Month: April 2023

LP Review: Metal Masters Metallica, ’72 Seasons’ – A Heavy, Breakneck Metal Triumph!

~ kcorsini ~ 2 Comments

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“Misery, she needs me… but I need her more…” – Metallica, “Inamorata”

Metal giants Metallica have returned with a new album, 72 Seasons, their first album in seven years! I guess we should be relieved it’s only been seven years since Hardwired… to Self Destruct and not the eight years they took between Death Magnetic and Hardwired. Maybe lockdown cut a year out of their process. They may only drop new albums every 7 to 8 years but when they do they’re looong albums. 72 Seasons’ 12 songs clock in at an hour and seventeen minutes.

As I’ve documented in these pages, I was a late adopter on Metallica. I actually saw them live a couple of times before I ever owned any of their music. I saw them open for Ozzy on the Master of Puppets tour and when they headlined Lollapalooza. I had actually only gone to see Soundgarden that night, but Metallica impressed me. After that I dabbled in their music. It wasn’t until Death Magnetic that something clicked in my head and I realized how great Metallica is. I had always considered myself a fan of heavy metal – I liked Sabbath, Ozzy and Judas Priest. In the 80s I dug all that Hair Metal that was going on. But until I discovered Metallica, I don’t think I knew what truly heavy music was. Since I was late to the party with these guys I don’t carry the baggage that their early fans do so I really appreciate their latter albums a lot more. I don’t think there’s another fan base – except maybe U2’s fan base –  that express such disappointment when they drop a new album. At least U2’s fans are justified. I’m simply not one of those Metallica fans who are pissed that every LP they put out doesn’t sound like Master of Puppets. I loved Hardwired… to Self Destruct. And I’m equally as happy with 72 Seasons.

The title derives around the 4 seasons a year that each human goes through until they turn 18, the age of adulthood. It’s Metallica’s theory that we all become the person we are over the course of those 72 seasons. All of our traumas and tribulations that take place during those formative years leave their mark and thus help form who we are. I have to admit, looking back on my first 72 seasons, it’s hard to argue with them. I did something rather old school while I listened to 72 Seasons over the last few weeks… when I wasn’t also cranking the new Who live album. I sat down and read the lyrics. I’m not sure I’ve ever done that with a Metallica album. It always used to sound like James Hetfield (rhythm guitar/lead vocals/principle lyricist) was just shouting random words that sort of fit together. I have to say, lyrically, this is Hetfield at his most honest and vulnerable. 72 Seasons is a trip inside his mind where we get to see his struggles and battles with the demons that besiege him. I don’t know about you, but I can certainly relate to that. And listening to this album I realized I should have included Hetfield on my list of favorite rhythm guitarists… oh, well. Hetfield’s vocals on this album are perfectly anguished.

While at first listen this album may seem slightly monochromatic, I think that’s an unfair charge. It’s true there are no “Unforgiven” type ballads or acoustic moments and very few melodic guitar moments but there are modulations in the tone of these tracks. It is a breakneck, hard album. It can feel at times like the whole album is a “meet me at the finish line” stomper. Lars Ulrich is a powerful drummer. The guy pounds the drums like he’s mad at them. If I ever have a heart attack, use Lars’ drums as my defibrillator. I’m really happy that Kirk Hammett has a lot more featured guitar solo’s than the last album. And bassist Rob Trujillo is there to keep all of this tethered to the ground when it almost always seemed like the music is going to come unhinged.

The album kicks off with the title track which begins with shimmering drums and a snarling guitar before the whole band engages and then we’re off to the races. I love the lyric “No chance before life began.” It sort of sums up the theme of the album. “Shadows Follow” has some of my favorite lyrics and features a great Hammett guitar solo. “Screaming Suicide” is a track about society’s inability to allow individuals to even discuss suicide. “Listen well, better listen well…” Only if we can talk about our mental health issues can we get help and address them. “Sleepwalk My Life Away” is another heavy, heavy riff. “You Must Burn!” is another absolute favorite of mine. It’s the first real change of pace tune, away from the breakneck speed of the first 1/3 of the album. They slow the pace down and make the riff heavier. It’s almost got an undercurrent of funk in the drummer. “You are the witch you must burn…” Indeed. “Lux AEterna,” was the first single, previously reviewed so I wont’ go into detail here. I’ll just say I really like “Lux AEterna,” but as the shortest track here, it may be my least favorite. That’s how much I like the rest of the album.

“Crown of Barbed Wire” has an absolutely wicked guitar solo. When Metallica bears down on you like this track, I can only say, “Woo!” The next track “Chasing Light” features marching drums, squalling guitar from Hammett and when Hetfield’s rhythm kicks in, fasten your seat belt. “Without darkness, there is no light…” At 6 minutes, 45 seconds, just grab that riff and ride it. “If Darkness Had A Son” is in contention for my favorite song. It’s martial drums and a great riff. It’s the story of the recovered addict without being preachy. “Temptation…” I can absolutely relate. I can say the Rock Chick loves this one and it is a quintessential Metallica tune. “Too Far Gone” is the first time on the album I hear that patented Metallica melodic guitar groove when Hetfield and Hammett play the same riff together. I love the chorus on this song.

Metallica finish up the album with the two best tracks. “Room Full of Mirrors” may be Hetfield’s greatest lyrics. I love when he sings, “In a mirrored room Just a simple man, Naked, broken, beat, and scarred, What do I really know? That fear of letting go.” Jeez, the honesty is so intense. His fury comes through. The final track on the album, which is over 11 minutes long, is “Inamorata” which is an absolute masterpiece. It’s the kind of epic song that Metallica made their reputation on. I can listen to this song all day long. Which, at the aforementioned 11 minute play time, it just might take all day. I’ve quoted it once, but when Hetfield sings “Misery she loves me, Oh, but I love her more,” my 20s just come flooding back to me. “Inamorata” is going to go down as one of Metallica’s greatest songs.

I’ll admit, with it’s long run time, over an hour and a quarter, this may be best consumed in parts. Listen to a few tracks here, a few tracks there. It is a full on frontal, aural assault. But this is some fine, fine heavy metal. Since they only put out an album every 7 or 8 years, every new Metallica album should be celebrated. This is the kind of late career masterpiece that B&V was founded to herald. Every hard rock fan should be cranking this album as loud as the neighbors and the local constabulary will allow.

Devil Horns to all of you! Cheers!

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Live LP Review: ‘The Who With Orchestra – Live At Wembley’ – A Surprisingly Potent, Strong Live Album

~ kcorsini ~ 3 Comments

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I was traveling for a bit, through the South lands of the U.S. I was wearing a lot of seersucker and white linen… drinking a lot of bourbon out of mason jars and visiting with old friends. It was fun but it prevented me from gathering my thoughts about this really great new live album from the old warhorses in the Who, The Who With Orchestra – Live At Wembley. Apparently this is the soundtrack to a blu ray they released of a concert that was recorded July 6, 2019. I don’t know why they waited so long to release this thing on vinyl. While some of you may have seen the blu ray, I had not, so this live LP release came as a bit of a surprise.

I really like this thing but I can almost hear the collective eye roll amongst the Who faithful. No, this isn’t the same band that conquered the Mods back in the 60s. Drummer Keith Moon tragically died in the 70s when he overdosed on a drug that was supposed to help him overcome alcohol withdrawal… which I could use about now after my trip South. Talk about your rock n roll ways to go. And bassist John Entwistle passed in the early 2000s of a heart attack brought on by cocaine… his body was discovered by the stripper he’d slept with the previous night. Come to think of it, Entwistle may have had an even more rock n roll death than Keith Moon and John was in his 50s. Currently the Who boasts only two of it’s original members, vocalist Roger Daltrey and guitarist/vocalist Pete Townsend. They’ve augmented the line up with Zak Starkey, Ringo’s son, on drums; Simon Townsend, Pete’s brother, on guitar; Loren Gold, keyboards; and John Button on bass. While this may not be the thundering version of the band that played on the fabulous live album Live At Leeds, which made our list of favorite live albums, they still make a glorious racket. Starkey’s playing is more Moon than Ringo.

For the concert this album represents the band augmented themselves with an orchestra. The Who, and perhaps more pointedly Pete Townshend, have always attempted to elevate rock n roll. The Who were the first band to produce a “rock opera,” a thematic, concept album. That album was of course, Tommy. For this live LP the band plays with the Isobel Griffiths Orchestra. This isn’t your local philharmonic orchestra, it’s an orchestra put together from session players who are probably no strangers to playing on rock albums. Apparently this concert at Wembley was the Who’s performance at that august stadium in 40 years, so the orchestra was probably brought in to commemorate this special occasion. I, for one, have to say, it works. The orchestra brings back some of that old Who “strum und drang” from the old days. The orchestra makes the music big and dramatic. I also really like the set list. It’s favorites and hits but they also play some deeper tracks and most important for B&V a couple of tracks from their last LP, WHO, from 2019 which we dug here at B&V.

The album opens with two big rock tunes, “Who Are You,” which I think is the perfect opener, and “Eminence Front,” a favorite of mine since 1982. One of my favorite moments is up next when they go to a deep track from Who By Numbers, “Imagine A Man.” This is where the orchestra really pays off. It’s a great version of the song. After a rousing performance of “Pinball Wizard” they played one of the newer tracks “Hero Ground Zero” and the orchestra just elevates the tune. Then they play “Join Together” one of those great stray tracks that is only on greatest hits albums. While I love what the orchestra brings to the table, the Who are smart enough to dismiss them for a few tracks and they are also absolute highlights. “Substitute” sounds fresh and rocking as does the next track, “The Seeker.” “Won’t Get Fooled Again” is done acoustic – just Roger and Pete – and I love it. It brings something new to the track. They follow that up with an acoustic based “Behind Blue Eyes” and it marks the return of the orchestra. I love the strings on that one.

“Ball And Chain” is another track from WHO and it’s one of my favs from that album so yes, play it loud. At that point, as is their wont, the Who play a mini-suite of songs from my favorite of their rock operas, Quadrophenia. It’s got the expected favorites like “Love Reign O’er Me,” “The Real Me,” and “5:15” (one of my favorite train songs), but a few deeper tracks that I’ve always loved, “I’m One” and “The Punk And The Godfather.” They wrap it up with a rocking version of “Baba O’Reilly” and then an acoustic track from the oft overlooked Endless Wire, “Tea And Theater.” It’s a nice intimate way to wrap up a bombastic, rocking, orchestral performance.

I had zero expectations when I stumbled across this new live Who album. Maybe that helped me connect with it? But it’s a great, fun, live record to listen to. It’s always fantastic when a band that’s been around this long and has lost some critical original members can rally together and put on a performance as impressive as this one. The Who may be battered but they’re not broken. This is still a surprisingly potent band both live and those rare times they go into the studio. This will be a great listen at the pool, turned up to 11. I hope these guys keep rocking forever… well, that may be unrealistic… maybe just keep rocking as long as they can. They certainly still have the chops… and it’s not often I get to use the phrase “strum und drang” in a post…

Cheers!

B&V Playlist: For The Love Of… Money

~ kcorsini ~ 12 Comments

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“When I was young I thought that money was the most important thing in life. Now that I am old, I know that it is.” – Oscar Wilde

Before I met my wife I was always fond of saying, “Money and sane women have eluded me my whole life.” But since the Rock Chick never laughed at that line, I stopped saying it. It got a little awkward. And let’s be honest I wasn’t the most solid citizen in the old days – I’m happy to own my part in the craziness…bygones. Anyway, having been happily wed for a long time, I guess I would now amend my original statement to “money has eluded me my whole life.” I mean, I’ve been lucky professionally, but big money has always seemed just out of my grasp. I guess it’s like Springsteen once sang, “Poor man wants to be rich, rich man wants to be king, and the king ain’t satisfied until he rules everything.” The more you get the more you seem to want. The reach always seems to exceed the grasp.

I read recently that to be in the top “1%” you would need to earn on average, $823k a year. That’s some big bucks. To be in the top 5% in terms of earnings, you’d need to average $283k a year, again big bucks. I know income distribution currently is as out of wack as it was during the “Gilded Age” in the late 1800s. Back in the Gilded Age, like five families controlled 80 percent of the wealth and the rest of us, based on pictures I’ve seen, all lived in the same tenement house battling over what was left. I realize there was real wage growth in those days but there was a lot of terrible poverty especially for immigrants and minorities. It was overall a pretty awful time. It would appear that certain elements in this country are trying to push us back to those days. What they forget, as they siphon off more money for the super rich, is that without a stable middle class, democracy almost always fails. As someone said to me recently, “It used to be you could work in a factory your whole life and if you didn’t join a country club, you’d have a nice retirement.” Do we even have factories any more?

It’s no coincidence that I’ve got money currently on my mind and today is Tax Day in the U.S. It’s typically April 15th, but since that fell on a weekend, U.S. taxpayers were given until today to pay their federal and state taxes. I’ve posted about Tax Day Blues and even included a playlist but today I’m thinking more about money in general. There’s a high likelihood as a member of the middle class I’m paying more tax than Elon Musk which seems a little backward to me. I guess I’m like that song by the Stereophonics, “Every Day I Think About Money.” When I was young, I didn’t have any money so I worried about it a lot. Then I had some money and I constantly thought about how to get more money. And that’s sort of been the mindset I’ve been stuck in since I was 30.

There was a time when I was happy just to have enough money for beer and vinyl albums. Maybe some extra cash to take a date to the movies. I’d work summer jobs – mowing lawns or building tennis courts which afforded me a fabulous tan – which was the goal in the summer – or I’d work as a bus boy or a dishwasher which afforded me a legendary case of acne. As a friend once said to me, “It’s summer, you drink beer with your friends.” I’ve already chronicled my old days as a working stiff when I posted a playlist in honor of Labor Day last year so I won’t beat that drum again. In many ways I was a much happier guy in those days. Of course I was living at my parents house. My friend Arkansas Joel always said he was happier when he was flipping burgers in high school. As life went on, there were bills, mortgages or rents to be paid and car payments to be made. Responsibility costs money. No wonder there are so many t-shirts that say “Not Adulting Today” out there.

While Oscar Wilde is right, money is important, I hated starting with such a cynical quote. I did find it funny. I wonder if we’re measuring success incorrectly in the world. We’re all so focused on money and materialism we don’t think about the other ways to measure success. Money really isn’t everything – although it certainly seems like it in today’s society. I’ve never been one of those “he who dies with the most toys wins” kind of guys. Having a great, strongly bonded family or great relationships with friends and colleagues is just as big a sign of success as a McMansion. Doing good in your community or doing good unto others has to be a measure? When I was in college I considered becoming a history professor. I was passionate about researching and writing and let’s face it I look good in a tweed sport coat with those leather elbows. But I talked to one of the history professors and he said, “There are probably more history majors driving cabs than teaching history.” I didn’t want to starve so I joined the large rank of traveling sales people. It worked out okay but I can’t describe it as a passion. The best parts of the job were the relationships I formed with the people I worked with and the mentoring I’ve done over the years in management. When I think about it through that prism – the relationships and impact I had on people’s lives – I actually think I might be more successful than I allow myself to think I am.

As I sat around thinking about money and my decision all those years ago to be a “happy idiot and struggle for the legal tender,” I started to think about all the great rock n roll songs about money – dough, cashish, coin, cabbage and my favorite scratch – and suddenly to snap out of it I started to build this playlist. As always tempo-wise it’s all over the place. We aim to put a song you haven’t heard in a while back in your ear or better yet, turn you on to something you haven’t heard. I usually recommend hitting “random” when you play these tracks. It works in order, but hey, variety is the spice of life… and apparently money is the honey. Here’s the playlist and you can find my comments on each tune below. And no, I didn’t include any versions of “Shake Your Money Maker,” because let’s face it… that song ain’t about money.

  1. Warren Zevon, “Lawyers, Guns and Money” – Always a go-to tune for me when there was trouble… or when “the shit has hit the fan.” Zevon needs to be in the Rock Hall this year…
  2. Prince, “Money Don’t Grow On Trees” – Prince had so many great tunes. This was in the vaults for a long time. Originally recorded for 1999. And apparently he stole the title from a phrase my father was fond of repeating when I was growing up.
  3. AC/DC, “Ain’t No Fun (Waiting Around To Be A Millionaire)” – I’m stunned by how many songs AC/DC have about money. They truly have their “mind on my money and my money on my mind.” This song makes me smile.
  4. Ozzy Osbourne, “The Almighty Dollar” – Ozzy from the sadly overlooked gem Black Rain.
  5. Motley Crue, “Keep Your Eye On The Money” – Good advice from the Crue.
  6. Montrose, “Paper Money” – Montrose, Sammy Hagar’s first band, long before Van Hagar and Chickenfoot. With Ronnie Montrose on guitar.
  7. The Black Keys, “For The Love Of Money” – I like this song so much I stole the title for this post… from last year’s Dropout Boogie.
  8. Red Hot Chili Peppers, “Millionaires Against Hunger” – I wish there were more millionaires against hunger… or better yet a lot less hunger. I think this started as a charity single… Hillel Slovak on the lead guitar.
  9. Dire Straits, “Money For Nothing” – Iconic track from 1985. I can remember being in the car when I heard this for the first time and Sting came over the speakers and sang, “I want my MTV…” Mind blown. The next thing I knew I was going 80… but that might just be how I drove back then.
  10. Tom Waits, “’til The Money Runs Out” – Things are always bad when the money runs out, as Mr. Waits reminds us here.
  11. Randy Newman, “It’s Money That Matters” – Sadly, if you deign to look at any social media these days this adage seems to be true.
  12. The Firm, “Money Can’t Buy” – I’ve always felt that the Firm were slightly under-achievers considering the pedigree of Paul Rodgers (Free, Bad Company) and Jimmy Page (the Yardbirds, Led Zeppelin) but that didn’t keep me from buying both their LPs.
  13. The Black Keys, “Money Maker” – The Keys are just so solid. Do they have a bad tune?
  14. Queen, “The Millionaire Waltz” – Only Freddie Mercury could get away with a song like this. Brian May’s guitar work is, as always, spectacular.
  15. AC/DC, “What You Do For Money Honey” – The most hateful track on here. Used to remind me of someone in the 90s but those thoughts have long disappeared into the ether.
  16. Alice Cooper, “Billion Dollar Babies” – I’d put Alice Cooper in their prime up against any band from the 70s.
  17. Van Morrison, “Blue Money” – I doubt when Van wrote this song that “blue money” was slang for $100 bills.
  18. Robert Plant, “All The Money In The World” – Plant’s late work is all fantastic and should be played at maximum volume whether it’s with Alison Krauss or just by himself.
  19. The Who, “Put The Money Down” – Great deep cut from Odds And Sods.
  20. Bruce Springsteen, “Easy Money” – I know Billy Joel has a song with the same title from An Innocent Man, but I despise that album.
  21. The Beatles, “Money (That’s What I Want)” – So many versions of this song out there, I had to go with the Beatles.
  22. Crosby & Nash, “Take The Money And Run” – Love these guys as a duo and a lot of their solo work.
  23. Bruce Springsteen, “The Price You Pay” – Often the price we pay isn’t in dollars.
  24. Bob Dylan & The Band, “Million Dollar Bash” – Dylan with his best backing group, The Band… recorded in the basement of the iconic house known as Big Pink.
  25. Bob Seger, “Ain’t Got No Money” – “but I sure gotta whole lotta love.” That pretty much describes me from ages 16 to 35.
  26. Aretha Franklin, “Money Won’t Change You” – The Queen spreading truth. They say money won’t change a man but it only amplifies what was there before. Food for thought.
  27. The Who, “Did You Steal My Money?” – From one of those albums that perhaps only I love.
  28. Don Henley, “If Dirt Were Dollars” – Great Henley deeper album cut.
  29. AC/DC, “Moneytalks” – “Money talks and bullshit walks…” I wonder if they were inspired by Spinal Tap.
  30. AC/DC, “Money Made” – AC/DC have so many tracks on this playlist, I just gave up and put 2 in a row. There is nothing more satisfying than getting that paycheck when you’ve earned it through some good ol’ fashion labor.
  31. Annie Lennox, “Money Can’t Buy It” – One of music’s greatest voices.
  32. Peter Frampton, “(I’ll Give You) Money” – Frampton’s heaviest riff? Great guitar work here.
  33. Beady Eye, “Millionaire” – One of the Rock Chick’s favs.
  34. AC/DC, “Down Payment Blues” – Bon Scott giving us a little darkness on one of my favorite AC/DC LPs, Powerage.
  35. B.B. King, “Paying The Cost To Be The Boss” – I love the original but I almost went with B.B.’s version on Deuces Wild performed with the Stones. Mick and B.B. singing, with Keef and Ronnie Wood riffing… yummy. I do so love the blues.
  36. Scorpions, “Money And Fame” – What everybody wants but few work for…
  37. Bulletboys, “For The Love Of Money” – The Rock Chick turned me onto this 80s rocker.
  38. Black Crowes, “Downtown Money Waster” – Every thing about this tune is cool. And since I lived downtown most of my life, I can identify with the title character.
  39. The Beatles, “You Never Give Me Your Money” – From the second side medley on Abbey Road.
  40. Ray Charles, “Greenbacks” – Ray Charles singing about money is actually money!
  41. Crosby, Stills, Nash & Young, “30 Dollar Fine” – From the expanded/deluxe 50th anniversary edition of Deja Vu. Some times the Man makes you pay the fine.
  42. U2, “Silver And Gold (Live)” – This song is about so much more than money… I took any excuse I could to slip it onto a playlist.
  43. Dave Matthews Band, “Pay For What You Get” – DMB with some early career truth. If the price is too good to be true, turn and walk away.
  44. Van Halen, “Big Fat Money” – I’ve never had big or fat money but it sounds like fun.
  45. Spoon, “Rent I Pay” – The bill is always due, the wolf is always at the door.
  46. Randy Newman, “It’s Money That I Love” – This is true for quite a few people I know… sadly.
  47. Steve Miller Band, “Take The Money And Run” – Two thieves out on the road, running from the law. Ah, the 70s.
  48. Pink Floyd, “Money” – This iconic track is likely their most famous song. I’ve been listening to this a lot in the last few weeks as the band celebrates the 50th anniversary of Dark Side Of The Moon.
  49. Rickie Lee Jones, “Easy Money” – Also covered by Lowell George of Little Feat on his sole solo album.
  50. Rush, “The Big Money” – I knew a woman whose nickname was Big Money…
  51. Patti Smith, “Free Money” – Well I think we could all get on board for a little free money…
  52. The White Stripes, “Honey, We Can’t Afford To Look This Cheap” – Great little B-side from our friends the White Stripes. This track is from Icky Thump, but I’ve been listening to that new 20th anniversary edition of Elephant of late.

There you have it folks. If I missed a favorite song about money of yours, please leave it in the comments section and I’ll see that it gets added to our playlist.

For those of you bummed out about your tax bill today, I suggest turning this playlist up and pouring something brown and murky. For those of you getting a refund, my advice is well, turn this playlist up and pour something dark and murky. Isn’t that always my advice?

Cheers!

New Song Review: Greta Van Fleet Return With “Meeting The Master” – Time To Get Back On The Bandwagon?

~ kcorsini ~ Leave a comment

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While we are mostly focused on older artists who have been around for a while and are putting out either new music or stuff from the vault, we do like to keep our eyes on new rock n roll bands here at B&V. Over the years we’ve shared our thoughts on some great new bands who actually play rock n roll with guitars! and real drums! and bass guitar! I have really liked bands like Dirty Honey and Starcrawler that have come up over the last few years. Starcrawler just recently put out an EP of acoustic versions of some of their previous tracks and there’s nothing more rock n roll than that! Who doesn’t like a good Unplugged-esque album? One of the newer bands who I’m proud to say I got in on early was Greta Van Fleet.

GVF is the brothers Kiszka, Josh on vocals; Jake on guitar; Sam on bass and Danny Wagner on drums. The Rock Chick turned me onto their first EP, Black Smoke Rising and I immediately connected with that Zeppelin-esque rock n roll. I was on the bandwagon for their second EP From The Fires and debut full length album Anthem Of A Peaceful Army. Alas, they lost me a bit on their second album, Battle At The Garden Gate. I found it a bit of a midtempo slog. It sometimes is, as Bono said, “The difficult second album.” I know everybody likes to slag these guys as being a Zeppelin knock off band but I think that’s unfair. You’re always a sum of your influences until you forge your own voice. These guys are all really young and establishing their own unique GVF sound and style. While I can’t say I got off the bandwagon after Anthem Of A Peaceful Army, it cooled my ardor for this band a bit. I found myself putting their music on a little less than I had.

This week I found out that GVF have put out a new song “Meeting The Master” from their upcoming album Starcatcher. Even though my ardor had cooled, I wanted to see what the new track was like. I played it for the Rock Chick who was cool to the track, but I love this song. The Rock Chick even said to me, such was her cool reaction to it, “I’m surprised you like this song.” It starts off very mellow. But make no mistake this is an epic 70s style rock tune. It starts off pretty mellow, just Josh’s voice and Jake’s acoustic guitar. There’s something about the sound of that acoustic guitar that takes me back. It’s very “Rain Song.” I hate that every time I hear a GVF tune I end up comparing it to a Zeppelin tune, but there you go. Anyway, the lyrics are their usually trippy, hippy stuff. At first listen I don’t think anybody would be blamed for thinking the confusing lyrics were written by Anthony Kiedis, the master of nonsensical lyrics. But I finally pulled the lyrics up and realized this was a very spiritual song in terms of lyrics. The young Josh sounds like he’s ready to die to meet his master… which I take to mean his version of God. I’m at best a Pagan, but hey, rage on kid. At the 2:37 mark, the track kicks in. Danny Wagner’s drums come into play and the electric guitar shows up.

There was something about this song that also conjures up early Rush to me. Jake’s guitar solo is spectacular. It’s Hendrix-esque in sound. I’m not comparing this guy to Hendrix, these guys suffer enough comparisons, I’m just saying it’s a great guitar solo. I love the lyric, “What a day to travel faster, Take my trip around the sun…” To be this young and have mortality on your mind… I mean, I get why Depeche Mode focused on mortality on Memento Mori, recently reviewed, but these guys are in their 20s. I’m not sure what this means, hence my Kiedis reference, but I dig it, “And I’m taken by the madness and the tripping and the touching…” I’ve never had a problem with madness, tripping or touching… and by tripping I mean falling. The track is only five minutes long but the way it builds to the guitar solo crescendo, with Josh’s wordless wailing in the back ground makes it feel longer and more epic to me. Here’s the track:

This is the kind of rock n roll I can get into. I am so hopeful that this new album will get these guys back on the track of their early music. Let’s hope this gets us all back on the bandwagon! As I’m fond of saying often, sometimes it’s the third album that’s the charm for a band’s career. Give me all the epic, 70s style, trippy rock n roll I can get. Enjoy this one at maximum volume!

Cheers!

Review: Depeche Mode ‘Memento Mori’ – A Dark Record That Will Just Have To Grow On You…

~ kcorsini ~ 1 Comment

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Some records take time… Like any work of art – be that a movie or a book – sometimes it takes a while for the work to “grow” on you. Depeche Mode’s new album Momento Mori, which came out a few weeks ago, is that type of record. I had to listen to it repeatedly to crack the code. Many records click in my head on the first listen but that didn’t happen with Memento Mori. I realize not everybody is going to be willing to work for the rewards this album will bring but for those who are patient, this is a really good album.

I will admit, anticipation for this new Depeche Mode album, their 15th studio record, was running high here at B&V. We absolutely loved their last LP, 2017’s Spirit. That album was full of rousing anthems like “Where’s The Revolution” and “Going Backwards.” Some critics were put off by Depeche veering into the realm of political commentary in song but I felt it was perfect for the times. Some artists just have a knack for capturing the zeitgeist of a particular moment in time. The Rock Chick and I were so enamored with Spirit, we traveled twice to see them in concert, both in Denver and then in Tulsa.

I’ve been a fan of most of the band’s records from this new millennium, especially Delta Machine. Depeche has been on the track where they deliver an album about every four years. But it’s been six years since Spirit. That long wait probably also fueled our anticipation but as I’m fond of saying anticipation can be tricky. Unchecked anticipation will easily lead you to disappointment. One of the reasons for the longer gap between record had to be the death of founding member Andy Fletcher (keyboards) who did not play on any of the tracks on Memento Mori. And of course the world faced a global pandemic during that stretch of time which obviously had a huge impact on the tone and subject matter of the record. Principle songwriter Martin Gore (guitar/keyboards/vocals) began writing these songs during the lockdown. He started writing many of the tracks with Psychedelic Furs front man Richard Butler. Gore was originally going to release those tracks on a side project, but ended up sending them to lead singer Dave Gahan and they ended up on Momento Mori.

Based on the cover art, a photo of two flower arrangements in the shape of angel’s wings, I figured this album would be a requiem for Fletch. I certainly thought so after hearing the great first single, “Ghosts Again,” which I previously reviewed. But I think the darkness on this album is more universal. These songs were born out of the pandemic, a real low point in my lifetime, and they reflect that dark energy. While Spirit was full of rousing, fighting anthems, Memento Mori is more midtempo throughout. The sound is more industrial rock (albeit on the mellower end of the spectrum) than their previous smoother rock n roll. Perhaps Depeche – now just Gore and Gahan – have once again captured the world’s zeitgeist but it’s just heavier. This album is all about mortality. That can be tough for people to get into. There are many examples of an artist turning their mind towards mortality and I’ve always found it fascinating: Dylan’s Time Out of Mind, Springsteen’s Letter To You, and McCartney’s Dance Tonight while wildly different musically than Memento Mori, cover the same topic. And honestly, it’s not all mortality. There are also songs about obsession and unrequited love.

Musically I must say Gahan’s voice is still magical. The guy has not lost anything over the years. Gore has created such a layered and intricate set of musical textures and moods for Gahan to sing over. Gore will never end up on anybody’s “greatest guitarists of all time” lists but I’ve always been intrigued by the sounds he conjures. Whether it’s an accent or a full on Nine Inch Nails assault on the ears, the guy does interesting things with the six string. The best tracks are where Gahan sings and Gore provides a harmony. Again, if you’re willing to put in the work, this album will grow on you and get under your skin.

The album begins with “My Cosmos Is Mine,” that creeps over you like a sinister fog enveloping a city. Gahan sounds otherworldly on this track. It certainly sets the table for whats coming. At one point it sounds like prayer in desperate times, “No war, no war, no war, No more, no more, no more, no more, No fear, no fear, no fear, no fear, Not here, not here, not here, not here…” That track leads to the second, “Wagging Tongues,” considerably less dense track. This is where Gahan sings with Martin on harmony and it’s money. It’s got a skipping keyboard figure and tinny percussion. “Watch another angel die…” The next track is the sensational new single, “Ghosts Again.” I may have described it as mellow but it’s one of the more upbeat moments here.

“Don’t Say You Love Me,” where Gahan comes on as a chanteuse, is like a song from the most depressing ballroom on the planet. It starts with glacial guitar and keyboards. It’s a powerful torch song/ballad. They then turn on the next track to a more industrial/NIN kind of sound for “My Favorite Stranger.” It’s got tortured guitar and jittery percussion. “My favorite stranger, stand in my mirror, puts words in my mouth…” It sounds like Gahan is a serial killer singing to himself in front of a full length mirror. It certainly begs the question, can we ever know ourselves completely? “Soul With Me” is the Martin lead vocal song. He’s like Keef in the Stones, he gets a track on every album. He’s warbling here and I don’t really dig it. I do like the chorus… “Caroline’s Monkey” is next and it’s really elevated by Gahan’s vocals. I feel like the song never takes off the way it was supposed to but it does pick up in the middle.

“Before We Drown” is one of my favorite songs on the album. It’s more sweeping and grand. “I’ve been thinking, I could come back home…” It’s all about reaching back to a lover and asking, let’s try again. Gahan’s vocal on the track is certainly something special. “People Are Good” harkens back to early Depeche and “People Are People” only this track is more cynical. Over metallic percussion Gahan sings “People are good, keep fooling yourself.” It’s another highlight. “Always You” is a love song bordering on obsession. It turns the concept of the love song on it’s head. Is it romantic or menacing? It’s another great song. The best tracks on this album all seem to be toward the end. “Never Let Me Go” is another NIN squalling guitar song. It also lyrically calls to mind “Never Let Me Down Again,” although not musically. It’s marinated in romantic frustration. The music is discomfiting. Gahan almost spits out the words “I’ve been so patient, I have been so calm.” The album ends on the chilling ballad “Speak To Me” in the same vein as the aforementioned “Don’t Say You Love Me.” I love the line “You’d be my drug of choice.” While it’s a very slow song it builds to a wonderful crescendo.

Any Depeche Mode album the critics love tends to be described as “their best album since Violator.” I think Depeche has put out a number of great records since that landmark album so I shy away from that description. If pressed, I’d admit that I liked Spirit better but it was an easier, more accessible listen. I know not everybody is going to take the time to let this album grow on you – the Rock Chick gave it one listen, described it as “music to weep to,” and left it behind. But it’s albums like this – that grow on me – that tend to stick with me the longest over the years. Everybody should listen to this album, but do so more than once or twice. It wasn’t what I expected but anticipation leads to expectations and no album should be listened to through the filter of expectations. Listen to this one with the headphones on and eventually, like a flower opening, it will reveal itself to you.

Cheers!

Rock Bands With A Disco Song – Can’t Beat ‘Em, Join ‘Em And Dance All The Way To The Top Of The Charts

~ kcorsini ~ 5 Comments

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It was roughly 1977-1978 when I stopped using my nightstand clock/radio – who needs Apple? – to exclusively listen to Royals games at night and started listening to rock and roll music. In what seemed like the blink of an eye, I’d gone from not listening to music at all, unless my brother had extorted my mom into turning on one of the two rock stations in town while we were going somewhere in the Oldsmobile, to constantly listening to music in my room. By that point I had a lot of catching up to do in terms of rock n roll. But during that particular time in music, disco was king. I didn’t know much about music, but I understood early on that if you wanted to be considered “cool” you didn’t listen to disco.

Disco, as defined by Wikipedia is “a genre of dance music and a subculture that emerged in the 1970s from the United States’ urban nightlife scene. Its sound is typified by four-on-the-floor beats, syncopated basslines, string sections, brass and horns, electric piano, synthesizers, and electric rhythm guitars.” As a junior high school aged kid, all you needed to know was that disco was dance music and dancing was well, “for chicks.” At least it was if you were a white, teenage boy in the Midwest suburbs who couldn’t dance. Of course, I’ve never been able to dance. It was my destiny to be a wallflower. It’s hard to describe how pervasive disco really was. The radio was full of Donna Summer, KC and the Sunshine Band and of course, the Bee Gees. If you were a teenage “dude” trying to establish an identity, you didn’t want to be caught dead owning or listening to any of these bands’ music. I certainly wasn’t humming along to “Boogie Shoes.” We liked loud guitar to express our existential angst at becoming young men. Something more aggressive like say, AC/DC… which I guess you could actually dance to… if you’d wanted to?

While disco had been around since the early 70s, the apex of disco was probably when the movie Saturday Night Fever came out in 1977. The soundtrack featuring the aforementioned Bee Gees exploded. John Travolta in a white suit, dancing around like he was being electrocuted was iconic. Of course anything that gets as big as disco is going to cause backlash. Wasn’t Newton’s Third Law of Motion, “To every action, there is always opposed an equal reaction; or, the mutual actions of two bodies upon each other are always equal, and directed to contrary parts.” Well, that was certainly true of disco. It created the whole “Death Before Disco” movement… trust me, it was a movement, there were t-shirts. There was a DJ on our local station, Max Floyd, who went by the moniker General Max Floyd of the Rock N Roll Army whose shtick included playing the first few bars of a disco tune while playing exploding noises as if he were “blowing up” the song. Of course there was the famous Disco Demolition Night at Comiskey Park in Chicago in the middle of a White Sox double-header where a DJ had an anti-disco rally where he actually did blow up a bunch of disco records… the destruction to the field during the ensuing riot caused so much damage to the field the Sox had to forfeit the second game of the night to the Tigers. Seems a tad extreme all these years later… but I bet there’s guys sitting at the Burwood Tap still bragging about being there.

While I didn’t own the t-shirt for “Death Before Disco,” I would have probably worn one had I the chance. I certainly tuned into General Max Floyd every day after school. When you’re a teenager going through puberty, you have no idea who you are so you just try to blend in. And none of us were confident enough to dance or even talk to a girl so forget about disco. But despite all of that macho posturing, in retrospect I’ve come to realize that all of our favorite rock bands were sneaking disco tunes past our defenses and worming their way into our ears. The Rock Stars we all worshiped were all hanging around in Studio 54 or some other famous disco, partying and yes, dancing with super models. That disco stuff had to seep it’s way into our Rock Star’s consciousness and eventually into their music. Unbeknownst to we “Death Before Disco” types, the biggest bands in the world were doing disco tunes: The Stones, Zeppelin, Rod, hell, even the Grateful Dead jumped on the bandwagon. Admittedly, in some cases this was just a crass financial move, calculated to climb the charts: Kiss, ELO, and Eddie Money. But in many of these cases, the bands liked the music and put their spin on it and were wildly successful doing so.

Here is a list of some of my favorite bands and their associated disco tunes. While these were the dread disco you can likely find each of these songs on the artist’s latest “greatest hits” compilation. Why? Because we didn’t, at the time, realize it was disco and loved it. Even a hardline wallflower like me will admit love for most of these tunes. Some of these songs may not be straight up disco, but you can’t deny the disco influence…

  • The Rolling Stones, “Miss You” – Leave it to Mick and the boys to do a disco tune but also bring in blues harp legend Sugar Blue on harmonica to make it feel bluesy. This tune, “Beast Of Burden,” and “Shattered” led me to my first ever LP purchase, Some Girls. Of course for the Stones, they lingered on the disco fascination on their next LP with “Dance (Pt. 1),” and “Emotional Rescue.” Hey, if it worked, can you blame them?
  • David Bowie, “Young Americans” – Bowie was early on the disco train, before it was huge. “1984” on Diamond Dogs was pure disco. I’ve always liked this one though. Of course Bowie would return to disco on “Let’s Dance” in 1983 when he wanted a “hit.”
  • Rod Stewart, “Do Ya Think I’m Sexy” – I would list this song under my guilty pleasures. But a song about a young man meeting a young woman in a club and going home to have a shallow 1-night stand was irresistible to a teenage boy dreaming of such things…
  • Grateful Dead, “Shakedown Street” – The most shocking artist on the list. The venerable Dead of the jam band and cult like fans had a strange fascination with disco… “Nothin’ shakin’ on shakedown street, used to be the heart of town.” I was more fond of their country rock stuff from the early 70s but I’ll admit hitting the volume knob when this track came on.
  • Led Zeppelin, “Dancing Days” – I can’t believe Houses of the Holy and this funky tune are 50 years old this year. “Sippin’ booze is precedent.” I love this song.
  • The Eagles, “One Of These Nights” – This is more disco influenced than disco. But if you listen closely, I defy you to disagree that Henley and Frey were influenced by dance music. “Lookin’ for the daughter of the Devil himself, looking for an angel in white…” I suspect you could find both at your local disco.
  • Pink Floyd, “Another Brick In The Wall, Pt. 2” – Another shocking entry. One doesn’t think of disco when you think of Pink Floyd. But this track does bear the influence of disco. I’m still grooving on the stuff released for the 50th anniversary of Dark Side Of The Moon.
  • The Kinks, “(Wish I Could Fly) Like Superman” – This is more rock n roll but you can’t deny the disco undertones. I feel like the Kinks don’t get the attention they should.
  • Elton John, “The Bitch Is Back” – A favorite of mine despite the disco trappings. I considered “Island Girl” as well, it could easily slide in on this list.
  • Queen, “Another One Bites The Dust” – A great, great Queen song. I had a chance to see them on this tour and I turned it down…
  • The Clash, “The Magnificent Seven” – Even these punk rockers, the World’s Most Important Band, the Clash, weren’t immune to the allure of disco. Of course Elvis Costello said of the Clash, they were only punk on the first two records and after that they just sort of played whatever was in Joe Strummer’s music collection.
  • Thin Lizzy, “Dancing In The Moonlight (It’s Caught Me In The Spotlight)” – At least Thin Lizzy were honest about their intentions, using “dancing” in the title. Great song though.
  • Robert Palmer, “Every Kind Of People” – Palmer before his big 80s, video superstardom, doing a song written by Andy Fraser, former bass player of the great band Free. For some reason I always thought this was a Sly and the Family Stone cover. Wrong!
  • Blondie, “Heart of Glass” – I feel like Blondie was a band who could do anything musically… and get away with it. This song is no exception.
  • Paul McCartney, “Goodnight Tonight” – Other than ELO, this may be the cheesiest tune on here. Macca just turns up the cheese-o-meter to 11. A dance song where the singer pleads to his partner not to get too tired for “love” later… Oh, Paul.
  • Kiss, “I Was Made For Loving You” – Kiss had a song for every fan of almost every music style… I’m surprised they didn’t go country. Good tune though.
  • Eddie Money, “Maybe I’m A Fool” – From Eddie’s uneven third album. He was clearly trying for a hit here. Catchy but betrayed what he did best.
  • Electric Light Orchestra, “Shine A Little Love” – While I’ve always found ELO to be derivative of the Beatles, they do have some great songs. This, is not one of them, but it was a big hit.
  • Jackson Browne, “Disco Apocalypse” – From his misguided Hold Out album. Was this a complaint, a protest against disco or just a disco-ish song? There’s a piece where he lets the back up singer take over lead vocals which was unfortunate. I was very confused by this one…
  • Frank Zappa, “Dancin’ Fool” – In typical Zappa fashion, he recorded this song as a parody of disco to ridicule it and it ended up being the second biggest hit of his career. Dancing all the way to the bank so to speak.

These are the best examples of our heroes, our favorite rock bands going disco. I’m sure many of you have other examples that I might have left out. If so, leave them in the comments section. I’m not sure but there may be a playlist lurking in here somewhere…

Cheers! Dance like no one is watching… yeah, not. No way. Never.

Review: The White Stripes Celebrate The 20th Anniversary of ‘Elephant’ With A Deluxe Version – And Meg White Is Indeed An Awesome Drummer

~ kcorsini ~ 4 Comments

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It’s no secret that we love the White Stripes around here at B&V. I was delighted to see the band release a deluxe version of their landmark 2003 album Elephant in celebration of it’s 20th anniversary. Included in Elephant – Deluxe is the original album and a concert recording from that tour recorded in Chicago. In the words of fellow Detroit native Bob Seger, I can only say, “20 years now, where’d they go, 20 years, I don’t know…” It seems like this record came out yesterday.

This deluxe set comes amidst some White Stripes controversy of late. I don’t feel I can post about the White Stripes without addressing the Elephant in the room. Apparently some idiot journalist wrote an article and made the audacious claim that White Stripes’ drummer Meg White was a terrible drummer. This of course caused a bunch of blow back on Twitter for the idiot. Leader of the White Stripes Jack White and Tom Morello, amongst others, immediately came to the defense of Meg. Let me state for the record that we here at B&V love Meg White’s drumming. She’s not going to get fancy like Neil Peart. She’s not all over the drum kit like Keith Moon. But her bedrock drumming was the foundation that allowed guitarist/singer Jack White to soar. Without Meg White’s drumming, there is no White Stripes. Her drumming is fierce, primal and visceral. Having listened to the White Stripes’ catalog thousands of times over the years and having seen them live I can testify (in my not so humble opinion) she’s one of the best drummers I’ve seen. You won’t see her floating in the air like Tommy Lee but she lifted me out of my seat more than once. Compare Jack’s solo work with his work in the White Stripes and you’ll hear the difference. And we dig most of Jack’s solo work, most recently Entering Heaven Alive.

I think I’m like most people, I discovered the White Stripes when their third album White Blood Cells broke big on the strength of the singles “Fell In Love With A Girl” and “Dead Leaves On The Dirty Ground.” Like many bands, it was the magical third album that broke them big. The Stripes were riding the then current wave of “garage rock” that was supposed to have been to the 2000s what Grunge was to the 90s. I totally hear the “garage rock” part of the Stripes sound. With only the amazing Meg White on drums and Jack White on guitar/keyboards/vocals they were minimalists (to a degree). What I loved about the White Stripes is they have an old school, blues based sound. Most of what they did was rooted in the blues and we’re on record as loving the blues and blues rock here at B&V. Jack White plays the guitar with the grit and dexterity of Bluesmen from a generation (or two) before him. He made no secret of the fact that one of his biggest influences was legendary Bluesman Son House, who has influenced so many who came after him.

I purchased White Blood Cells shortly after I saw the White Stripes on an MTV Awards show, which is embarrassing but I wasn’t listening to the radio that much in those days. The Rock Chick had heard these guys on the alternative rock station in town and was all in. I knew White Blood Cells was the White Stripes’ third album but for some reason I didn’t do my usual “buy the back catalog” thing. I didn’t go out and purchase either The White Stripes (their debut) or De Stijl (their second and perhaps my favorite album). It would appear I was only putting my toe in the water on the Stripes. But then Elephant came out and all of that changed. The first track I heard was “Seven Nation Army” and that’s all it took. I was at the record (er, CD) store the day the album came out with my dollars in my hand.

After hearing Elephant those 20 years ago, I was blown away. It’s a blues rock bonanza. Jack’s musical vision finally came to full fruition. There were so many great songs on the record. “Ball And A Biscuit,” “The Hardest Button To Button” and the aforementioned “Seven Nation Army” are rock n roll standards in my book. “The Air Near My Fingers” and “Hypnotize” are epic guitar freakouts. “I Want To Be The Boy To Warm Your Mother’s Heart” was a piano driven, almost country rock thing that was great. Meg took a turn on vocals for the torch song, “In The Cold, Cold Night” and I loved it. Elephant, in a word, is the perfect White Stripes album. It’s what catapulted them in my mind from a curiosity to a great rock n roll band.

But beyond that, it was on that tour that I saw them in concert for the first time. OMG, as the kids say. They played venerable Memorial Hall over in Kansas City, KS. It seats only 3500 people and as I recall there wasn’t an empty chair. Memorial Hall has seen great acts over the years: Pink Floyd played Dark Side Of The Moon in it’s entirety there, 5 months before the album had come out… Led Zeppelin played two shows there in one day, and no they weren’t booed off stage. Memorial is a small venue but it’s a great place to see a show…not a bad seat in the house. I saw the Rossington Collins Band there but I’m off topic. The Stripes walked on stage with what appeared to be a body guard – a giant man in a three piece, pinstripe suit and a fedora. The stage was simple, just Meg’s drum kit and the amps and Jack’s guitars. They proceeded to bring down the sky. What a concert. I remember hearing their Dolly Parton cover “Jolene” for the first time that night. Apparently they played the Bob Dylan song “Isis” and for the life of me I don’t recall that. Jack strapped on a beat up, gray, wide-body guitar and played a blues riff that sounded eternal and then launched into a song I didn’t recognize. It turns out it was “Death Letter,” a Son House cover. Jack hopped around the stage, always close to Meg’s drum kit and they rocked the house that night. The energy on that stage was contagious… I was convinced Jack White was an unhinged genius that night. I walked out of that concert knowing that the White Stripes were one of the greatest bands of all time. And, yes, the next day I went out and bought their first and second albums to complete my collection (at the time).

With the deluxe version of Elephant the White Stripes have included a full concert, from Chicago, from that very same tour that I saw them on for the first time. I really liked the Stripes “official” live album, Under Great Northern Lights. It’s great, but it didn’t make my list of the greatest live albums ever.  This live concert from Elephant – Deluxe would qualify to enter the discussion amongst the greatest live albums. The energy I experienced in Memorial Hall 20 years ago translate right through the speakers. From hard rocking songs “When I Hear My Name” and “Seven Nation Army” to the quiet moments like Meg’s turn on vocals “In The Cold, Cold Night” or “We’re Going To Friends” (that Jack says was written in the bedroom of a girl named Susie Lee who didn’t care about him at all) they just kill these performances. The setlist is similar but different from when I saw them on this tour. I was knocked out by the Dylan cover on this set, “Lovesick” from Dylan’s Time Out of Mind. They include “Stop Breaking Down” written by Robert Johnson (and covered by the Stones) that they’d included on their debut album. And then threw in another Robert Johnson cover “Stones In My Passway.”

There is so much rock n roll, blues and good times on this live disc it makes this Elephant – Deluxe set absolutely worth the price of admission. I’ve owned the album for 20 years and I’m buying this again just for the live show. This is a must hear, must have. The White Stripes were such a great band and their performances were legendary. I only saw them twice but it was enough to still make me long for Meg White to return from the wilderness, grab Jack by the hand and rock.

Cheers! And Jack, I knew plenty of women like Susie Lee…