it with a modern rock sensibility to make the whole sound relevant for today’s fickle rock n’ roll ear. More concerned with letting the music do the talking, the songs on The Magic Table Dance have a strong instrumental focus, however when the vocals set in, the melodies are rich and memorable. The music ranges from psychedelic and airy to borderline proto-metal and then ventures in to heavily progressive and epic movements, and all done with these great guitar tones that teleport the listener to that bygone era that has the Ripple staff reaching for their rattles and pacifiers.

Opening with the five-plus minute instrumental title track, Been Obscene teach us a lesson on song craft, slowly building the tension measure by measure, infusing lines of guitar melodies that will have you humming yourselves to sleep. The musicianship throughout the song (and album) is top notch, all members playing to their individual strengths, complimenting the other musicians as well as the song, and when their individual abilities need to shine, there soon becomes no question that these cats can chop away with the best of them. “Uniform” kicks in shortly after the opening mind fuck and the subsequent riffology has that awe striking ability to it. Y’know that moment when you sit a little further back into your chair, raise your head from your desk and gaze into some far and distant land and think, “Fuck. I get it.” The first minute or so of the song has a great and dense guitar riff crunching away while the fill laden drum pattern keeps flawless time, but then the riffs take center stage and crush the air from the song, creating a massive wave of tension. Just as quickly as the air is crushed from the space between the notes, this talented group of musicians open things up again and slow the pace down, letting the notes breathe over the steady throbbing grove of the rhythm section. And it only gets better once the vocals drop into the mix . . . soft, clear, a touch fragile, yet laced with an undercurrent of danger. In a word, memorable. In another, remarkable.

The band get a little psychedelically creepy with “Come Over”, complete with a riff that dangles in the air like a dusty cobweb in an old mansion. A little on the Sabbath-y side, but you have to dig deep into the Sabbath catalog to find the sounds. The groove is slow and sure, like a cat stalking its prey. The vocals are all sorts of bad ass . . . a little blues-y, a little jazz-y, a whole bunch of bad ass. Getting towards the midpoint of the track, the guitars open up to the same sultry bass groove and the wall of distortion assails us. This is the point where the individual performances of the various musicians shine like a thousand suns. Everybody excels well past the point where I would have expected in the song. In most cases, at this point of a song, the guitarist or the drummer is the lone stand out . . . going into some superfluous solo that really doesn’t add anything to the overall feel of the song. In the case of “Come Over”, every member of the band, every instruments suddenly pops out from the background like some weird sonic 3D image and fascinates the senses . . . never overplaying their parts, but never staying mundane or playing the same lick twice. Progressive, yet accessible . . . melodic and memorable, yet mentally challenging for the listener and the artist at the same time.

The near fourteen minute progressive epic “Demons” could easily been cast aside by the unknowing as a pretentious piece of music, but I say nay. The song is an ambitious piece of music that does what music should be doing . . . entertaining, telling a story, challenging the listener to think of music as something more than a three minute radio friendly chart topper. Thank you, Been Obscene. Thank you for breaking the mold and taking me on a journey that is more than a bunch of disjointed riffs haplessly strung together to eat up a quarter hour of my time. “Demons”, in now traditional Been Obscene fashion, builds note up note, then measure upon measure, idea upon brilliant musical idea, ultimately creating a well thought out and emotionally charged piece of music. In a classic prog-rock manner, the song ebbs and flows, hits its crescendos and then drops back down to subtlety, and then becomes raucous again. The middle explosion of sound, though loud and distorted, is filled with beautiful vocal melodies that somehow compliments and contrasts against the chaotic musical frenzy of the instruments. Pay attention to the guitar work towards as we barrel into the last quarter of the song, then while one is keyed in on this performance, adjust your listening just a hair to the drum work . . . I love the way these guys work together and great such a vibrant piece of sound. Pure art!

I apologized earlier, and I apologize again. I should have written about this album months ago. It should have joined label mates Hypnos 69 and been in my Top 10 list of 2010. Shoulda’, woulda’, coulda’. The Magic Table Dance is a criminally underappreciated album despite its rave reviews. It’s an album that grows with every subsequent listen, it develops into its own character and almost becomes a different experience with every new spinning. Steeped in the 70’s rock cup of tea, the sounds are familiar, but not overtly recognizable. The songs are so damn good that for those remotely interested in songwriting, you’ll sit in wonder as you listen to this group of fine musicians relay their musical ideas. Looks like I need to make another trip to the Elektrohasch Store and see about picking up this gem on vinyl . . . seriously, it’s better than I’m hyping right now!

--Pope

www.beenobscene.com

http://www.elektrohasch.de/

Buy here: www.allthatisheavy.com

UFO - The Visitor

Anyone who has ever loved the sound of a crushing electric riff, a perfect melody, a rousing chorus, rough-hewn, soulful vocals, or a guitar solo so freaking fast and dynamic that it makes your eyeballs water, needs no introduction to UFO. After 40 years in the business, these crazy brits have earned their place in the honored halls of rock and roll, both for their music and their mad antics. So let's cut to the chase shall we.

The Visitor is, without a doubt, the best UFO album since the band reformed with Vinnie Moore for You Are Here, which was the best UFO album since the short-lived Schenker reunion Walk On Water, which in turn was the best UFO album since the vastly under-rated Paul "Tonka" Chapman days. You want it shorter than that? The Visitor is one great rock and roll record, and it deserves to climb right up there near the top of UFO's vast cannon of great albums. No matter how you cut it, this is the comeback, classic rock album of year.

Yep, that's saying something.

I've read in a few sites about the staggering return of "Black Sabbath," with the new Heaven and Hell album, sounding old and tired, berefit of ideas or enough muscle to power the chops they did muster. There's none of that here. Reinvigorated since the joining of Moore, UFO sound positively re-energized here, like they've somehow unlocked the code and opened the fricking rock-and-roll fountain of youth. Bustling with energy, punch, and verve. Ready to rock the shit outta you or kick your face in. You choose which.

The jump in adrenaline is evident from the very first track. "Saving Me," kicks off with some beautifully played, loose-strung swampy blues acoustic guitar, mining the same bluesy rock vibe that UFO have explored so successfully in the past on songs like "Train Train," or more recently on both of the Mogg/Way albums. Think of this song following in the same vein, and from there I promise you, I will make no more references to UFO songs of the past. It's the easiest thing to do, refer back to some song on Lights Out or Obsession for reference, but the truth is, this album is so strong it should be the point of reference for future albums. Mogg's voice layers on top of the guitar at around the 30 second mark, sounding more textured, more soulful, more plaintive than in recent memory, and when the band kicks in about one minute in. . . there's hell to pay. This is full-on charging UFO, crushing riffs held together tightly by an instantly catchy melody, all leading up to that chorus that will just lift you right outta your chair and in this case, thank God for salvation.

Moore's guitar work is dead on, instantly making you forget old "what's-his-name" who used to supply the guitar chops. Moore is a shredder in the best sense of the word, and most importantly, fully adept at melody. When he wants to bust out, he can wail into a jaw dropping solo, notes flying faster than spit flying from an auction barker's mouth. Then he can drop into a perfect acoustic passage, shoot off some harmonics or crush your cerebellum with the strength of his riffs. Moore's tone isn't so much reminiscent of Schenker as it is more indicative of the classic UFO sound, and yes, the band has been around long enough to declare that they have a sound all their own. God bless em.

UFO without Schenker was always a dicey affair (except for the previously mentioned Chapman years) because Mogg needs that guitar energy to set his songs ablaze. At the same time, Schenker showed us with his solo career that he needed Mogg's sense of craft and melody to create a memorable tune. It was that combative chemistry that always fueled the band's best work, and with Moore in place, Mogg seems once and for all to have found that perfect foil. Power and melody. Sizzling chops and structure. Perfect. Absolutely fucking perfect.

"On the Waterfront," cruises out with a mid-tempo modified blues riff with a mid-section and chorus of shear perfection. Easily on par with the best of their melodic material. Then, lest you think the boys are getting soft in their later years, "Hell Driver," tears out as fierce and mean as they've been in years. Play this one live and it woulda fit comfortably on their classic Strangers in the Night. Mogg sounds great, reminding us once and for all that he's always been one of rock's most unheralded vocalists. Moore's tone is dead-on, and I'll tell you, the return of "no neck" Andy Parker on the drums seems to be the final ingredient necessary to drive these chaps over the top. The only ingredient missing was the presence of legendary bass player, Pete Way, who had to miss the recording as he's battling liver disease. Pete, our prayers are with you, brother!

"Stop Breaking Down," follows next, absolutely classic UFO. Big chords start it off amongst the pounding of Parker's drums, slight technical flourishes embellishing the end, then the whole thing explodes into a melodic guitar solo intro that could make a grown man cry. Paul Raymond's work, always the glue that held the band together, fills in here, leading the track into perfect hard rock territory. Melodic rock for the ages, by one of the bands to first create the genre. Power and beauty all wrapped up into one track. A future classic UFO song, one that our children will one day ask us if we remember it when it first came out. "Rock Ready," jumps right back into the Mississippi swamp, while "Living Proof," nails a down-and-dirty mutated, menacing blues number. Another standout track, Mogg sounds positively charged here.

And the album continues from there all the way to "Stranger in Town," a terrorizer of a closer, sounding mean and pissed and ready to knock your teeth in. Moore comes up with a closed-fist attack of a riff, the band is tight as the glue holding Donald Trumps toupee in place, and Mogg proves once and for all that he's lost none of his fight or passion. Another brand new, fresh burst of classic UFO. Building upon their past, not revisiting it.

For all those naysayers out there who claim that UFO haven't unleashed a great album since Walk On Water, open your ears. There's some serious rock and roll happening on the UFO mothership, and fortunately for us, the boys are bringing it right on down to this planet.

Misty green and blue forever.

--Racer

Buy here: The Visitor


More good new. UFO are going to tour supporting the new album, and I'll be there. Just check out the dates below. If you want to find me, I'll be the one pressed up against the stage at the Independent in San Francisco, begging for a chance to go back and interview the band for a Ripple feature. If you are a fan of the classic UFO, or just a fan of dynamite hard rock, you won't want to miss this one either. I'll see you there.

UFO Tour Dates:

10/02/2009 Jaxx - Springfield, VA
10/03/2009 Tangiers - Akron, OH
10/07/2009 The Rex - Pittsburgh, PA
10/08/2009 The Chance - Poughkeepsie, NY
10/09/2009 Starland Ballroom - Sayreville, NJ
10/10/2009 BB Kings - New York, NY
10/15/2009 Ameristar Casino - St. Charles, MO
10/16/2009 House Of Blues - Chicago, IL
10/17/2009 Medina Ballroom - Hamel, MN
10/21/2009 The Catalyst - Santa Cruz, CA
10/22/2009 The Brixton - Redondo Beach, CA
10/23/2009 The Coach House - San Juan Capistrano, CA
10/24/2009 Boulder Station Casino - Las Vegas, NV

10/25/2009 Majestic Ventura Theater - Ventura, CA
10/27/2009 Key Club - West Hollywood, CA
10/28/2009 The Fat Cat - Modesto, CA
10/29/2009 Aladdin Theatre - Portland, OR
10/30/2009 Neumos - Seattle, WA

11/01/2009 The Independent - San Francisco, CA