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.