VAN HALEN

A DIFFERENT KIND OF TRUTH

Doorbells...three of them...oddly harmonizing...have been uploaded to my cerebellum...flown in telepathically...as the swarm of notes reaches a crescendo, a snippet of the ringing sound that my parents' old dial-phone made is looped backward, dancing at 150 miles per hour...floating over the din is a familiar voice...the one with a wink between every word...though it's been a long time, I welcome this sound back into my life with a warm embrace...

Van Halen returns, emerging from an extended hiatus reunited with David Lee Roth, yet estranged from bassist Michael Anthony. Eddie Van Halen's son, Wolfgang, now holds down the low end, keeping time with his Uncle Alex. The quartet have gone back to the blueprint that made the six Roth-era discs so engaging then...and now. Wolfie wasn't even a gleam in his old man's eye when the last record with Roth (1984) was issued some 28 years ago.

Back then, this rectangular work of the devil was cutting a destructive swath through the music industry, snatching food from the tables of both the artists and record company CEOs.

Perhaps YOU were one of the dirty thieves who taped 1984 from your buddy's vinyl copy while you were over at his place to score some weed. You may have even mistakenly erased Pyromania while high, thinking that you were recording on the blank side.

I digress

Waking up in 2012 after a long slumber, the lads in VH look upon a musical landscape that has been peppered with a ton of awful, targeted missiles launched from the greasy silos of greedy, inept marketing weasels. Adding to that misery is the new arch-nemesis of the biz in the 21st century: file sharing and illegal downloading. The cassette tape? Long buried in the eternal landfill of obsolescence.

Lord, strike this poor boy down...

Taking up pretty much where they left off, the band welds together a number of old demos (ranging from the mid-70s through to cast offs from the 1984 sessions), polishing/re-recording them, re-writing lyrics and casting them alongside newly penned material.

Gone is the awful guitar tone that EVH adopted in 1986, keyboard noodling, over-serious pop-rock-radio confections and all traces of the Van Hagar period.

Good fucking riddance!

The untouchable Van Halen sound of old is restored to it's former glory (albeit missing the golden harmonies of Michael Anthony) along with the much missed humor that Roth brought to the table so effortlessly.

Result? A Different Kind of Awesome!

Welcome to "China Town". Eddie's scorching intro alone is worth the price of admission, but it gets even better with an opening line stolen from a classic New York Post front page banner

Headless body in a topless bar

Need some double-time, eight-armed Alex Van Halen action? It's all happening downtown. Frets burn, fingers move in a blur as Ed's solo is flight of the bumblebee stuck to the front windscreen of the Concorde.

All of this within three minutes. Quintessential Van Halen.

Highlights? "Blood and Fire" is beautifully catchy, without losing its edge. Eddie straddles the line between virtuosity and melody perfectly. This is one from the archives, given new life and lyrics courtesy of Roth. Same goes for the taster single/lead off track ("Tattoo") and the dirt-under-the fingernails, rotating-riff driven "She's the Woman", both of which pre-date the first album.

"Honeybabysweetiedoll" combines a number of motifs as the trio steers expertly through a minefield of time signatures, jaw-dropping guitar figures and Roth-rap. "You and your Blues" is another standout.

One thing that this set does not do is let up; not for a second. Relentless, the back nine of the proceedings demands your attention, as you have seasoned musicians inviting you to take part in a very thrilling ride. Picking up speed, the handful of songs that close out "A Different Kind of Truth" all contain much to be desired. "Stay Frosty" has an intro which is a huge nod to their past (think Ice Cream Man) and explodes into a buffet of electricity, shaking hands with the 2012 version of the group quite comfortably. It even has a big stinky ending that's evil enough to turn your lawn brown.

Icing on the cake? "Big River" bringing it all home, with a definite swing infused in the playing. As it fades, you will be exhausted and happy to start the wagon wheel rolling all over again.

All of the stylistic tricks in the VH book of magic are employed, though these devices still work better than a Swiss watch. It is refreshing to report that this is a truly energetic record, devoid of any embarrassing attempts to embrace the pathetic, soulless garbage sounds that are currently clogging radio play-lists. Definite cigar for all involved on that front.

This means that for you, the fans, you will mercifully NOT hear any of the following:

1) David Lee Roth rapping

2) A-list, hip-hop artists talking over tracks

3) Ugly sounding, auto-tuned vocals

4) Crappy, synthetic noises standing in for the musicians

5) Pretentious, angst ridden lyrics

6) Four guys phoning it in

Eddie Van Halen? Innovative genius, still eons ahead of his imitators. Everyone acquits themselves in admirable fashion here. This is simply great rock and roll and will be a breath of fresh air for those who have waited far too long to hear some.

Told ya I was comin' back...say that ya missed me

EXTREME

III SIDES TO EVERY STORY

Nearly 20 years have passed since the release of the third Extreme disc. Muscular playing, tight arrangements and exceptional harmonies all coalesce beautifully, allowing the material to transcend the funk-metal genre that they were tagged in.

For all that, Extreme III was a spectacular commercial failure.

Critics at the time were effusive in their praise of the record, with some docking a few points here and there for the bombastic nature of certain selections. Generally, you can see great strides being taken toward the style of mid-70s Queen with melody taking precedence over sheer volume. They had proven themselves capable of writing a mother-of-an-ear-worm-for-the-masses when they unleashed "that fucking song" (More Than Words) on an unsuspecting populace in the early nineties. Unless you were dwelling in a cave in the mountains of Tibet, pondering your place in the eternal now, there was no way of escaping it.

Adept at both grinding riffage and softer fare, they were in danger of becoming overshadowed by this enchanting little ballad.

Hard to follow your own act

To their credit, they did so, without succumbing to the temptation of churning out another clone of their biggest hit.

What of these three sides?

YOURS

Forcefully grabbing the listener by the lapels with "Warheads", the "other side of the story" is painted in lurid, aggressive shades of angry red. Nuno Bettencourt showcases his ability to literally melt the fretboard at every turn. Standout track in this section is "Rest In Peace" which shifts smoothly through a series of jaw-dropping, dynamic changes with hooks galore (and a little Jimi). Confidence brimming, they even fire off a clever tribute to their own recent past in the outro. You'll be in on the joke, though.

"Politicalamity" smokes and burns with another tip of the hat to Hendrix thrown into the riff for good measure. This section of the album is devastating, with plenty of vocal and instrumental gymnastics. Simply saying that these guys could really play vastly understates the true depth of their gifts as a group.

MINE

Perhaps sensing that a softer landing pad was required after the blitzkrieg attack that comprised the first set of tunes, we are treated to some well constructed pop to outline how most folks tell their own side of the story. Hands down favorite here is "Tragic Comic", which features Beatlesque harmonies, funny lyrics and a very catchy chorus. "Stop the World" runs a close second. Versatility? They make the transition between/amongst styles look deceptively easy.



THE TRUTH

Bringing this immaculate set to a close is a majestic, three part suite which gives the impression that the quartet were three summers ahead of their nearest competition in terms of vision and sonic ambition. The orchestral overdubs were completed within the hallowed studio walls of Abbey Road. Gary Cherone pushes his voice to its limit, displaying operatic echoes of Queen and this likely served to alienate those fans who wanted straight up metal. Soaring passages abound, this exploration of something more substantial can only be applauded as a very bold move. The use of strings only adds to the powerful climax that is carefully constructed to quicken the pulse as the race to the finish line doubles in its intensity.

It rarely gets better than this, yet those who were expecting a brainless, poodle-balanced-on-the-head, guitar-pyrotechnics-on-steroids romp through hair-metal heaven were turned off by the slightly proggy experimentation taken up here in earnest.

Here's the deal

This is one of the best kept secrets of its time. Out of phase with grunge, too adventurous for casual fans and considered as candy-assed by funk-metal maniacs, III Sides to Every Story failed to find the success of their previous release.

All that can be said is to give this one a second chance. It is truly a rare gem in their discography and deserves to be heard.

JOSEPH BRIDGE

Great cover of the Syd Barrett song "Opel" by Joseph Bridge. He is ably assisted by Keith Scott (Bryan Adams' guitarist) whose tasteful fretwork will also grace Bridge's upcoming full length release, "Marvin's Sanitarium", which is due out later this year.

Enjoy this and please take a moment to find out more about the multi-talented Joseph Bridge right here

NEW VAN HALEN TUNE

TATTOO was officially released today and as a big fan of David Lee Roth era VH, I say crack a can of Bud and enjoy the shit out of this. Their first full length disc with Roth since 1984 ("A Different Kind of Truth") will be released on Feb 7th.

LENNY BREAU

THE VELVET TOUCH OF LENNY BREAU LIVE!

Simply one of the most accomplished guitarists of all time, Lenny Breau developed a technique that few have been able to fathom. In his hands, the instrument sounded like four people playing simultaneously with bass, rhythm and lead work executed by each finger on his picking hand.

Musicians speak of Breau in tones reserved for deities, with some of the acknowledged masters stepping back in awe of his abilities.

Yet, he remains criminally underappreciated. Substance abuse didn't help his cause.

This record is one of the very few that were released during his lifetime. Caught in the act at Shelley's Manne-Hole, 1969, Breau's set is a stunning exercise in live jazz guitar backed by Ron Halldorson on bass and Reg Kellin on drums. Find this album or CD and you'll be giving yourself a gift that will leave your jaw on the floor in amazement with every spin.

Breau was killed in the summer of 1984, the victim of a murder that remains unsolved. Sad end for someone so prodigiously talented.

Don't know Lenny? Here are some helpful maps.

CBC TV's "A Touch of Jazz", 1961.



At the time of recording his first album, produced by Chet Atkins, in 1968.



From "The Genius of Lenny Breau" documentary.





This is from a clinic that he gave in the early 80's.

FORGOTTEN MUSIC THURSDAY-THE FLYING BURRITO BROTHERS

THE GUILDED PALACE OF SIN

This record could very well be the undisputed, heavyweight champion of brilliant, yet forgotten music. Though their debut put them in the vanguard of the country rock style, The Flying Burrito Brothers struggled to find an audience. Groups that followed (The Eagles) would steal and smooth the Burritos’ sound into what Gram Parsons described as, “a dry, plastic fuck.”

Parsons and Chris Hillman put the band together, drafting Chris Ethridge, "Sneaky" Pete Kleinow, plus drummer Jon Corneal to fill out the lineup. The Guilded Palace of Sin was recorded and released in 1969 to critical acclaim, though record buyers barely acknowledged it.

Being a step ahead of the music currents of their time, coupled with internal problems and lack of promotion ended the band before they could get started. Parsons jumped ship after the second album. Critics now trip over themselves, writing about Gram Parsons and his vision of "Cosmic American Music", though not many gave him the credit he was due in his lifetime.

Classic records usually deliver an immaculate "Side One", packing the megaton force of an A-bomb, leaving the listener barely able to comprehend what will be served up next.

This is no exception

"Christine's Tune" is the Everly Brothers on acid. Sneaky Pete's unconventional pedal steel work is incredibly inventive, while the Parsons/Hillman axis do their best "Phil and Don" harmonies. "Sin City" is a fantastic soundtrack to a hangover, filled with imagery that is less than impressed with the LA scene in the late 1960's. It's a glorious creation that reinvents the wheel in four minutes. Both tunes were co-written by Hillman and Parsons.



Soulful covers showcase the versatility of everyone involved. "Do Right Woman" fuses country with an R & B feel (Aretha Franklin had a version of this) and "The Dark End of the Street" is more of the same. Parsons' vocals display a degree of vulnerability that makes each stand out. The arrangements are tasteful with extended jamming muted in favor of playing in service of the songs.

"My Uncle" rounds out this killer side. An uptempo look at draft dodging, it has a great hook and provides subtle comment on what was then a hotly debated subject.

A letter came today from the draft board
With trembling hands I read the questionnaire
It asked me lots of things about my mama and papa
Now that ain't what I call exactly fair
So I'm heading for the nearest foreign border
Vancouver may be just my kind of town
Because they don't need the kind of law and order
That tends to keep a good man underground

Parsons and Hillman were motorcycle enthusiasts, writing "Wheels" in tribute to the freedom of gliding along on just two of them. Hot Burritos 1 and 2 really deserved better titles. They are the most passionate vocals that Gram Parsons ever committed to tape, impeccably supported by the assembled musicians.

"Do You Know How it Feels" is a real shit kicker, prefiguring Dwight Yokam by about 20 years. Short and sweet. The LP closes with the sombre, churchy organ and piano based Hippie Boy, a spoken word commentary on the 1968 Democratic Convention riots. It is well done, though redolent of its time.

Topical reference is generally avoided ("My Uncle" excepted) so this set has aged quite well. The absence of late sixties, day-glo paint poured over the proceedings also extends the shelf-life of these songs.



Vinyl copies are tough to find and are expensive when you do.

Recent repackaging on CD has given this music that fused country, rock, soul, R & B and gospel a profile in the digital age. Despite the magic that happened to create this disc, it remains woefully under appreciated due mostly to lack of distribution.

Now that you're aware of it, look for a copy. Well worth the price of admission.

THE ROLLING STONES

BETWEEN THE BUTTONS

Wreathed in smoke, ingenuity and a touch of insanity, the sessions for this album produced hard rocking pop. Rootsy blues was shelved, with piano driven, Ray Davies-inspired English music hall styles taking hold.

Be careful, lads. It is here that the drugs will start doing YOU!

One of two sets unleashed by the band in 1967, this was unlike anything they did before or since. The US version of this LP cut "Backstreet Girl" and "Please Go Home", replacing them with "Let's Spend the Night Together" and "Ruby Tuesday". Whether this tampering with the running order improved the package or not is subjective. The latter two selections were big hits, duly promoted on radio as well as the small screen. Check out this "live vocals with a backing track" performance, taped for the Ed Sullivan show.



Dividing their time between LA and London while recording, the results run from the barrelhouse fun of "Cool, Calm & Collected" (kazoos? why not?) to the excellent "Connection", which shares honors with "Miss Amanda Jones" as the most driving piece etched into this disc.

"Guess which drug I just discovered?" colors "Something Happened to me Yesterday". Keith sings lead (his debut on record) along with Mick backed up by a prominent tuba. The cover photo reinforces the "trippy" nature of the work, with three of the five Stones immersed in the burgeoning drug culture that enveloped their peers during that era.

Brian Jones turns in his last focused efforts before he was completely dragged down by substance intake and gradually elbowed from the group. In addition to guitar and some vocals, he also handled accordion, vibraphone, harmonica, recorder, percussion, kazoo, saxophone, dulcimer and organ. Four different piano players (Jones included) bang on the 88s throughout.

"She Smiled Sweetly" is the only track that should be buried in a landfill.

Overall, the impression left here is mighty fine, with the Jagger/Richards song writing engine in top form. Underrated and overlooked, this slice of Swinging London is worth checking out.

Now for some trivia from cosmopolitan raver/drummer Charlie Watts:

"Andrew (Oldham) told me to do the drawings for the LP and said the title would be between the buttons. I thought he meant the title was "Between The Buttons", so it stayed."



WARNING: Look for a vinyl copy of this, if you truly want a fair evaluation of how it was originally presented.

The original issue of this collection on CD sounded like shit, which is really a shame. Extreme liberties were taken with the placement of instruments in the stereo field. Some tracks sound as if they have been presented in duophonic format (transferring the mono master to two separate channels, boosting the low end frequencies in one channel and emphasizing the high treble frequencies in the other) which further kills the listening experience.

The 2002 ABKCO reissues are an improvement, though audiophiles are advised to hunt down the London Records CD version (available in Europe and Japan prior to 1997) as it has the best sound of all digital releases.

Naturally, Mick has long since disavowed this material, calling it "rubbish".

Not so!

Definitely in the top five of all Stones LPs.