Review by: Star Trek II The Wrath of Khan
Assigned by: Alexander Shatkevich
Review by: Jonathan Moss
Assigned by: Irfan Hidayatullah
Review by: Eric Pember
Assigned by: Star Trek II The Wrath of Khan
Review by: Charly Saenz
Album assigned by: B.B. Fultz
And Punk was the best reboot that Rock and Roll could think of, at the time at least, with all those Elton John wigs and Styx shining suits. But .. Do you remember that weird band from the late 80s, “Pop Will Eat Itself”? (You don’t? Lucky you, but the name was great). Well, as any major movement, or government or world leader (Hey Romans, I’m looking at you!), no matter how big you get.. You’re scheduled to fall down.
And “Punk ate itself”. Or well the system ate it.. “streamlined it”. But those who survived, those who reconfigured themselves, did great stuff at least for a longer while (Clash, Jam, Cure, etc). The Sex Pistols would apparently reject any “dinosaur rock” reference, but they ended up acknowledging people like Lennon or The Doors.
Thus, Best Punk learned to reconnect with the raw emotion of rock and roll, that was the key, more than any plastic hairdo – enter Jim Carroll.
Jim was a writer, primarily. I bet that’s how he established some bond with Patti Smith, with whom he got to play about 1978. “Catholic boy” is his band’s first album. And let me tell you, as a quick spoiler, that it rocks (and pops!) really fine.
Jim’s music in this album is good ol’ rock and roll, with great poppy hooks and professional playing. It will turn up as a slow rocking tune in “Day And Night” (female vocals and all), like the early and best Bruce Springsteen. Or feverish and punkish in the opening classic, “Wicked Gravity” and also in “Three Sisters”. “People Who Died” is another fast rocker, featured on a LOT of movies out there. And the lyrics of course, cut to the bone, and the punk/joyful tone only adds to the wow factor: “Those are people who died, died/They were all my friends, and they died”..
“Crow” reminds me of The Stones’ “Shattered” and it makes sense, being that the Stones’ New Wavish album.
Highlights however are the more adventurous and moody songs like “City Drops Into The Night”. Or The winding “It’s Too Late” and its magnificent guitar work. “Catholic Boy” is a hell of a closer with that punctuating bass riff.
A hell of rock and roll album made with the heart by a Rocker, and of course a Writer. Read those lyrics, the guy will thank you from somewhere above or below where he’s staying with the (other) People Who Died.
Keep on rockin’!
Review by: Roland Bruynesteyn
Album assigned by: Ali Ghoneim
So my album starts with The Milk Of Human Kindness. With its folky melody and quite bluesy guitar it sounds rather unlike ‘classic Procol harum’, but the voice is Gary Brooker and when the organ joins for the chorus it’s unmistakably Procol harum. Although the guitar sound doesn’t really work for me, it’s an energetic opener.
The second song, Too Much Between Us, is more subdued, with nice acoustic guitar. Paul McCartney would be proud of this song; it’s that nice!
The Devil Came From Kansas starts relatively promising with the verses, but it turns out to be rather mediocre further on. I think it’s the mix of power chords on the guitar, the silly drumming and the whiney group singing. The guitar solo’s are nice, however.
Boredom starts with sleighride sounds ( like a Beach boys Xmas song), but turns out to be more tropical. A nice stylistic excursion, albeit not very substantial. Once again, the singing doesn’t really seem to fit the happy melody but that may be because it tries to convey boredom. With the slightly more enthusiastic yelling at the end you would expect the song to speed up and end in a frenzied hysteria, but nope…
Juicy John Pink starts with bluesy guitar and harmonica and remains a bluesy song throughout. It’s an OK performance, but this really is like ELP playing Are You Ready Eddy?, showing stylistic diversity for the sake of it. And any number of bands of the era could do this better, from Paul Butterfield to Cream.
Wreck Of The Hesperus sounds like a more piano driven and speeded up version of Whiter Shade Of Pale, with added orchestra. An impressive song nonetheless.
All This And More, again, is a very typical Procol Harum song. I like how the vocals, piano and the guitar mix; this is one well arranged song.
Crucifiction Lane is distinguished more by Trowers’ singing than by his guitar playing. It’s sort of a power ballad that suffers a little from a lack of dynamics: there is no strong build up towards a glorious finale, but the instrumental ending is nice.
Pilgrim’s Progress is a little Paul McCartneyesque once more: nice vocal lines but the organ moves into Whiter Shade territory pretty soon. The hand clapping at the end gives it almost a gospel feeling.
A Salty Dog really belongs here, as it gave the album its title. It starts and ends with seagulls screeching. It’s a very solemn song, mostly because of the organ, but also because the singing is by far the best on this song.
On the whole I would call this album more symphonic rock than progressive rock, as only in the double keyboards (and in the song titles) something proggy could be discerned. The orchestral flourishes and some nice compositions elevate it above the pop music of the day, but instrumental virtuosity, tricky time signatures and heavy philosophical or mystical lyrics are mostly absent. Not having listened to it for a few years it was actually quite a bit more middle of the road than I remembered. It’s pleasant music, but I somehow expected something more challenging of it.
Review by: Mark Maria Ahsmann
Album assigned by: Nina A
Review by: Charly Saenz and Jonathan Moss
I know this is an incredibly uncool thing to say about Rush, but this is such a cool sounding album! Our friend Franco Micale has always argued to me that Rush had a slightly alt-rockish sound, and he’s completely correct, especially on this album, with its catchy melodies and arpeggiated guitar riffs. The synth tones are absolutely blissful as well, they have an almost retro vibe to them, like 60s organs. But at the same time they also have a kind of futuristic vibe, retro-futurism if you will. Geddy’s bass playing is great as well, fluid and melodic throughout, you can call him a frustrated lead guitarist if you want, but that whole idea is bullshit, and insulting to bass players. His vocals are certainly an acquired taste, he definitely sounds sincere throughout the album and manages to get the messages of Neil’s lyrics across with passion. Speaking of Neil, while he is definitely overrated as a drummer, his work on Signals is graceful and accomplished.
There’s a bold statement to start the album, a fierce proud synthesizer pattern that becomes a small symphony when Peart starts weaving the rhythm around with the usual perfect bassline by Geddy, and his controlled voice is the human beauty in the technically charged surroundings. “Subdivisions” is a rebellious chant detailing cold society oppression, The Machine.
“Growing up it all seems so one-sided
Opinions all provided The future pre-decided
Detached and subdivided In the mass production zone
Nowhere is the dreamer
Or the misfit so alone” “
“The Analog Kid” starts off as a more direct rocker with the superb riff by Lifeson, but it’s the otherworldly interaction among the three players here, and those tasty keyboards that send this song directly to heaven. No, this is not Prog Rock. This is plain old Rock with a new sound. It’s definitely the most beautiful song on the album, the way Geddy sings “you move me you move me”, well, it moves me 😛
And, as resident Rushologist Jonathan Hopkins says: “One time, I got really high and listened to the Analog Kid like 20 times in a row because I didn’t realize I wasn’t changing songs. It’s a great song.”
“Chemistry” reminds us how Rush were few of the mainstream acts of their time (Police also comes to mind) to incorporate reggae vibes successfully into their sound. So does “Digital Man” and the fantastic, catchy break:
“He’d love to spend the night in zion
He’s been a long while in babylon
He’d like a lover’s wings to fly on
To a tropic isle of avalon”
The song contains a wonderfully melodic and playful bassline, and the reggaeish guitar playing gives it an almost urban vibe. The song is downright groovy. The song also has a great chorus, feauturing some juttering, funky synth playing. Oh, and that guitar solo!
“The Weapon” might easily be one of those overlooked gems in the album. The opening synth melody is somewhat Devoish (New Traditionalists Devo), just real sort of warm and deep, with a kind of looping, computerish quality. Sci-fi, if you want us to make it sound lame. I guess, to make it sound cool to the kids, we’ll call it proto-synthwave as well. The drone guitar weaves a luxury melody, and by the minute 4, it becomes bigger than life; the keyboards hardly appear as a symbol of modernity. The mid way point of the song, with its soaring guitar, sounds almost ambient. It’s got that dark urban city vibe. The finale with the fading guitar is Beatle-level fantasy.
“New World Man” was the single of the album, made at the last minute to complete its tracklist. It’s a strait rocker and it appealed to the masses. It opens with a fun goofy sounding synths, followed by some melodic, R.E.Mish guitar work. The chorus is super catchy as well, even if it does stray slightly into proggish pomposity. Still, when Geddy belts out “HE’S A NEW WORLD MAN” I just want to sing along.
The most delicate piece in the album, is without a doubt, “Losing It”. The electric violin played by Ben Mink is the best introduction to some refined lyrics using the adequate dancer’s metaphor to discuss time passing and crushed illusions:
“Some are born to move the world —
To live their fantasies
But most of us just dream about
The things we’d like to be”
The synth pattern that opens the song and stays throughout is gentle and lullabyish, and the guitar tone has a mournful melancholic quality. The song does have a slightly arena-rockish sound during parts, but its fine, the cunts pull it off. It still doesn’t fail to detract from the gentle quality of the song.
“Countdown” is a fine way to end the album, even if the clips from an actual countdown are cheesy as fuck. It features an ominous synth and guitar line working well together to make the song seem creepy. I guess this is to convey hour nerve racking a NASA launch would be, which, duh. Geddy’s vocal melody manages to imbue the song with some sense of calm though, he just sounds so assertive and confident. There’s a fun, squiggly little keyboard line later on, and the chorus is tense and memorable.
Signals might be considered a maligned album by many, but it meant a lot to many people, it stands right in the middle of Rush’s career between their progressive beginnings, right after their breakthrough album and their newer stuff, who arguably abuses the 80s production a little bit. It’s full of hooks, touching and meaningful lyrics.
But here, we’re still at the perfect top. Exquisite keyboards, how to sound futuristic without being a cold bitch, and feeling without leaving the rock pulse.
Fuck you, Michael Strait. With Love, of course.
Review by: Jonathan Moss
My dumb brother’s standard complaint about folk music is that its boring, but for me this marvellous album by Comus proves otherwise. It hasn’t been called “satanic goat music” for nothing after all. Simply put, this album features some really well-played, mysterious guitar playing and haunting, eerie vocals. But it also has an unhinged, freakish quality which stops it from sounding like Led Zeppelin’s folk shit or something. There’s something delightfully individual about this album, its sprawling and occult, and feels genuine in a way that Led Zeppelin don’t. I can’t imagine the people who made this being quite normal.