THE KINKS FIFTH

SOMETHING ELSE BY THE KINKS

Occasionally, I turn off the old Victrola and actively search for new music. While there are lots of great artists/bands out there doing interesting stuff, much of it never finds a home on mainstream radio. What does get marketed is often devoid of ideas and barely tied to a tune.

Rinse, lather, repeat…verse, pitch corrected chorus, verse...

Remember when radio had room for a wide variety of sounds/great songs?

Something Else By the Kinks is filled with them.

1967 witnessed an explosion of rock music that was outrageously bent and filtered through a prism of drug induced “experiences”. Many writers of the era saw pot and psychedelics as useful tools to enhance their creativity, with some successfully taking their listeners on wondrous sonic journeys. Others under this same narcotic spell managed little more than self indulgent, pretentious attempts at profundity which should have been left on the cutting room floor. The Kinks steered well clear of “happenings” in the year of flowers and beads, opting instead to focus on making great records.

Disclaimer: If you approach this album expecting "You Really Got Me" or "All Day and All of the Night" type stuff, you will be disappointed.

The ability of the quartet to lock in and let the riffs steer the ship was merely one facet of the band’s personality. This template would inspire countless imitators, with each subsequent generation increasing the decibel count. Their previous effort (Face to Face) took a giant step away from the power chords that initially made them such an important band. Virtually all of the material here (“Love Me Til the Sun Shines” excepted) was constructed with a more subtle approach in terms of style and arrangement. Augmented only by occasional brass or keyboard parts, Something Else sounds like nothing else released in the year of grandiose productions. This in itself has given these lovely melodies a life outside of the time frame in which they were created.

Opening strong, "David Watts" ingeniously deploys the note that follows “so” repeatedly, for maximum impact:

Fa fa fa fa fa fa fa fa
Fa fa fa fa fa fa fa fa

Serious rock criticism at work here!

Primarily inspired by a bi-sexual, former officer who became obsessed with Dave Davies, the tune is driven along by Mick Avory in suitable military fashion, though it is piano based, leaving the guitars muted. The hook is infectious as is the energy generated in the performance.

“And all the girls in the neighborhood /try to go out with David Watts / They try their best but can’t succeed"

Indeed...

Further surprises came with the emergence of Dave Davies as a writer. His “Death of a Clown” is a definite highlight, holding its own amongst the compositions that brother Ray brought to the table. Combining the surrealism of Dylan's wordplay with a truly eerie but enjoyable turnaround (listen to that backing vocal courtesy of Ray's ex-wife Rasa), the sing-a-long chorus sealed its place in the UK top five during the summer of '67. Ray did contribute to this one, to give credit where it's due.

Won't someone help me to break up this crown?



Elsewhere, Dave's other two offerings ("Love Me Til the Sun Shines" and "Funny Face") bring a bit of a balance to the disc and in the case of the the former, an uptempo rock piece to open side two. The BBC radio version of this one is faster with some dexterous drum breaks toward the end courtesy of Avory.

Reality, the stock in trade of Ray's vignettes, features prominently as a theme throughout. Whether he is imagining missing the female companionship of the girl who joined him for the daily, most English ritual of taking tea ("Afternoon Tea"), musing about the drudgery of working class life, punctuated by the small reward of rolling your own ("Harry Rag") there is a sense of sadness behind some of these creations. “Lazy Old Sun” sonically demonstrates this aspect of "down", yet showcases Ray’s depth as a wordsmith. “That Lucky Old Sun”, a popular tune from 1949 (Louis Armstrong and Frankie Laine both had success with it) has a lyrical theme that finds the singer bemoaning all of the toil and struggles that life brings, “while that lucky old sun has nothin' to do /But roll around heaven all day”. Whether Davies projected this subconsciously or not, his old sun is depicted as “lazy” for not casting its glow upon him. Incorporating sun worship into the mix, he is as quick to praise our solar orb as he is to chastise it.

“I don’t mind/To spend my time/Looking for you/For you are my one reality/When I’m dead and gone/Your light will shine eternally…”

The song’s most clever line shows him to be well ahead of many of his contemporaries in terms of wordplay.

“When I was young/My world was three foot, seven inch tall/When you were young/There was no world at all…”

Lethargic music complements the mood of the lyrics perfectly, with tumbling drums at half speed, droning keyboard parts and a stoned lead vocal. The overall sound drifts close to certain tracks from Their Satanic Majesties Request which also qualifies it as “Stoned”. Certainly the closest that R. Davies ever came to emulating the psychedelic experience on record.

Disappearing sunshine only adds to the air of melancholy that pervades throughout. Endings take precedence over beginnings. As the long happy afternoons of the summer of love began to shorten, bowing to the inevitable change that would usher in chilly fall evenings, this beautiful set was brought to the marketplace.

End of the Season

On a side note, if the brilliant "Autumn Almanac" had been included on the original release, it would have been a coup. I cannot think of a better fit with an album that is positively redolent of Fall.

(Kick off "Tin Soldier Man" and "No Return" to bring in this track and "Wonderboy" and you have a perfect 10.)

Nothing could have followed "Waterloo Sunset", wisely chosen as the closer. Originally titled "Liverpool Sunset", Davies intention was to create a tribute to the Northern port city, cradle of the "Mersey Sound" that spawned the Beatles and their Liverpudlian contemporaries. This approach was dropped, though it would be interesting to find out how this would have sounded had he followed his initial train of thought. The focus is shifted instead to the lonely observer ("but I don't need no friends"), who watches the lovers (Terry and Julie) meet at Waterloo Station. Pure poetry at its finest, working within the bounds of a melodic pop masterpiece.

Pity that people roundly ignored an album of such quality when it was originally released. It unfairly missed the charts and sank commercially. This was due in part to the fact that no attempt was made to run with fashionable themes of the day. Fortunately, the fullness of time has revealed the subtlety and ingenuity behind these songs. Ray Davies was ahead of the curve-audiences would simply have to catch up. Had they listened a bit more charitably, they would have realized just how strong this LP was.

One of the top five Kinks records, without question.

FORGOTTEN MUSIC THURSDAY-TIME FADES AWAY

TIME FADES AWAY

Released as a document of the ill-starred 1973 tour with the Stray Gators, this is a very nervous record.

I like it a lot.

"My least favorite record is Time Fades Away. I think it's the worst record I ever made - but as a documentary of what was happening to me, it was a great record. I was onstage and I was playing all these songs that nobody had heard before, recording them, and I didn't have the right band. It was just an uncomfortable tour. It was supposed to be this big deal - I just had Harvest out, and they booked me into ninety cities. I felt like a product, and I had this band of all-star musicians that couldn't even look at each other. It was a total joke."

Out of print on vinyl and still not available on CD are the top two reasons that this rough gem is filed under forgotten music.

THE SETUP

"Harvest" was a huge hit, "Heart of Gold" went to number one and Neil was riding high following his work with CSNY and Crazy Horse. The next logical step was to bring the mellow, back porch sounds of his recent LP on a lucrative tour. Heavyweight players from the "Harvest" sessions were drafted, though one member of the band didn't make it past rehearsals.

Danny Whitten was Neil's right hand in the first incarnation of Crazy Horse on second guitar and vocals. He was talented but headed down a path of heavy substance abuse, leading Neil to dump Crazy Horse for awhile. Whitten was invited to join the new touring outfit based on word that he was in the process of straightening himself out.

He wasn't.

'We were rehearsing with him and he just couldn't cut it. He couldn't remember anything. He was too out of it. Too far gone. I had to tell him to go back to L.A. 'It's not happening, man. You're not together enough.' He just said, 'I've got nowhere else to go, man. How am I gonna tell my friends?' And he split. That night the coroner called me from L.A. and told me he'd ODed. That blew my mind. Fucking blew my mind. I loved Danny. I felt responsible. And from there, I had to go right out on this huge tour of huge arenas. I was very nervous and . . . insecure.'

Casting a pall over the tour, the negativity would only be exacerbated with disputes about money and a set of brand new songs that Young wanted to try out and record live.



Switching to a Gibson Flying V that refused to stay in tune, blowing out his voice (Crosby and Nash were brought on board late in the tour to help with vocals) and pissing off fans in packed stadia at every stop by presenting sets of unfamiliar material were all events that marred Young's 90 day trek.

The result was worth it.



Making no attempt to be cuddly, rough edges are left in, capturing things on the fly. Real, though not radio-friendly, Young would be frustrated with his audience and their inability to move with him. Opening with a pounding, uptempo country raver that introduces "fourteen junkies, too weak to work" down on "pain street", the subject matter stands apart from what his contemporaries were singing about. It was the antithesis of the sunny California, singer-songwriter trip which was then in vogue.

Canada features in the lyrics of the title track and "Journey Through the Past", which boasts a great melody and had been around in his set for some time before seeing official release on Time Fades Away. (you can hear it on the BBC session and the Massey Hall gig from 1971). A gentle song that catches the author in a reflective mood, it provides a softer contrast to the junkies on pain street. This was one of three solo piano spots on the disc, each offering a quiet musical snapshot.



"LA' is one of my favorites on the set, with a haunting refrain ("LA... city in the smog..uptight...") and creeping steel part (courtesy of the late Ben Keith) that comes closest in feel to the material on Harvest. Too many artists in the "alt-country" genre have based their sound completely on this musical model, though they fail to create the same mood. (weak songs, little originality) "Don't Be Denied" is autobiographical in tone, covering being beaten up in school through to jumping the border and helping to form Buffalo Springfield. There's an excellent version of it with CSNY at Wembley at the close of their 74 tour. The riff is simple, but effective when married to the pleading nature of the chorus.



"Last Dance" folks, but no one was dancing when a very drunk Young was screaming at the audience in Cleveland ("Get up!!") and making ungodly noise on his out of tune Flying V. That particular performance doesn't show up here, though I kind of wish that it did. Turgidity reigns: this one could have been edited to make room for another cut. Young always had songs in his back pocket and set lists from this tour reveal tunes that are unreleased to this day ("Sweet Joni" being a case in point.)

While it was not greeted warmly by fans or critics, charting outside the top 20, it's an important release. Never before had a major artist put out a live disc, comprised of all new material, with nary a hit single to be found.

Imagine the balls that it took to present this to the record company.

Now it's quite sought after and opinions have since (of course) been revised, though you won't see it released on CD anytime soon. The sonic problem with "Time Fades Away" is stated on the LP label: "This Recording Was Mastered16-Track/DirectToDisc (acetate) by Computer."

The multi-track master tape was recorded/mixed LIVE, leaving little room for remixing tape hiss, bad notes and crowd noise. To reassemble the album, someone would need to sort through fifty or so ¼" and/or 2" multi-track reels and "a few" cassettes. Finding the right version by date would be easy enough, but at what stage would the mix be at? Raw recording? Truck monitor mix? Mono PA monitor recording?



Right.

Best just to snag it on vinyl, as I did when my cassette copy finally died.

RUSH: CLOCKWORK ANGELS

Rush has a fantastic new disc out called Clockwork Angels. Being over a week late to the party, I have only just picked it up and taken it for a spin. Two listens thus far have confirmed that this is top class work.

I would normally submit a review in this space, but in the words of Krusty the Klown...

"I'm a lazy, lazy man."

Fortunately, Paul Lesinski over at Isorski's Musings has solved my problem with his terrific write up on the new album. As a musician and longtime fan of the band, his take is informed and spot on. Before you head on over there, take a quick look at the cover art.

The time is 9:12...or as expressed in terms of the 24 hour clock in the evening, the time would then read as

21:12

That's not the only nod to their past here. The astute listener will hear choice samples of Rush riffs from the mists of the seventies (Bastille Day is quoted at one point).

Don't take it from me, though. Click here

SIR PAUL TURNS 70

He's been a Beatle, an MBE, he's been dead, high, a solo artist, a Wing commander, a father, a widower, prisoner, humanitarian crusader, vegetarian, multi-instrumentalist, award winner, influence on millions, Guinness world record holder and a knight.

Above all, James Paul McCartney is without question the most successful and widely interpreted composer of his generation.

Today he becomes a septuagenarian.

He also happens to be one of my favorite musicians. Happy Birthday, Macca!

Here are a ton of Sir Paul clips. Enjoy... (cue the Theme from Mahogany)

FLY BY NIGHT

Packing more flash on stage than Neil Diamond's jacket, Rush have long been respected for their instrumental prowess. Heading toward the forty year mark as a recording unit, they will soon be unveiling a new disc called "Clockwork Angels".

What more can be said about this venerable rock trio?

Plenty

Traveling back to the summer of 1974, the group had a debut album under their belt and faced the difficult task of replacing their drummer (John Rutsey), whose health issues precluded his involvement with an upcoming US tour.

Enter Neil Peart.

Rutsey had been a fine drummer, though Peart was an explosive player with technical skills beyond those of his predecessor. He also was/is somewhat of an introverted sort, who preferred the charms of good literature over throwing himself headlong into crowds to socialize. Seizing upon the fact that they had a writer in their midst, Geddy Lee and Alex Lifeson handed off the task of creating lyrics to their new member.

Creatively, Fly By Night was an astounding leap forward for the band. With their first record, they had been merely reflecting the styles of early 70s hard rock (Led Zep), rather than charting their own course. Stylistically, residual bits from their debut are still present ("Best I Can", "In the End"), though it's no coincidence that both tunes have zero input from Peart in terms of writing credits.

"Anthem" heralds the arrival of a new attitude.

Anthem of the heart and anthem of the mind
A funeral dirge for eyes gone blind
We marvel after those who sought
The wonders of the world, wonders of the world,
Wonders of the world they wrought

Light years distant from "Hey baby, it's a quarter to eight", Peart drove home these couplets with fierce triplets, beautifully executed rolls and galloping ride cymbal work. Geddy's virtuoso bass lines followed the drummer around each hairpin turn, while Lifeson turned heads with guitar acrobatics that rivaled all of his peers. Lee's battle cry sealed the deal: this is where they truly became RUSH. Extra points awarded for the technical side of Fly by Night, as Terry Brown took great care to ensure that everything went to tape in pristine fashion. His not so secret weapons? Studer 24-track recorder + Neve mixing console. Haul out your vinyl copy and compare it to other hard rock recordings of that period: the final mix is worthy of any audiophile's wet dream.

If you do own the LP, don't stare too long into the owl's eyes or you will feel a sudden urge to start sleeping through the day...

Critically, this set hasn't received a fair shake, which is a shame, as it is certainly not a minor work. The title track still garners heavy play on classic rock radio, hanging its hat on Lifeson's rippling arpeggios. Epic piece here is "By-Tor and the Snow Dog" which would serve as a signpost of the long-form, album side-gobbling compositions lurking just around the corner. "Beneath, Between and Behind" is another stand-out, obviously a group favorite, too, as it remained a staple of their live show into the next decade. Peart takes a not so thinly veiled swipe at the culture that he viewed south of the Canadian border while touring. His scattershot wordplay is earnest as it is interesting, while the riff is taken wholly from the solo section of Zep II's "Heartbreaker". To be fair, they run it through a shifting series of time signatures with monster chops supporting the entire affair.

"Making Memories" still grabs my ear as being a one-off in the Rush discography. They never quite structured anything in this manner before or since. Very underrated early tune complete with a tasty slide solo.

Fly By Night won new converts with an infusion of experimentation, yet their collective feet were still planted in the "rock" camp. Still, it was a bold stake in the ground that would forge an entirely new identity for the musicians.

BLADE OF GRASS

Meet Blade of Grass!

Breaking through the cracks of a drab, artificial musical landscape to remind us of what is real, Blade of Grass will not be denied. Mixing acoustic based, harmony laden material with deep grooves and some reggae thrown on the canvas to brighten the sonic picture, the writing is stellar. Additional kudos to these guys for not allowing their vocal tracks to descend deep into "pitch correction software hell", never to return. The melodies are fine, decanted in the welcome environment of real human beings playing their instruments.

My personal favorite is "Who You Gonna Run To" which employs a clever turnaround, deftly picked acoustic figures and hooks galore.



Sinewy basslines and hypnotic beats compliment their compositions, though they are always deployed in service of song structure. In short, there is a lot to like here.

Who are Blade of Grass?

Measured by their talent, they should be the pride of their native Costa Mesa, California.

Check out their site and purchase their music

TENACIOUS D

The always brilliant duo return from exile with their new disc, Rize of the Fenix. Here's a taster from those dirty descendants of Simon and Garfunkel, dipped in metal. JB and KG each sport a gleam in their eye that could light the way out of the deepest mine shaft

RIP ROBIN GIBB

Another great talent has passed on too soon. Robin Gibb, 62, was an integral part of the international success of the Bee Gees, writing and performing countless hits along with brothers Maurice (who died in 2003) and Barry.

Gibb's health problems began to mount in 2010, with hospitalizations and surgery that seemed eerily reminiscent of Maurice's woes. Early this year, in London's Daily Mail, Robin confirmed he was battling colon cancer that had spread to his liver, but noted that he "mostly felt great." Emergency surgery followed, as did canceled appearances. Most telling, he missed the London premiere of his first classical work, The Titanic Requiem, commemorating the 100th anniversary of the ship disaster.

In April, he slipped into a coma after contracting pneumonia, but rallied, a development his doctor called "remarkable."

In a 2010 Q-and-A with the Guardian, Robin was asked what music he'd like to have played at his funeral.

Some Mozart, he replied, and also How Deep Is Your Love.

RAM REISSUE

May 22nd will see the re-release of RAM, a deluxe package of the second McCartney solo disc.

“Ladies and Gentlemen, this is an album from a long, long time ago, when the world was different. This is an album that is part of my history – it goes back to the wee hills of Scotland where it was formed. It’s an album called RAM. It reminds me of my hippie days and the free attitude with which it was created. I hope you’re going to like it, because I do!”. (Paul McCartney)

You can find my original review
linked here

RAM will be available in a number of different formats: a single CD remastered in stereo, a CD set with an eight-track collection of rarities, a one or two vinyl LP set (digital tracks included) and a box set consisting of a 112-page book, photo prints, full-size facsimiles of Paul’s handwritten lyrics and notes, four CDs and a historical DVD.

RIP DONALD "DUCK" DUNN

Very sad to hear of the passing of Duck Dunn, four string soul brother who anchored the rhythm section of Booker T and the MGs since the early 1960s. His style was very straightforward, always in the pocket. Part of the Stax house wrecking crew, he played on countless records by Otis Redding, Sam and Dave...well, just too many to name-check here.

"Today I lost my best friend," Steve Cropper wrote on his Facebook page. "The World has lost the best guy and bass player to ever live".

CRAZY MARY

DREAMING IN BRILLIANT COLOR

One of the great surprises in listening to contemporary music is finding bands/artists that don't fall prey to the sonic tools that have homogenized the sounds currently dominating radio play lists.

Crazy Mary offer the alternative.

Reaching back to an era where real people played music, that spirit of communal joy is infused in the grooves of their latest offering. Formed in New York back in 1998, Dreaming in Brilliant Color is the band's 10th release. Right out of the gate, "Come On Let's Go" is an exhortation to shake you out of complacency, bring you to your feet and join the party. Infectious and smart, the only choice for the listener is to comply. Highlights here include the dreamy "Song For A New Year", "Fallen Angel" and the experimental, yet very cool closer "Nick's New Groove".

Violinist Walter Steding brings another dimension to the band's sound, while vocalist Em Z graces the songs that guitarist/writer Charles Kibel brought to the sessions with her own unique style. Their blend of psychedelia, post rock sensibilities and soulful playing make for a rewarding listen, though you have to spin it a few times to truly take it all in.

Do yourself a favor and check out this record. Learn more about Crazy Mary here

KING CRIMSON

RED

Straddling a line between beguiling creations ("Fallen Angel", "One More Red Nightmare") and noodling that strays into the ether ("Providence", "Starless"), Red still comes across as an astonishing slab of progressive rock. Inscrutable, impeccable figures are drawn from guitarist Robert Fripp's capable hands, with John Wetton and Bill Bruford contributing very busy and inspired foundation work.

Opening with the powerful instrumental title track, the trio clearly relish the opportunity to play games with time signatures in support of Fripp's ambitious lines. Dark synth sweeps creep in toward the three minute mark, interpolating with the ever inventive guitar work as the rhythm section disappears. Much like an ominous, passing cloud burst, this gives way for the full band to take up the theme all the way to its glorious finish.

Timeless

Wetton's vocals hit the spot on all three tracks that showcase them, while Bruford brings his usual percussive brilliance to the proceedings. His anticipation for playing the spaces in between the notes and tasteful approach remind the listener that he's top class when opportunities to dazzle present themselves.

"One More Red Nightmare" flies in guitar parts from another dimension.

Ghostly mellotron (courtesy of Fripp) announces the multi-layered "Starless", which is quite engaging for its length. Free form, jazzy sections mingle with dreamier interludes in an extremely successful marriage. Nary a note is left unexplored as all players go for improvisational gold.

Violinist David Cross excels.

Armchair rock critic Kurt Cobain thought this disc to be one of the finest of all time. Tough to argue as your brain takes in clever arrangements, packed with an array of sonic surprises around every corner. Strings and wind instruments are deployed in a manner that bring an air of majesty to the table, yet they do not overwhelm what the core instrumentalists are laying down. Check your pulse if you are not properly inspired out of your skull after spinning this esoteric masterpiece.

Red is the soundtrack of the future...even today.

Fripp walked away from King Crimson before the release of Red in the fall of 1974 and no supporting tour was undertaken. Outside of a live disc (USA) that was issued in 1975, there was no further band activity until 1981.

EH! LIST IMAGES SHOOTS VAN HALEN

As a postscript to my review of last week's Van Halen show here in Ottawa, I wanted to share the work of a very talented photographer, Mark H, who has graciously sent along a link to a gallery of fantastic shots that he captured during the concert.

Eh! List Images provides Canadian media outlets and artist publicists, management and PR firms with immediate on-line access to photo coverage of music, concert and entertainment events. You can find out more and check out the Van Halen pics here

VAN HALEN LIVE WITHOUT A NET-MARCH 21st @ SCOTIABANK PLACE

Van Halen

Scotiabank Place March 21, 2012

Prologue

Last time that Van Halen and I were in the same building was the Toronto stop on their 2004 tour. The night before, Chris, Tweed, Red, Jim and Sean sat in a circle around a table with guitars, emptied way too many beer bottles and played tunes far into the wee hours. The next day my head was like a football, I thought that I was going to die. Tell me, me-o-me-o-my, wasn't that a party?

The pre-concert debauchery was far more memorable than the event itself. The sound was dodgy, Eddie was off of his game and Sammy Hagar, while a pro, couldn't save the gig from being merely average.

Flash forward to March 21, 2012. No booze (for myself, Red, Doug or Eddie), Uncle "Diamond" Dave was at the mic and the mighty Van Halen stormed through one of the best live shows that I have seen in quite some time.

Kool and the Gang opened up and they put the assembled crowd in a good mood with a mix of their 70s and 80s hits. Musically, they were tight, acquitting themselves very well in every respect. Showmanship, spot on vocal harmonies, razor sharp horn section...it was clear that this was a group that (for the original members at least) paid their dues with 40 plus years of gigging. No fake vocals/pre-recorded tracks.

Closing with "Celebration", they had a predominantly "rock" crowd on their feet and cheering.

Following the stage turnover, which took some time, Van Halen stepped out in a hail of drum-fire, guitar and bass pyrotechnics, stopped dead and EVH tore into the unmistakable riff that kicks off "Unchained".

David Lee Roth then strutted to his position in the spotlight, wearing a broad smile that only widened as the crowd welcomed him with a roar that could have drowned out a passing 747.

With that began a two hour extravaganza that was louder than God.

My buddies were in the 6th row on the floor and I was seated just a few rows back from them. It was the perfect vantage point to take in all of the action. That being said, footage/pictures were captured. Header photo provided by Red Curtis. Here's "Panama" courtesy of Doug Cameron.



Dave's comment about his "union contract" was priceless. Seeing him take command of the stage was a bit of all right. He has made adjustments to how he delivers his vocals, due to age and the disappearance of his higher register, but if I could do a goddamn scissor kick at 60 then I would surely tell my critics exactly where they could shove their comments about my voice. Speaking of singing, that's where father and son spent the majority of their time during the show. Wolfie and Ed had a great vocal blend and there were some nice three-part harmonies happening. Michael Anthony's voice was missed, though Wolfgang was pretty damn stellar on the four string. He played some great lines throughout the show and has certainly earned his place alongside Uncle Alex and Papa Ed.

Alex Van Halen is a force of nature. Grinning behind ever-present shades and semi-stripped down Ludwig kit, the man was a virtual atomic clock. His solo was brief (but good) and he solidly flew through the evening, playing with the energy of someone half his age.

Brother Edward was no less impressive. Given the string of adversity that has befallen him since the late 90s, it was great to see him melodically shred through both the classics and the new songs, which held their own in the set. Smiling as he peeled off astounding solos and stunningly precise salvos that bit down hard into the collective ears of the crowd, EVH had new tricks up his sleeve that only served to solidify his genius as a musician.

Have to admit that there was nearly a tear during his solo, especially as he wound through "Cathedral". Jaw-dropping excellence...



Pound for pound, there was not one bit of wasted space in the entire show. While I missed "Mean Street" and "Outta Love Again", it was amazing to experience "Girl Gone Bad" up close and personal. Even the little mistakes were fun as hell to watch (Wolf and Dave harmonizing but singing two completely different lines of "Pretty Woman" at the same time, Alex falling out of time with the synths in "Jump" and steering the band right back in time like a pro).

Here's a tip for all of you fakers out there who mime to backing tapes: QUIT and stop cheating people out of hard-earned ticket money. Conversely, here's a word for those who pay to see such fake shows: Don't support that shit.

By the time of the encores, the entire building was euphoric and confetti rained over the stage as "Jump" brought things to a close. Rip Taylor would have been proud.

Highlights? The whole thing! Their backline wall of amps blew my head off, though I would gladly see them again on this tour if I had the chance. Rockers with walkers? No way. Brilliant band who remain impressive in 2012.

Unchained
Running With the Devil
She’s the Woman
Romeo’s Delight
Tattoo
Everybody Wants Some
Somebody Get Me a Doctor
Chinatown
Hear About it Later
Oh, Pretty Woman
You Really Got Me
The Trouble With Never
Dance the Night Away
I’ll Wait
Hot for Teacher
Women in Love
Girl Gone Bad
Beautiful Girls
Ice Cream Man
Panama
Ain’t Talkin’ About Love
Jump

THE POLICE

Way back in the mists of childhood, I received an LED (light emitting diode) watch as a Christmas gift. Futuristic mid-70's technology, only minutes ahead of its time.



When the watch battery was dying and the magic button on the side was pressed to display the time, this LP cover appeared instead. A full five years before it was utilized by a distinguished, English power trio.

Meanwhile, in 1981...

The fourth release by the law enforcers began the process of unraveling their established sound. Copeland's foundation work is solid, though Andy changed his guitar tone to embark on some interesting tangents. Keyboards now figured more prominently in a denser mix.

Sting picks up the sax.

Critical raves have accompanied the very mention of this record, yet only five truly worthy songs stand out.

"Spirits in the Material World" has a bassline that defies gravity. Randy Jackson, a fine bassist in his own right, raved about Sting's idiosyncratic figures to author Daniel Levitin in "This is Your Brain on Music". Rightly so! Mr. Sumner outdoes himself with both the tune and his top class instrumental performance. Similarly, "Every Little Thing She Does is Magic" is so good that it could not be improved upon. The tension that builds in the verse is swept away by joyous abandon in the infectious chorus. High energy playing from all involved makes this work that any pop writer would happily add to the "wish I had penned that one" file.



Things quickly change from upbeat to turgid as the opening strains of "Invisible Sun" come into focus. The count in carries the suggestion of a slowly swinging watch on a chain, lulling the listener into deep sleep. This somnambulistic state can be maintained until Andy's excellent "Omegaman" jolts you awake with a killer riff and explosive dynamics. It would have been a single too, but Sting vetoed it. "Secret Journey" and Stewart's brooding "Darkness" (with madly panned high hat work) bring things to a close.

These gems rank with the best of anything they recorded during their short tenure as a trio.

At risk of being beaten about the head with one of Sting's yoga mats, naive political statements ("Rehumanize Yourself", "One World") mixed with flat out repetitive tunes drag down the rest of the album. Could you honestly spend an hour in a locked room listening only to "Demolition Man"? Six minutes is pushing it. While the grooves are in place, the lack of hooks, coupled with smothering horns add unnecessary weight to the other compositions.

About that album title...

British philosopher Gilbert Ryle used ghost in the machine as a derogatory description for René Descartes' mind-body dualism. Descartes himself had been a ghost for about 300 years at this point (1949), so I really don't think that he cared. Arthur Koestler's 1967 book, which uses Ryle's phrase as its title is cited as Sting's inspiration for the project. The main focus is mankind's movement towards self-destruction.

Speaking of which, you can splice the first two selections with the last three on this disc, remove the filler tracks and take them on a long drive out to the middle of nowhere for disposal. They simply lack the spark that the others have in abundance. The next project would be their last, though it is far more rewarding in all aspects.

RONNIE MONTROSE RIP

Another rock soldier, guitarist Ronnie Montrose, passed away yesterday after a lengthy battle with prostate cancer. He was underrated, though really quite a brilliant, dexterous player. Adept at various styles, Montrose played with many A-list artists and always raised the game of those around him with his chops.

Remember when people could actually play live without all of the fakery?

Here is a great reminder: "Bad Motor Scooter" from 1974.

DAVY JONES

Another reminder of the transitory nature of life comes with the passing of actor/singer Davy Jones. At the height of his fame in the mid-sixties, he sang lead vocals on a number of huge hits while playing his role on TV as part of the pre-fab group, The Monkees. The quartet soon grew tired of having session musicians and outside writers steer their musical ship. It is to the credit of Jones and his band mates that they raised two middle fingers to the machine that created them. The first was to get involved in the writing/playing/production of their records.

Headquarters was an LP that reflected this new approach."Early Morning Blues and Greens" was a track on which Jones took lead vocal.



Their second greatest act of defiance was the psychedelic film "Head". Has to be viewed in a certain state to really be appreciated, though.

Davy Jones was a multi-faceted, talented individual, though my generation was quite far removed from Monkee-mania. I do remember seeing that infamous Brady Bunch episode as a child and wondering why Marcia was so excited about having the diminutive Englishman as a dinner guest.

Lastly, here's a tune which Jones had a hand in writing (from the excellent Pisces, Aquarius, Capricorn & Jones Ltd.), whose title sums up sentiments shared by many upon learning today's sad news.

RANKER.COM

GONE THOUGH NOT FORGOTTEN

Ranker.com ranks influential musicians by the order of how great their music was at the time of their death.

Los Angeles, February 21, 2012: While the pop music world is still reeling from the loss of Whitney Houston, Ranker.com has released a list of artists who have been deemed “gone too soon” by Ranker’s users. These artists are ranked not only by how great their music was at the time of their death, but what their future might have meant to the world of music. Having garnered thousands of votes and views by the site’s devotees, this list is considered to be the definitive word on the greatest rock stars who died prematurely.

According to Ranker.com, the most significant loss to the music industry was Jimi Hendrix, followed by John Lennon and Jim Morrison, rounding out the top five is Janis Joplin and Kurt Cobain. The 46 artists on this list also included such legends as Freddy Mercury, Buddy Holly and Jerry Garcia, and ended with perhaps the less likely inclusion of Harry Nilsson. In addition, 15 other lists have been created by voters to represent a wide variety of opinions. The full list of Rock Stars Whose Deaths Were the Most Untimely may be viewed on Ranker.com here.

Ranker.com publishes lists created and ranked by its visitors that are data driven by popular opinion. Available on Ranker.com are lists on any topic imaginable, including everything from the best films of all time or the best vehicles for teenage drivers, to less serious fare like Simpsons jokes that actually came true. Truly something for everyone.

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.