Music Reviews: January 2018

Text © Robert Barry Francos / FFanzeen, 2018

Images from the Internet

Reviews are in alphabetical order, not by ranking

Chesty Malone and the Slice ‘em Ups

We’re Still Dead

I have to say, their initial LP, Now We’re Gonna See What Disaster Really Means, was a killer punk record with a hard line towards horror and murder, much like the early Cramps (though replacing the voodoobilly with hardcore screaming). While I missed the sophomore release, Torture Rock (review coming soon), I’m so glad to have the opportunity to review this and, meanwhile, if you get a chance to see them live (usually locally in New York at Brooklyn’s Lucky 13 Saloon and around the Tri-State area), avail yourself. From the first cut, “Destroy All Humans,” with its cutting and jerky guitar riff, you know this is going to be in for a shit load of fun. Anthony Van Hoek’s guitar is electric in its tone and attack, well matched by lead vocalist Jaqueline Blownaparte, who wisely talks-screams-sings her material to get the most punch out of them. This song is followed by the even better “HSH” (“Hellfire Shitfire Hellfire”), which plays around with the tempo. It also shows that Ms. J can handle the speed, spitting out the voluminous lyrics, as much as Ant follows suit on his axe. Now I can go on and on repetitiously about how much fun this release is, so I’m going to let you mostly extrapolate. Just know there’s not a bad (or slow) cut here. Even with a couple of silly ones (not an insult; after all, the Cramps did “I Was a Teenage Werewolf”) like “Fun Things to Do During Robberies” and “Gorilla Girl from Outer Space,” the choruses are very chantable for the audience (the rest of the band fills in singing for us on this collection), as with most of these. Make sure you listen to it in stereo form, because they play with the balance quite nicely, bouncing from ear to ear (i.e., kudos on the engineering!). And for those acquaintances of mine who make horror films (e.g., James Balsamo, Bill Zebub), this would make some great soundtrack material, such as the excellent “Midnight Madhouse”!
chestymalone.bandcamp.com

Clockwork Revolution

Clockwork Revolution

One could almost consider this Ft. Lauderdale-based hard rockin’ band a supergroup considering the past members have been or are currently in bands like Yngwie Malmsteen, W.A.S.P., Leatherwolf, Crimson Glory, and Kamelot, among others. They’ve also be compared to the likes of Dio and Judas P. Of course, this debut is metal, but what kind of metal?, you may be asking. It’s the grinding, mid-speed kind that’s not trying to impress with many speedy guitar solos. They work tightly as a unit, which is impressive. I certainly appreciate the lack of the need for guitarist Dewayne Hart having the ego in check and to not need to play with his cock out (metaphysically speaking, of course). The bottom is quite solid with Dirk Van Tilborg on bass and drummer Patrick Johansson. For me, the first weak point is that there is little variation between songs in speed or tone. They’re good at what they do, don’t get me wrong, it’s just repetitious (and this coming from someone who adores the Ramones). The second is actually Wade Black’s vocals. Again, he’s a decent singer, there’s nothing wrong there, it’s just… he sounds stereotypically pretty much like every other metal singer with the warble at the end of the musical bar. He’s singing, “A violation, I’m feeling mean / Don’t tread on me, I’m venomous,” but it feels empty and same-old-same-old. And every song has the same vocal tone. Again, not bad, just… whatever. But what the hell do I know about this kind of metal. If the bands I mentioned before are your speed, there is a good chance you’ll like this. Sometimes serviceable is good enough. Lyrics included with the CD.
www.sonicnightmusic.club / www.mvdaudio.com

Fred Gillen Jr.

What She Said

I’ve oft contended that punk is folk music, played acoustically. They’re both protest-focused, lo-fi and stripped down. Look how many punk musicians have released singer-songwriter collections as they aged. Gillen falls into this category, as well. Playing in the homeland of punk during the 1980s, at the likes of CBGB and Irving Plaza in bands like Rain Deputies, he too has come around to the acoustic, though he has lost none of his punch in this, his 10th album (though the first I’ve heard). This release is strongly pro-American, but it’s amazing how strongly opposite in attitude of, say, the hard rock-based group Kinlin. Rather than fight for your your America to keep it strong, it’s more thoughtful, opening with the powerful “Prayer for America” (“I may not believe in God / But I say a little prayer for America”). Gillen doesn’t look at refugees as a danger, rather he takes their side to show how important they are for the continuation of the country (“Future American”). He also looks at people who are persecuted with the likes of “Julia” and in “Baltimore Burns,” he presents a list of evils in modern culture, such as the death of Trevor Martin, yet points a finger at both sides of governmental Aisle. The latter is a powerful piece. There is a mix of positiveness and negativity throughout, but in both cases there is a measure of hope. Gillen’s voice is well-suited for this style, and it’s worth a listen if you want music with a conscious.
Dys Records / www.fredgillenjr.com

James Lee Stanley

Alive at Last – In Philadelphia

The last time I heard Stanley, he was teamed with John Batdorf, doing acoustic and folkish covers of the Rolling Stones. Here, we are presented with a full concert with a small group of what sounds like good personal friends. Yeah, this definitely has more of the feel of a house concert than being in a big hall (or even a club). This model fits Stanley well. Let’s get the obvious out of the way first: there are a couple of covers, one of which is a very soulful version of the Stones’ “Miss You.” Not one of my fave Stones songs, being a disco-era production, but Stanley actually brings some emotion to it rather than the shell of machismo. There is also a version of the Beatles’ “Drive My Car” (can a Beatles cover album be far behind, I wonder?), that is without the annoying “Beep Beep yeah!” Backed by Cheryl Prashker on percussion and Chad Watson on electric bass, they take a back step to let Stanley and his guitar stand out front. In typical (happily) modern singer-songwriter fashion, his songs are filled with sentiment, and just a bit of exotic musical flairs and influences (e.g., “All I Ever Wanted”). It’s a long player, but his music is relaxed and enjoyable. Also included are the song introductions, which are mostly fun, though at least one is cringeworthy (i.e., for the lovely “Worry Bout You”). Politics does make a couple of appearances, such as “Do It in the Name,” and “The Street Where Mercy Died,” written after the Bush treatment of Katrina (though it could reflect in the Trump-era Puerto Rico fiasco). The finale, “The More I Drink” also has a touch of current affairs, as well as audience participation. This isn’t naval gazing as much as bringing the passion to the forefront as it’s not whiny, but it does touch on something deeper without being cryptic (as was REM’s “Losing My Religion”). It’s a fine release and it does show Stanley’s gifts, which is a positive.
Beachwood / www.jamesleestanley.com

Kinlin

The Last Stand

Sharing two members of the band Clockwork Revolution, this SoFla is very different in tone and sound, and I’m happy about that. While keeping the heavy tones, drummer Patrick Johansson and guitarist Dewayne Hart are joined by Tom Lynch on guitar and bassist Chris Eversoul; Hart does double duty as vocalist. While his vox is often double-tracked, it actually works quite solidly. The songs are musically strong with some great crooning chops and are definitely quite chantable in parts; the pace often changes from ballad to rave-ups. The lyrics of the songs tend to be a bit on the Conservative side, with topics often veering towards insisting you’re part of an evil machine out of your control and there’s a war coming with “the radicals are at your door.” For example, in “Unthinkable,” they posit “The time has come for fighting wars / Even if it’s on our shores.” This is definitely jingoistic stuff wrapped up in some phenomenal music. If you’re into chanting “USA! USA! USA!” (not that this band does that), you might find yourself grooving to it. I picture pick-up trucks, gun-racks, Coors (the beer of gun lovers by gun lovers), and red MAGA hats. Politics aside, the music and vocals are really great. My liberal heart that loves America as much as you guys may have issue with nationalistic songs like “The Last Stand,” “Unthinkable,” “Stand or Fall,” and “Blood of Our Fathers,” but I am content with the zeitgeist beauty of “Monday Rain.” 
www.sonicnightmusic.club / www.mvdaudio.com

Oral Fuentes

Rise Up 

When I talked to Oral a few years ago, before listening to Oral Culture, his Oral Fuentes Reggae Band’s first album, he said, “We’re a bit faster in concert than the record.” He was right, but it was still a killer release. Now here’s the second self-released product, again recorded by Randy Woods in his studio. Well, his earlier comment becomes moot in the first song, with the extremely energetic “Creole Man,” and then rarely lets up. All but one song is an original, so you know the messages that the band brings is going to be positive, because that is Oral’s thing. It shows here. I’ve heard most of these songs live now, and some are just killer, like “Punta Rock,” “Feelin’ Dread,” the ‘60s-ish “I Saw You,” “Do Me Like That,” and the call-and-response “Dance,” for example. One thing about that last song is that it is an audience pleaser live, which is hard to translate to studio, but odds are you’ll find yourself chanting along, so you’ll get it. Being from Belize way back when, Oral’s style of reggae is not the same as the Marley slow grind, but more somewhere between that and ska, and I’m okay with that. The last two pieces, “Rise Up” and “Praising Jah” are closer to traditionally what you might imagine reggae to be, but with as powerful a band as this is, there is magic here.
www.oralfuentes.com

Paul Carrack

Soul Shadows

Despite his history with the likes of Roxy Music, anti-Semite Roger Waters and Mike + the Mechanics, I became aware of Carrack during his collaboration with Nick Lowe. Left to his own devices, such as this collection, his output could – and probably should – be considered blue-eyed soul. I mean, he sounds like a white guy singing soul, in much the way the Police sounded like white guys singing reggae, but Carrack has a better voice than Sting. Backed with horns, and especially numerous strings, he plays most of the main instruments (guitar, bass, keyboards) and is usually backed by his co-producer Peter van Hooke and Jack Carrack (both on drums and percussion, with rare exception). While occasionally delving in the Lite-jazz equivalent of soul, Carrack’s passion comes through on all the tunes. This is good music to be driving with, especially since it’s an across-the-board sound that probably won’t be offensive to anyone. The reason I’m not picking out particular songs is because they are all consistently decent, including a dip into country with “Watching Over Me.” Good stuff. The CD has a nice booklet with lyrics included.
www.paulcarrack.net / www.MVDAudio.com  

The Tracy G. Group

Tramp

This is some serious and solid hard rockin’ metal, led by Tracy G (is it okay to say Grijalva?) and his wild guitar playing. Michael Beatty meets the metal with equally mad vocals, and they are backed solidly by Randy Oviedo’s bass and Patrick Johansson on drums (though Adrian Aguilar and Ray Luzier occasionally fill in on skins). The tone of the music is definitely harsh and angular, which is matched equally by the lyrics of songs like “The Leech” and “Arrogant Prick.” The latter fits well next to Stiff Little Fingers’ “I Don’t Like You,” The Dickies’ “Hideous,” or the more obscure “Dreaming of Saturday Again” by Boston-based Blackjacks. Dense and unyielding, the sound is a musical sledgehammer that follows its own rules. There is little here that is formulaic. One could almost see it as metal punk since its anger and unconventionality make it a strong standout. Whether the songs have lyrics or are instrumental, Tracy’s guitar attacks with a whiplash sound, and Beatty’s eccentric reading gives the listener something to chew on. Not quite “Other Music,” it’s still something that may make you sit up and go, “saywhatnow?” That’s a good thing. I’d love to see them live; it’s a bit off-beat for mosh pit skanking, but definitely can rave up a crowd. The CD booklet contains lyrics.
www.sonicnightmusic.club / www.mvdaudio.com

Various

The Demo That Got the Deal: Joe Vig’s Pop Explosion Vol. 4

Boston musician Joe Viglione has been releasing compilation albums for decades, and he has a pretty good ear. As has come to pass in this series incarnation, there is a music section and an interview one based on his Pop Explosion podcasts programs. Thankfully, he doesn’t mix them, but has the music first followed by the conversations, so you can listen to the tunes uninterrupted. As he once told me, he considers the talking parts as historical documents, and I agree, and it’s a wise choice to make it “side one” and “side two.” There are definitely some standout artists and songs. For me, they include Steve Gilligan’s (of Boston perennials Fox Pass) “Before the Fall,” Kitoto’s “Proud Soul Heritage,” the powerpop of Australian group Audioscam’s “Bridgetown Girls,” JASON’s quirky ‘80s pop “Hylas” (reminding me “Out of Touch” by Lizzie Borden and the Axes), two heavier tracks with Joe Black’s “Armageddon,” and Metal Pistol’s “D.O.A.,” and the soft rock of Kenny Selcer’s excellent “It’s All Around Me” and Joe’s own “Secret Things.”  The interview segments include Ian Anderson (lead singer of Jethro Tull), glam rocker Alan Merrill (who wrote Joan Jett’s “I Love Rock and Roll,” and is a huge pop star in Japan), top-line producer Rob Fraboni (such as Dylan, Clapton, the Stones, and the Beach Boys), and Dick Wagner (Alice Cooper and Lou Reed; d. 2014).
Varulven

Various

THEY: Pay Tribute (A fan collaboration and tribute to TMBG)

If you are not sure, TMBG is the eccentric Brooklyn-centric They Might Be Giants. I assume that most people know them from the “Malcolm in the Middle” theme “You’re Not the Boss of Me.” While I never did get the chance to see them live (even though I’ve spent most of my life in Kings County), I’ve been aware of them since the 1980s starting with “Don’t Let’s Start.” Now, if I may digress a bit, themes of a tribute albums are a tricky thing because there are two thoughts about it, namely whether to do a “sounds like” or to take the material in a totally different direction and make it one’s own. Well, that choice is a bit easier with TMBG’s music, since they are so quirky to begin with; I would think it would be more acceptable to take the latter road. This is pretty obvious from the outset with Corn Mo’s bizarre talk/scream version of “Someone Keeps Moving My Chair.” Much of the material here is respectful it its own way, albeit in a very electronic (rather than electric) way. Lots of synthesizers abound. Not saying that’s a bad thing, but it’s a contemporary selection for certain. My issue is more that with TMBG, their off-beat lyrics are out front, where here it often gets a bit second shrift to the synths, such as Nuclear Bubble Wrap’s “Trouble Awful Devil Evil” and Holy Bongwater’s “Marty Beller Mask.” There are some more traditional cover methods, such as James K. Folk’s singer-songwriter-style “Meet the Elements,” Pearl and the Beard’s “Destination Moon,” and Insane Jan’s “Doctor Worm.” Also some are more loyal to the original, like Smashy Claw’s “Don’t Let’s Start,” and Bonecage’s “Particle Man.” A couple of other stand-outs are Rachel Hayward’s nice instrumental electro-version of “Sapphire Bullets of Pure Love” and Tom Brislin’s minimalist “Birdhouse in Your Soul.” The end cut, I believe actually are TMBG (sounds like them, though there’s a typo in the name), is the very strange “Fingertips,” proving no matter how you approach their music, there is no wrong way. There are 27 cuts on this collection, so there’s lots of music and styles from which to choose.
www.adamriveramusic.com 

Walter Lure and the Waldos

Live in Brooklyn

If I was going to pick a musician that I have seen live more than any other, it would probably be Walter Lure. Through the 1970s, ‘80s, and ’90s, there were numerous times I watched the Heartbreakers (dating back to the Richard Hell years), the Heroes (Walter’s band with his late brother Richie Lurie), and then the Waldos. The latter’s 1994 album, Rent Party, was as much a staple on my turntable as was the Heartbreakers’ L.A.M.F. (or Live at Max’s Kansas City); hell, I even got into an argument with Tom Petty over his use of the name Heartbreakers just before his first LP came out, but I digress…). When I saw this new live record, to say I was excited would be an understatement. Truth be told, I’m not sure if musician and retired stockbroker  Lure has even written a new song since the first LP, but y’know what, I don’t care; hearing him cover his 3-decade career is enough, to paraphrase what they say during Passover. There are the “standards,” if you will, such as “Get Off the Phone,” “Too Much Junkie Business,” and “Chinese Rocks,” but he also does some of the songs more associated with ex-teammate Johnny Thunders, including “Born to Lose” and “London Boys.” It’s also great to hear some of the underrated songs, such has “Golden Days” (taking new meaning these days), “Countdown Love” and the great “Never Get Away” (sorry not to see my two fave Waldos’ songs, “Crazy Little Baby” and “Sorry,” but my excitement is not diminished). My sister-from-another-mother, Nancy Neon once described “Uncle Walter” (her name for him) as “My favorite stand-up comic.” He was always amazingly self-depreciatingly wry between songs, but here it’s more focused on how great he is during the musical treats. Backing him up are a whole different tribe (EZ on bass, Joe Rizzo on drums, and Takto on guitar). The sound is clear for a live recording, and the energy level is still super high (no pun intended). Walter’s voice is a bit shakier than it was back when, but his guitar isn’t, and still more fun than most. You want to know one of the major reasons why New York was so important to what would be known as punk? Well, here ya go. And while I’m at it, Nancy’s two-part interview with Walter from 1981 is HERE  and HERE. 

O-Rama / www.MVDaudio.com

CD Reviews: June 2017

Text © Robert Barry Francos / FFanzeen, 2017

Images from the Internet

Reviews are in alphabetical order, not by ranking

Against the Grain

Road Warrior

Self-Destructo Records

First of all, I am assuming they’re named after the Bad Religion album. That being said, AtG are an interesting mix between punk and metal, and on their fourth full play release, they keep flipping between the two from song to song. For example, “Til We Die” and “Afraid of Nothing” are nearly hardcore speed with guitar solos, yet “What Happened?” and “Sirens” is total headbanging metal crash of guitars. It’s all very mid-‘80s SoCal, even though they’re actually from Detroit. The band is pretty damn tight; from what I understand, this was recorded after a tour, the best time to hit the recording studio when you’ve got the songs right where you want them (though many bands do it the other way around, to promote the record rather than to practice them). Nice growl, two buzzsaw guitars, and down and dirty licks.

Antique Scream

Two Bad Dudes

Self-Destructo Records / Pyramid

The group sounds like so much more than having only two members: Christopher Rutledge on vox and guitar, and William Fees on drums. Their sound is definitely metal. For example, the opening cuts, “Golden Goddess I” and “Golden Goddess II” have a riff that is reminiscent of Cream’s “Sunshine of Your Love.” Come to think of it, “Black Magic I” and “Black Magic II” are reminisce of the bridge to “White Room” (other than a really long drum solo in the first, and a weird effects-laden guitar in the second). In fact, Cream is a really good reference point for much of what they do, if J Mascis replaced Clapton. Basically, it’s two bad dudes bashing out some tunes in a studio instead of on a corner with a hat, except with some decent songs like “Thee Intimidator,” though I wish they had turned the vocal reverb down; then again it does help give it that full-volume 1960s psychedelic blues rock sound. By the end it was feeling a bit tedious, but I’m not sure if that’s because guitar solos tend to wear on me, if the echo was overwhelming when trying to make out the lyrics, that the songs tend to be 4 or 5 minutes long, or that most of the songs are repeated in different versions. It’s not bad, but definitely needs something more. Bet they’re fun live, though.

Audioscam

Audioscam 3

www.audioscam.com.au

This 4-song EP is by is a fun Aussie band that has a strong early ‘70s pop sound. Picture a cross between the Beach Boys and the Raspberries. The songs are upbeat and what Howard Kaylan once called “Good Time Music.” Songs about attraction, smiles and other upbeat notions wrapped along some catchy riffs makes this a breezy and fun listen.

Dave Nelson & the 32nd Street Quintet

32nd Street

Self-released / facebook.com/dave.nelson.52090

I met Dave through his work with the Oral Fuentes Reggae Band. He stands out as the older white guy on trumpet, but fits in so well. But it did not surprise me when I found out he fronts his own jazz combo. Recently I reviewed his latest release, but this one which is a bit older still deserves some attention and love. Also recorded in my home ‘hood of Brooklyn, this is a mixture of originals and covers, focusing on Nelson’s horn, which especially shines on the title track. It’s easy to tell that John Coltrane is an inspiration, and not just because this group covers his version of “My Favorite Things” here, but the level of experimentation and taking chances carries it beyond the “Easy Listening Jazz” descriptor on the cover. Honestly, I’ve never been a fan of “Lite” or “Easy Listening,” but this is much better than that describes, and certainly goes beyond that. Sure, a couple of numbers come close to that (especially the two with vocals), and there are some nice rhythmic riffs in pieces like “20^th Century Blues,” but, there is so much interesting stuff going on throughout that you really get a feel for the Quintet (who all get their individual share of the spotlight), especially the pushing of Nelson’s horn envelope. He plays well against Joel Frahm tenor sax, much as Satchmo did with Higginbotham on my favorite Armstrong version of “St. Louis Blues.” 

Feed the Kitty

Westbound & Down

www.Feedthekitty.com

I had a brief moment of country music love in the late 1970s, possibly a reaction to the Nashville soundtrack, but though it was a passing phase that ended with the “pop” influence on the style, I learned to appreciate it as a form. Most of modern country is, well, bland, but every once in a while a musician (such as Angela Easterling or Laura Cantrell) or band catches my attention. This is true of Feed the Kitty. While it’s not all pure country, it mixes a lot of other elements from rock to funky wah-wah guitars to give their songs some power. But it’s the harmonies that I think stand out the most. It’s hardly surprising it’s so tight, considering they play 300 shows a year. Though situated in SoCal, their Tucson background shows in such numbers as “Road Less Traveled,” “California Country Girl,” “Westbound,” “Human Race,” the ballad “I’m to Blame,” and the humorous “Sorry.” Lots more of the cuts are worth listening, with little filler. If you like country or a variation thereof, it’s a smooth listen, like a Jack and cigar.

Jeffland 12

No Condiments, PLEASE

Jeffmpa24@aol.com

Jeffland is essentially poet Jeff Mastroberti. Much as Patti Smith and Lenny Kaye did in the early ‘70s, Jeff does some newer readings of a dozen of his poems from his book by the same name, which came out in 2012 (the text has about 40 pieces), set to music. Jeff’s a great guy, and I’ve had the opportunity to hang out with him a couple of times, including once when I was kicked out of a Starbucks (but that’s another story). I’ve read the book of poetry, and it’s definitely a mixed bag. Some of it is quite meaningful and touching, and some is, well, okay. Now, I fully admit that I am not a poet nor an English major, so I’m looking at this more as how it affects me, since poetry tends to be more abstract than most writing (especially more than my own). With this CD (or whatever medium you play your music), the poems take on a fuller shade than just on the page. Having the artist read his own material definitely helps. There’s quite a bit of angst in here (e.g., “I will be a clown when my death comes,” or “My brain is cotton candy sitting by the drain”). A couple of songs in a row are lists based on the questions “Why” and “What is Reality?” “Kimberly” is one of the stronger cuts, and even the written version is nicely done with a secondary message. “Post 9/11” is another strong cut and poem. Come to think of it, the whole second half is pretty damn good. Jeff has a good voice for this kind of speak/singing reading, with a voice that’s musical without being too lulling.

Johnny Winter with Dr. John

Live in Sweden 1987

Gazell / www.mvdvisual.com

Everything is stripped down on this show, with Winter’s band made up as just a trio, featuring Jon Paris (bass and harmonica) and Tom Compton (drums), with Dr. John jumping in for a few songs. It starts off strong, with them belting out a bluesy version of the zydeco classic “Sound the Bell.” The band has obviously been playing this number a while because they seem quite at ease with it, yet never letting its proverbial throat go throughout. This is also true with Lee Baker Jr.’s “Don’t Take Advantage of Me” where, they add some solid rock into the mix towards the end. They swing into a slide version of J.B. Lenoir’s Son House-meets-Nawleans-style acoustic-gone-electric slow burn boogie Blues of “Mojo Boogie,” which is a perfect way to set up the introduction of Dr. John’s version of the boogie that made him so popular among the Creole set. A few rattling tinkles on the keys, they break into a Dr. John original, “You Lie Too Much.” Even with the mixing of some of styles, Winter and John fit like two gloves with fingers intertwined. John does take the lead on the vocals for these numbers, with Winter and Paris doing back-up. Together yet, they break into the slow burner “Love, Life and Money” (originally recorded by Little Willie John), again sharing duties by alternating the song, split down the middle, growl for growl. There needs to be some kind of rave up after a soul pulling number like that, so to rev it up for the finale they cover “Jumpin’ Jack Flash.” I’ve always wondered if Keef was a bit jealous of Winter’s agility on the fretboard. John and Johnny both sing on the chorus and it’s a not always a pretty blending, but they play it so well, it’s easily forgivable. There is also an extended DVD of this show available.

Jonny Manak & the Depressives

Cold Pizza & Warm Beer

Self-Destructo Records / Reach Around Records

Wow, nice throwback to the ‘70s New York Scene. Imagine a possible cross between, say, the Dead Boys, the Ramones, and the Mumps. Yeah, it’s that weird a combination, and then add in a measure of adolescent mentality with songs like “Vegass,” “You Give Me Goosebumps,” “Powder to Blow,” “Monsters” (which has a Ramones’ “Chainsaw” chorus of “Oh no / Oh yeah”), and “Motorpsycho.” Then there’s covers of the likes of GG and the Jabbers’ “Don’t Talk To Me” (done like Manak, not Allin) and the Saints’ “New Race.” Like an LP, this is broken up into two sections (rather than sides). The first, Cold Pizza, are more throwbacks, but it’s the second section, “Warm Beer,” that stands out as more energetic, again more Ramones-like, and more enjoyable (that’s more, not instead of, as both are fun). “Weapons of Mass Destruction” is a good example of how entertaining they can be.

Junkyard

High Water

www.Acetate.com

This is the band’s first release in over a quarter of a century, after being dropped by a major label in the early 1990s. I can understand why they get associated with the band Rhino Bucket (see review below): they follow a similar timeline including their hiatus period, reforming in the new millennium in a revised personnel format, and now they’re both on Acetate. Junkyard tends to be also associated with the sound of Southern Rock. While I can see that to some extent, I think that is exaggerated, since they come across as more metal with just a smidge of punk thrown in. The songs are catchy (and mostly about drinkin’, not surprising considering the CD art), with repeatable choruses, such as “Cut From the Same Cloth,” “Hellbound,” “Hell or High Water,” and “’Til the Wheels Fall Off.” There’s just the right amount of harmonies to fill out David Roach’s razor tenor vocals (which occasionally sounds weirdly like he’s from the Psycotic Pineapple). There is a bit of a dichotomy when it comes to styles. For example, “Styrofoam Cup” and “Don’t’ Give a Damn” can be seen as new Country rock, but then there’s “We Fuck Like we Fight (WFLWF).” I was taken by surprise how much I enjoyed this, especially the hyper “Wallet.” Man, my tastes are adapting, and I’m glad.

Peter Pan Speedrock

Buckle Up and Shove It!

Self-Destructo Records / Steamhammer

A really nice punk metal release from this Dutch band that had been around for two decades. The sound is a bit like a steamroller with a chainsaw on front. Sadly, this was their last album before parting ways last year. It’s no nonsense, though tongue is kept in cheek as far as lyrics go, but they are a powerhouse in sound. Wow. Great stuff that is more than just a reliance on Motörhead, especially with Lemmy-ish vocals. After a meh opening cut, “Get You High,” the bar gets raised and stays there in full thrash mode. Okay, well, I may have to explain that a bit. First, there is a couple of great covers here, including the Damned’s early “New Rose” and a strange version of the Yardbirds’ “Heart Full of Soul.” The other point I should note is the title cut is an astoundingly great pop punk piece that puts bands like Blink 182 and Green Day to shame. Even with a couple of silly drinkin’ songs, his is a fun collection and is highly recommended.

Randy Woods Band

Randy Woods Band

www.randywoodband.com

Randy used to front a Saskatoon-based band called Absofunkenlutely who were fun, even though they tended to dip a bit into disco territory. His new material is better. In fact I have just come from seeing the band perform less than an hour ago. The RWB is excellent and tight, and this collection is a good representation. The production levels are pretty high, but that’s what Randy does, produces and engineers music (such as the Oral Fuentes Reggae Band). For his new collective, well, it seemed appropriate for him to open with “Me and Julio Down By the School Yard,” because that “chica-chica” and horn sound can give you some idea of what’s on the album (though that song isn’t). In fact, “Charisma Free” feels very similar to “Julio.” But the funk/reggae beat is still there in a few numbers, such as the closer, “Faded American.” There isn’t a bad or filler cut on here. Randy experiments a bit with the sound and effects in the studio, but rather than overdoing it, he keeps just the right amount to enhance the sound rather than override it. This is definitely one I’m likely to listen to again.

Rhino Bucket

The Last Real Rock N’ Roll

www.Acetate.com

The SoCal band has been around in some form since the late 1980s, except for a nearly decade long “hiatus” in the ‘90s that led to some personnel changes. They are described as “hard rock” and yeah, that’s pretty accurate. But they also have a very dated feel, like they’re still on the Wayne’s World soundtrack. That’s not meant as an insult, just an observation for those who are sentimental for that sound. The songs are catch-riddled, with foot-pounding, fist-pumping rock riffs that are perfect for air guitar, such as with “Last Call” and “It’s a Sin” (as well as many others). Despite the changes, vocalist Georg Dolivo remains constant, so there is a consistency through the decades. The heaviest song, “The Devil You Know,” is held for last. The subtle level of pop that runs through most of the riffs between the guitar solos makes this radio-friendly, and really should be there, as they have a very marketable sound, even if they’re getting’ up there in years.

The Supermen

Back with a Gang Bang!

Self-Destructo Records

Do you ever think back and miss those days of punk bands that purposefully tried to offend in as many ways as possible? Some did it in ways that felt like it was a show, but bands like this one seem to come by it naturally, which gives some credence (or at least tolerance) to songs like “Girls Like Sperm,” “White Women in Distress” and “Fitness Model Mother Fucker (FMMF)” Musically, the band plays pretty straight forward punk songs with chantable choruses, especially “Blood, Honor & Pussy,” and “Devious One.” If you’re tolerant, this is actually a pretty decent piece, in some ways reminding me of Motörhead for style – though without Lemmy’s vocals; that being said, Mike Tyson’s vox do just fine for this. It’s kick ass, even though, as someone else once said, he gives the same tone and energy in every song which have very similar feels to them (people have also said that about the Ramones, remember?). That is to say, enjoy it or get the fuck out of the way!

DVD Review: The Redding Experience: Interview with the Late Noel Redding, Bass Player with the Jimi Hendrix Experience

Text © Robert Barry Francos / FFanzeen, 2014
Images from the Internet

 

The Redding Experience: Interview with the Late Noel Redding, Bass Player with the Jimi Hendrix Experience

Produced by Will Scally
MNV Discs International
40 minutes, 1988 / 2010
www.mnvdiscs.com
www.mvdvisual.com

British guitarist and bassist Noel Redding had a storied career in some heavy hitting bands in the early 1960s and mid- to late-1970s, such as Fat Mattress and the Noel Redding Band. That being said, what he will be immortalized for, fairly or not, is the three years (1966-69) that he was the bassist of a trio known simply as The Jimi Hendrix Experience.



Noel Redding and Jimi Hendrix

For nearly all of the 40 minutes of this interview, he discusses his role playing besides Hendrix, and how he was bought out and then denied any royalties from his three albums with the Experience when Jimi died without a will.

The interview is a one camera deal with it nearly unmoving other than the rare fade in to close-up and fade out to long shot. He sits on a couch and is questioned by an unseen Brit (Will Scally, I am assuming). Where this is taped (seems like VHS quality) and for what purpose / show is not mentioned. It just starts with Noel and ends with Noel, though the occasional stock footage of black and white London scenes from the ‘60s is sometimes interspersed.

It takes a while for the monotone-ish Noel to get past his pre-Experience – er – experience, as he talks about earlier bands and how he put down the guitar to pick up the bass for this group just before meeting Hendrix. By 20 minutes in (the half-way point), it actually starts to get more interesting as he discusses the exhaustion of touring, the drug use around him, his own role in the band as beat-keeper, and Hendrix’s way of playing the guitar upside-down.

Amazingly, he wasn’t fond of most of the band’s most popular releases (e.g., “Purple Haze”), and goes on to list songs he thought were good and the ones he didn’t care about.

This isn’t a deep conversation. And while Noel is stoic, sitting on the couch, he is also apparently a bit fidgety, almost like he just does not want to be there (the watch checks are a good indication). However, as a historical document about one of the most discussed and written about musicians in the modern era (including by Redding, who wrote an autobiography called Are You Experienced?) from someone who was actually there rather than second hand stories alone makes this important.

I would say you probably need to be a hardcore Hendrix fan or music historian to get sufficient amounts out of this, but if you are, you should.

Noel Redding died in 2003 at the age of 57 of cirrhosis of the liver. Foreshadowing this, it is noteworthy that as the interview ends, and you can see him checking his watch often. Towards the end of it, he mentions, “Time for a pint” as the camera is turned off.