Remember, remember, the fifth of November...
Last night I finally watched "V for Vendetta" by the Wachkowski brothers of Matrix fame. Why I didn't see this in the theatre is beyond me. There wasn't as much hype about it at the time perhaps.
Needless to say, this is one of the best movies I've seen. It is absolutely one of the most riveting, poignant, and politically relevant movies, post 9/11. I thought it would be politically more subtle, but it wasn't. It was direct and in-your-face.
But V used a page out of British history as regards one Guy Fawkes, who on November 5, 1605 tried to blow up the British Parliament but was caught and hanged for treason. Over 500 years later, around 2020 (slightly different than the book's 1990's), an anarchist vigilante named "V" used the facial image of Fawkes as a symbolic mask as he sought vindication for his time in prison and his fiery escape which caused full body burns. Britain was under a totalitarian regime (with similarities to Nazi Germany) due to the increased so-called terrorist and viral attacks on the country.
It reminded me of Star Wars episodes II and III and how the Chancellor/Darth Sidious secretly played both sides in creating a galactic conflict for his rise to ultimate power as Emperor to restore "order and peace". Same goes for Napoleon, Hitler, Stalin, Castro, Mao, Saddam Hussein, Pol Pot, Milosovich, Kim Jong, and perhaps Putin and Bush to less of an extent, but there are so many more.
One of the best lines was when V used every single word starting with V in one long sentence. His vernacular was very vilifying!
But without giving out too much plot, the few action scenes were excellent and didn't make it the focus of the movie, unlike Matrix to an extent. The focus was the continued political battle between anarchism vs. fascism. As someone who enjoys politics and ideology, one theory is if group think is at the far right, to destroy it, approach from the far left. This movie warns us that if we want to maintain our freedom and democracy, we must not give in to fear in the name of security and so-called peace, but if we do willingly and ungrudgingly succumb to it and listen to leaders who spout rhetoric that actually goes against freedom and libertarian ideals, we are doomed, and only revolution can turn the tide so to speak. And history is rife with such examples. WWII was a revolution against fascism and we won.
Anyway, Natalie Portman was awesome and believable and is there anything that Hugo Weaving can't do?
Ultimately, this movie made you really think. With Britain already having installed surveillance cameras everywhere, much tightened airport and border security, more and more laws, especially in the US, that border on violation of privacy and freedom, the timing of the movie was actually interesting. It was supposed to be released on none other than Nov. 5, but was delayed due to the underground bombings in Britain. How poignant indeed.
Hatrock gives "V for Vendetta" 4.5 fists out of 5.
Tuesday, November 13, 2007
Tuesday, October 23, 2007
Blue Rodeo - Small Miracles
Okay kids, Blue Rodeo's new studio album, "Small Miracles", their 13th, has been out for a month and let me say that it's very good and is an improvement over their last one, "Are You Ready", but it still isn't a "Five Days In July" or "The Days In Between", but is easily in their top five of all time. Let's pick it apart, shall we?1. So Far Away - This opening track doesn't wow you, but it gets the album going, showing you that the band still has that classic sound we all know and love. Not really a memorable song though.
2. This Town - The starting piano ballad is common sound, yet original and delicate, and Jim's voice beckons out so smoothly. The song builds with a tried and true melody on top of layered instruments, augmented chords, and volume, giving it a nice dynamic. Greg's solo is simple, reminding me of his soul infused solo on "Five Days In May". For some reason, the chorus reminds me of that song, "Our House, is a very very fine house. With two kids in the yard, life wouldn't be so hard ..." Regardless, a beautiful memorable song.
3. Blue House - This is one of those fun, square dance type Blue Rodeo songs that are fun to sing a long to. There's always one of these on every album, yet they're so refreshing.
4. 3 Hours Away - Another classic Jim ballad, but with an upbeat feel added by the drum snare shuffle.
5. It Makes Me Wonder - This song has a southern rock feel with a slight Celtic hint, like Lynyrd Skynyrd meeting Tom Petty in Dublin or something. The chorus doesn't sound repetitive due to every other measure having that minor chord thrown in which darkens the feel of the sound. Greg's voice is earthy, distinct, while the rest of the band, especially the piano, round out the sound nicely.
6. Summer Girls - One of my personal favourites on the album. A pop-rock sound sung by Jim, it has a Beatles/British feel to it as if the sound of the band's song "Somebody Waits" was used as a template. The chorus is just awesome, fun to sing, an once again, an augmented minor is thrown in to keep it interesting. It blows my mind that after all these years and all these songs, the band can pump out an original song like this.
7. Together - This is Blue Rodeo's first bossanova song as far as I know, and they execute it wonderfully. Soft and subtle, yet determined. The jazz guitar chords are absolutely perfect and Greg's delicate voice fills the void while the bossanova drum beat carries it through, like you were on the Riviera waiting for that special someone to walk by.
8. Mystic River - It's these types of Blue Rodeo songs that I really enjoy. Just driving in the car down the highway with a friend, singing along and soaking in the special moments. It's a song that puts a smile on your face. Jim is loving those augmented chords thrown in there, giving it that weird but goofy fun feel.
9. Black Ribbon - A wonderful Canadian-Celtic song; this is true classic Blue Rodeo, with the reverberated guitar reminiscent of parts in "Diamond Mine". Greg's lazy voice rings wonderfully, as though he just had some whisky, and with all his deep passion, goes up on stage and plays a dirge about his darkest feelings. You can hear it in his voice. The chorus opens up the song, then it breaks down, simply setting you up for the darker moments. The song has an oaky-wood feel and thus we can say it was beautifully hand crafted.
10. C'mon - This is definitely the feel-good pop song on the album and probably why it was chosen to be it's first single. Jim's voice is fun, as if he's singing to you, and you feel part of the group... especially with the chorus telling you to "C'mon, c'mon, c'mon, c'mon down with us." Okay! Sure, don't mind if I do!
11. Small Miracles - The title track is in 3/4 time, like a steady waltz and is in stark contrast to the previous song. A very nice song though.
12. Beautiful - Easily one of Blue Rodeo's "coolest" songs broken into two parts--the first a bit slow, as if it were setting it up for a more modern, Sunday afternoon coffee shop feel with it's funky beat and repeated line, "Almost as beautiful ... almost as beautiful, almost aaas ... almost as beautiful as you..." It's a new sound for the band, one that was surprising that I thoroughly enjoy, but they nail it down showing their vast style repertoire. The bass lines by Baz really round out the song ... I didn't know he could play like that.
13. Where I Was Before - This is a repeat song of "3 Hours Away" but done differently. While the first version was more upbeat, this one is slower. Another interesting concept. It's as if they tried a few ways of playing it, and couldn't decide on which one would be best so they just said, "Let's put both in!" Sure, why the hell not!
Overall, I really like this album and have been listening to it over and over since I bought it. It's the perfect autumn album, with the trees changing colour, several tracks like "Summer Girls" and "Beautiful" reflect this transitional phase which does have an effect on our psyche. The timing of the album's release at the end of summer is timely and appropriate. I'd go so far as to call this a concept album--a soundtrack for autumn, with the band "experimenting" new styles, dynamics, and bringing them together in one seemless band of change fall colours, just like the season itself.
My only critique is that there aren't as many songs I could churn out on the guitar around the campfire with some beer, but rather sit around a piano with a glass of port. The band has obviously matured. At times it's too slow, and lacks the teeth I enjoyed on "The Days In Between", but it's definitely an album I'll add to my driving through the mountains soundtrack. The variety is good enough to keep it interesting.
Hatrock gives "Small Miracles" by Blue Rodeo, 4.29 fists out of 5.
Thursday, August 09, 2007
Album sales dropping
I was recently reading an article in Rolling Stone that showed several graphs of how album sales have been steadily declining over the past 6 years while track downloading/sharing has increased. The music industry always quickly blames listeners for "illegally" downloading music which has put a big $$$ dent in the biz.
While I continue to buy CDs, I don't "buy" into that argument.
In a supply and demand market, people will usually go for the cheaper if they can get it, and in the case of downloading, it's free.
But there's something different about music. You're not buying the physical CD as they cost only a few cents. You're buying the right to listen to the intellectual property in a predesignated format.
I've got a lot of good old LPs, that instead of rebuying that intellectual property, or buying another adapter dealie to transfer from LP to my computer, it's quicker for me to simply download, and then only the tracks that I want (although there are several B-side gems out there).
If there's a good new rock band on the scene, like Wolfmother, I'll buy the CD and check it out. But that has become more rare lately.
There are old bands that have been around for a while that also have a strong fan base, who'll buy their CDs, DVDs, shirts and stuff without a blink, and attend their live shows, no matter what the ticket price. Personally, I have several bands that no matter what, I'll buy their CD, to show my support and appreciation.
How many of the artists in the Billboard Top 100 can say that? Isn't a lot of the music out there just regurgitated variations of the same crap?
Why are so many old bands back together and touring?
As I mentioned, it's called supply and demand. Producers supply the goods depending on the demand from consumers. And in the case of the North American music biz, the goods simply suck, and the consumers aren't buying it.
Artists need to get more creative, originality and variations on their albums. Take bands like Foo Fighters and Green Day, whose recent concept albums won much praise, where songs are long, blend into each other, and an overall theme is generated. The best albums of all time all follow that template and most of those are from the 70's, believe it or not.
Also, take note of album reviews in magazines. Haven't seen too many 4 or 5 star albums out there recently. Most albums nowadays aren't albums anymore. They're a file repository of random tracks of random thoughts.
People are downloading the one or two hit songs from an album, but don't see the need to buy the whole thing, as those b-side gems just don't exist anymore.
So don't feel guilty, you downloaders. It's not your fault. You deserve better and it's obvious you're demanding better too.
While I continue to buy CDs, I don't "buy" into that argument.
In a supply and demand market, people will usually go for the cheaper if they can get it, and in the case of downloading, it's free.
But there's something different about music. You're not buying the physical CD as they cost only a few cents. You're buying the right to listen to the intellectual property in a predesignated format.
I've got a lot of good old LPs, that instead of rebuying that intellectual property, or buying another adapter dealie to transfer from LP to my computer, it's quicker for me to simply download, and then only the tracks that I want (although there are several B-side gems out there).
If there's a good new rock band on the scene, like Wolfmother, I'll buy the CD and check it out. But that has become more rare lately.
There are old bands that have been around for a while that also have a strong fan base, who'll buy their CDs, DVDs, shirts and stuff without a blink, and attend their live shows, no matter what the ticket price. Personally, I have several bands that no matter what, I'll buy their CD, to show my support and appreciation.
How many of the artists in the Billboard Top 100 can say that? Isn't a lot of the music out there just regurgitated variations of the same crap?
Why are so many old bands back together and touring?
As I mentioned, it's called supply and demand. Producers supply the goods depending on the demand from consumers. And in the case of the North American music biz, the goods simply suck, and the consumers aren't buying it.
Artists need to get more creative, originality and variations on their albums. Take bands like Foo Fighters and Green Day, whose recent concept albums won much praise, where songs are long, blend into each other, and an overall theme is generated. The best albums of all time all follow that template and most of those are from the 70's, believe it or not.
Also, take note of album reviews in magazines. Haven't seen too many 4 or 5 star albums out there recently. Most albums nowadays aren't albums anymore. They're a file repository of random tracks of random thoughts.
People are downloading the one or two hit songs from an album, but don't see the need to buy the whole thing, as those b-side gems just don't exist anymore.
So don't feel guilty, you downloaders. It's not your fault. You deserve better and it's obvious you're demanding better too.
Tuesday, May 08, 2007
Rush - Snakes & Arrows - Live Review
Live blogging, listening to the new Rush album, "Snakes & Arrows". It's been five years since their last original studio album, Vapor Trails, which was really good and angry, filled with hard, punchy sounds. A couple years after that, they put out "Feedback" which had them for the first time since they started out about 34 years ago, do cover tunes. Let's see if this one matches up, and perhaps blends things together.
1. Far Cry (5:18)
Awesome. Off time full on band riff. I love it when they do that. It's fucking raw Rush. Geddy's bass kicks ass. It's been getting some radio play. This is a much better engineered album already over their last couple. The guitars aren't as compressed and seem to come through much better. Just an excellent mix. I'm excited to hear the rest.
2. Armor and Sword (6:36)
Loving the high bass riff, acoustic guitar, and ambiance. Lyrics razor through. Chorus opens up and lets the song breathe with Geddy's beautiful harmony vocals round it out and Neil's tom tom roll blends well. Excellent song. I look forward to hearing it again.
3. Workin' Them Angels (4:46)
Geddy is missing what he used to do really well, and that is melodies. This is a bit of a filler song that isn't really grabbing me and sounds like some of their other songs. But I like the mandolin there Alex! Almost has a slight Celtic feel with whistle hints. Neil's drums sound really, really good though. And I don't mean his awesome playing, but just the "sound" of them.
4. The Larger Bowl (4:07)
Wow, more acoustic guitar. Liking the riff, Alex! Now we have some melody, Geddy! Ah yes, the bass comes in nicely. I really like this song so far. We got dynamics and a really good groove. I want to learn this on the guitar already. Drums once again, rip through, and the solo intro with Geddy doing what he does best on his bass, and Alex's solo itself are perfect.
5. Spindrift (5:23)
The last song nicely blends into this puppy. And odd erie distant guitar is heard and then it kicks in. What a fucked up riff and chord arrangement. Very progressive. I love how it kicks in and builds up. You know what I like most? The delay on the guitars. Again, an excellent sounding album. The bridge into the chorus is nicely done. Wow, Neil's drumming ... sooo good. You can really tell he had a lot of input on song arrangement. Oh! Just when you thought it was over, they kick you in the nuts with even more delay on the guitars. Very, very cool. Takes me back to Caress of Steal a bit with its weirdness.
6. The Main Monkey Business (6:01) - Instrumental
Oh wicked! More acoustic guitar with a high bass and ambient sounds and Neil giving it an African feel. They are really reaching the never before found riffs. Again, Alex's electric guitar hasn't sounded this good in a looong time. Geddy's using his voice as an instrument. I really, really like this song and glad they're keeping the instrumentals going. They are the masters of it. Oh, listen to Neil get louder and louder there at about 2:50. This is just chalk full of dynamics. This is true progressive hard rock baby! Seven more songs to go too! Oh the drums are just ripping through. Neil is God.
7. The Way the Wind Blows (6:28)
No time wasted between songs. This is a bit of a bluesier feel with a slow steady beat. I'm really hearing some influence from the "Feedback" cover album they did a few years ago. I think they really reconnected with their roots again, because I can realy hear it. This is a very flowing album. Again, lots of acoustic guitar and some beautiful singing combined with some killer riffs. I'm glad they're letting songs breathe by not having it full on all the time. A very earthy song ending on a nice major chord.
8. Hope (2:02) - Instrumental
Alex "Lerxst Lifeson" wrote this one "all by himself". That's what it says in the liner notes. Here we go... AWESOME!!! This has a Jimmy Page feel to it. I've never heard Alex play like this. Acoustic 12 string, flowing, and yet raw with good volume changes. Short and sweet.
9. Faithless (5:31)
This song starts on the same chord the last one ended on, so there's a nice transition. Geddy's high bass riff is really cool here. Again, they tease with a slower beat then Neil kicks in with a steady one kicking up the energy. I most certainly like this tune. Good melodies. And now for the chorus, some more acoustic guitar but with an orchestral pad (or real violins?) on the 7th note in the background, again, letting the song breathe out. I just love the direct talk in the chorus:
Oh, the solo just screams! Wow! The song ends on "and that's faith enough for me" and a minor chord with crazy guitar effects fading out. Cooool.
10. Bravest Face (5:11)
Comes in hard, then quiets down with some cool acoustic guitar augmented chords ... again! This feels like it continued on from the last song.
11. Good News First (4:51)
Cool groove. Sounds like a typical Rush song so far, but with a few accents from Neil. Then it breaks down, which is turning into a common new expectation on this album. The chorus breathes again and then the song ends on a major chord. This is a much more mature sounding album. It feels like they took the best dynamics from their last three albums and added more acoustic, more FEEL, and more SOUL.
12. Malignant narcissism (2:16) - Instrumental
Rush has never put three instrumentals on an album. I know of one other album that does this, but it's from Yes, and it's one of their best--Fragile. Being that it had three instrumentals on it, I can see where they get some ideas. The song stars... oh this just totally fucking kicks ass. Geddy's bass dominates this puppy. And again ... the song really breathes out with some woman in the back talking and Alex wailing , then it kick back in. There's a YYZ feel to it, definitely, with drum breaks for Neil, who obviously delivers. Shit, I wish it went on longer!
13. We Hold On (4:12)
Cool hard edged tune that really grooves with little screams from Alex's guitar.
Artwork
Rush's albums/CD cover art and photography have always been known for their beauty and relevance to the album at hand. Hugh Syme once again, delivers
Lyrics
I don't normally pay attention to lyrics, but with Neil Peart, you just can't help it. Vapor Trails felt like an album for Neil to let out his passion and frustration with the death of his daughter and wife. You can really hear it in his lyrics for "Ghost Rider" of which he wrote a book on his motorcycle travels through North America. But now after going though his healing period, he's doing some soul searching, but he has a good idea of who he is. With lyrics like "No one gets to heaven without a fight", he knows what he has to do, just wants to remind himself to follow through. Songs like "Faithless" tell us he believes in what HE believes in for his own good reasons, not because someone tells him what to believe and have faith in.
Conclusion
This is Rush's best engineered album. Yes, I'm saying it. The sound is impecible. You can hear every instrument, effect, and voice just come right through the speakers.
There are dynamics that I haven't heard from them in a long time, if at all. It is a bit mellower than Vapor Trails, but well written, melodic, beautifully thought out, and overall has an earthy feel to it, something new for them to be consistently on one album. Like I said, they seem to reach back to their roots with added energy, drive, and distinctive collaboration and originality. I'd even almost go so far as to call it a true concept album. I say that because of the three instrumentals, dynamics from song to song, track blending, but most of all from its common dark edgy yet hopeful feel to it all.
Waiting five years for an original studio album is a long time; it was most certainly worth the wait. Overall, this is an excellent album and I'd give it 4.29 fists out of 5.
My only critique is Geddy is doing to0 many harmonies on verses and I'm preferring his mid range voice a lot more, especially with Alex's acoustic strumming along like on "The Larger Bowl". His high voice with the harmonies gets on my nerves sometimes--it's overkill. I prefer it when he uses just one vocal track, with the odd hint of harmony here and there.
Neil's drumming honestly couldn't be better. He doesn't hold back and his arrangements truly compliment each and every bar of every song. Alex's acoustic work has a brilliant sound, he adds some really cool hooks here and there on electric, his guitar never sounded better, and Geddy's groovy bass riffs still blow my mind away.
I'm going to have to listen to this puppy a few more times to distinguish the songs. After that, it'll definitely be an album I can drive to the mountains to and one that'll be in my CD player for a loooong time. There is no other band out there right now that has the mix and style of songs that Rush has on "Snakes & Arrows". Even if you're not a huge Rush fan, this is just a good album overall.
1. Far Cry (5:18)
Awesome. Off time full on band riff. I love it when they do that. It's fucking raw Rush. Geddy's bass kicks ass. It's been getting some radio play. This is a much better engineered album already over their last couple. The guitars aren't as compressed and seem to come through much better. Just an excellent mix. I'm excited to hear the rest.
2. Armor and Sword (6:36)
Loving the high bass riff, acoustic guitar, and ambiance. Lyrics razor through. Chorus opens up and lets the song breathe with Geddy's beautiful harmony vocals round it out and Neil's tom tom roll blends well. Excellent song. I look forward to hearing it again.
3. Workin' Them Angels (4:46)
Geddy is missing what he used to do really well, and that is melodies. This is a bit of a filler song that isn't really grabbing me and sounds like some of their other songs. But I like the mandolin there Alex! Almost has a slight Celtic feel with whistle hints. Neil's drums sound really, really good though. And I don't mean his awesome playing, but just the "sound" of them.
4. The Larger Bowl (4:07)
Wow, more acoustic guitar. Liking the riff, Alex! Now we have some melody, Geddy! Ah yes, the bass comes in nicely. I really like this song so far. We got dynamics and a really good groove. I want to learn this on the guitar already. Drums once again, rip through, and the solo intro with Geddy doing what he does best on his bass, and Alex's solo itself are perfect.
5. Spindrift (5:23)
The last song nicely blends into this puppy. And odd erie distant guitar is heard and then it kicks in. What a fucked up riff and chord arrangement. Very progressive. I love how it kicks in and builds up. You know what I like most? The delay on the guitars. Again, an excellent sounding album. The bridge into the chorus is nicely done. Wow, Neil's drumming ... sooo good. You can really tell he had a lot of input on song arrangement. Oh! Just when you thought it was over, they kick you in the nuts with even more delay on the guitars. Very, very cool. Takes me back to Caress of Steal a bit with its weirdness.
6. The Main Monkey Business (6:01) - Instrumental
Oh wicked! More acoustic guitar with a high bass and ambient sounds and Neil giving it an African feel. They are really reaching the never before found riffs. Again, Alex's electric guitar hasn't sounded this good in a looong time. Geddy's using his voice as an instrument. I really, really like this song and glad they're keeping the instrumentals going. They are the masters of it. Oh, listen to Neil get louder and louder there at about 2:50. This is just chalk full of dynamics. This is true progressive hard rock baby! Seven more songs to go too! Oh the drums are just ripping through. Neil is God.
7. The Way the Wind Blows (6:28)
No time wasted between songs. This is a bit of a bluesier feel with a slow steady beat. I'm really hearing some influence from the "Feedback" cover album they did a few years ago. I think they really reconnected with their roots again, because I can realy hear it. This is a very flowing album. Again, lots of acoustic guitar and some beautiful singing combined with some killer riffs. I'm glad they're letting songs breathe by not having it full on all the time. A very earthy song ending on a nice major chord.
8. Hope (2:02) - Instrumental
Alex "Lerxst Lifeson" wrote this one "all by himself". That's what it says in the liner notes. Here we go... AWESOME!!! This has a Jimmy Page feel to it. I've never heard Alex play like this. Acoustic 12 string, flowing, and yet raw with good volume changes. Short and sweet.
9. Faithless (5:31)
This song starts on the same chord the last one ended on, so there's a nice transition. Geddy's high bass riff is really cool here. Again, they tease with a slower beat then Neil kicks in with a steady one kicking up the energy. I most certainly like this tune. Good melodies. And now for the chorus, some more acoustic guitar but with an orchestral pad (or real violins?) on the 7th note in the background, again, letting the song breathe out. I just love the direct talk in the chorus:
I don't have faith in faith
I don't believe in belief
You can call me faithless
But I still cling to hope
And I believe in love
And that's faith enough for me.
Oh, the solo just screams! Wow! The song ends on "and that's faith enough for me" and a minor chord with crazy guitar effects fading out. Cooool.
10. Bravest Face (5:11)
Comes in hard, then quiets down with some cool acoustic guitar augmented chords ... again! This feels like it continued on from the last song.
11. Good News First (4:51)
Cool groove. Sounds like a typical Rush song so far, but with a few accents from Neil. Then it breaks down, which is turning into a common new expectation on this album. The chorus breathes again and then the song ends on a major chord. This is a much more mature sounding album. It feels like they took the best dynamics from their last three albums and added more acoustic, more FEEL, and more SOUL.
12. Malignant narcissism (2:16) - Instrumental
Rush has never put three instrumentals on an album. I know of one other album that does this, but it's from Yes, and it's one of their best--Fragile. Being that it had three instrumentals on it, I can see where they get some ideas. The song stars... oh this just totally fucking kicks ass. Geddy's bass dominates this puppy. And again ... the song really breathes out with some woman in the back talking and Alex wailing , then it kick back in. There's a YYZ feel to it, definitely, with drum breaks for Neil, who obviously delivers. Shit, I wish it went on longer!
13. We Hold On (4:12)
Cool hard edged tune that really grooves with little screams from Alex's guitar.
Artwork
Rush's albums/CD cover art and photography have always been known for their beauty and relevance to the album at hand. Hugh Syme once again, delivers
Lyrics
I don't normally pay attention to lyrics, but with Neil Peart, you just can't help it. Vapor Trails felt like an album for Neil to let out his passion and frustration with the death of his daughter and wife. You can really hear it in his lyrics for "Ghost Rider" of which he wrote a book on his motorcycle travels through North America. But now after going though his healing period, he's doing some soul searching, but he has a good idea of who he is. With lyrics like "No one gets to heaven without a fight", he knows what he has to do, just wants to remind himself to follow through. Songs like "Faithless" tell us he believes in what HE believes in for his own good reasons, not because someone tells him what to believe and have faith in.
Conclusion
This is Rush's best engineered album. Yes, I'm saying it. The sound is impecible. You can hear every instrument, effect, and voice just come right through the speakers.
There are dynamics that I haven't heard from them in a long time, if at all. It is a bit mellower than Vapor Trails, but well written, melodic, beautifully thought out, and overall has an earthy feel to it, something new for them to be consistently on one album. Like I said, they seem to reach back to their roots with added energy, drive, and distinctive collaboration and originality. I'd even almost go so far as to call it a true concept album. I say that because of the three instrumentals, dynamics from song to song, track blending, but most of all from its common dark edgy yet hopeful feel to it all.
Waiting five years for an original studio album is a long time; it was most certainly worth the wait. Overall, this is an excellent album and I'd give it 4.29 fists out of 5.
My only critique is Geddy is doing to0 many harmonies on verses and I'm preferring his mid range voice a lot more, especially with Alex's acoustic strumming along like on "The Larger Bowl". His high voice with the harmonies gets on my nerves sometimes--it's overkill. I prefer it when he uses just one vocal track, with the odd hint of harmony here and there.
Neil's drumming honestly couldn't be better. He doesn't hold back and his arrangements truly compliment each and every bar of every song. Alex's acoustic work has a brilliant sound, he adds some really cool hooks here and there on electric, his guitar never sounded better, and Geddy's groovy bass riffs still blow my mind away.
I'm going to have to listen to this puppy a few more times to distinguish the songs. After that, it'll definitely be an album I can drive to the mountains to and one that'll be in my CD player for a loooong time. There is no other band out there right now that has the mix and style of songs that Rush has on "Snakes & Arrows". Even if you're not a huge Rush fan, this is just a good album overall.
Wednesday, March 28, 2007
An Army of Anyone Supergroup
Maybe just call them Army of One, but I gotta tell ya, newly formed supergroup Army of Anyone is currently the only real and true mainstream rock band out there.
Formed by the former singer of Filter and the rest of the boys from Stone Temple Pilots, their current hit "Goodbye" combines the crazy 1/8th note rocker riffs of old STP days and ties in nicely with one of the most anthemic choruses I've ever heard. And guess what? There's a mean guitar solo in there (remember those?) When's the last time you heard a guitar solo in a Nickelback song or any of the mope-rock bands? And the drumming is unfreakinbelievable, especially at the end.
With other supergroups like Audioslave done, Foo fading, Pearl Jam not generating that power they once had, Queens of the Stone Age out for now, and awaiting on Velvet Revolver's new album, there's one band standing right now.
Yet once again, AoA proves that the musicians bourne out of the late-80's/early 90's grunge scene are still 1) way better musicians, and 2) the only ones keeping real rock in the mainstream.
Formed by the former singer of Filter and the rest of the boys from Stone Temple Pilots, their current hit "Goodbye" combines the crazy 1/8th note rocker riffs of old STP days and ties in nicely with one of the most anthemic choruses I've ever heard. And guess what? There's a mean guitar solo in there (remember those?) When's the last time you heard a guitar solo in a Nickelback song or any of the mope-rock bands? And the drumming is unfreakinbelievable, especially at the end.
With other supergroups like Audioslave done, Foo fading, Pearl Jam not generating that power they once had, Queens of the Stone Age out for now, and awaiting on Velvet Revolver's new album, there's one band standing right now.
Yet once again, AoA proves that the musicians bourne out of the late-80's/early 90's grunge scene are still 1) way better musicians, and 2) the only ones keeping real rock in the mainstream.
Monday, March 19, 2007
So you're at a wedding...
Annoying songs from the late 70's and early 80's still played ALL THE TIME in nite clubs and weddings and loved by kids today:
"Oh Mickey your so fine, your so fine, you blow my mind, hey Mickey!" - Toni Basilsagerosemaryandthyme
"I love rock n roll, put another dime in the juke box, baby." - Joan Jettison
"Stayin' Alive" - HeeBeeGeeBees
"Dancin' Queen" - ABBADABBADOO
"YMCA" - Value Village People
"I Will Survive" - Gloria Gaynorstraight (?)
"You spin me right round, baby, right round, like a record baby" - Dead or Alive but Wish They Were Dead
"Billie Jean" - Michael Jackolantern. Me, I'd prefer Billy Dee, as in Lando Calrissian than MJ anymore.
"Paradise by the Dashboard Light" - Meatplow. This usually has the guys and gals on either side "singing" to each other, but no one knows the lyrics, so they mumble it, except for one couple who raise the bar as they've been singing it in the car since 1981 on their annual camping trip to Johnston Lake.
And are you now totally sick of Bran Van Morrison's "Brown Eyed Trout" now? Does anyone really get the joke of this song?
This song is ALWAYS followed by "Cecilia" by Simple Simon and Worthless Art Garfunkle. Does anyone know that it's "I fall on the floor and I'm laughing"?
"I knew the bride when she used to rock n roll" - Nick something or other. This usually has a line dance to it and all the women go "Oooah, oooah, wooh-wooh" in unison. Cute, but bloody annoying. When is it going to stop?
This is usually followed by "Wild One" by that skinny old guy and more (*gasp*) line dancing.
And since everyone is line dancing anyway, we often get the country music inserted here:
"Achy Breaky Heart" by Mullet Boy
"Friends in Low Places" by Garth Brooks n Dunn That, which song you'll usually find the drunk uncles at the host bar putting their arms around each other or to their nephews telling them about their lost love.
And let's not forget "Mony Mony" by Billy Idoltry. You know that lyric which everyone throws in there after each line ... "Hey mother____, get __, get ___ed". The kids still do it! We were chanting this at hall parties 20 years ago! What have we done?!
And for the rap "Funky Cold Medina" by Tone Deaf Loc and "Bust A Move" by Wasn't That Young MC are usually on the menu, followed by "Ice Ice Baby" by Vanilla Fudge Icehead aka Rob "Spaz" Van Dam Winkle.
Often some AC/DC "You Shook Me All Night Long" is thrown in there to satisfy the one or two rocker chicks in the crowd.
Then for the oldtimers, they always play a 50's medley with Elvis, Buddy Holly, Bill Hailey and the Comets in there, then a Beatles medley because your aunt Betsy love Ringo Starr and "I Wanna Hold Your Hand".
Then when the oldtimers get tired, we gotta keep the teens out there, so we got some J-Lo and "Waiting for the Night ... oh oh ..." blah blah blah. Britney "Shave My Head Baby one more time" yadda yadda.
ENOUGH IS ENOUGH!!!
Everyone of these songs is played at a wedding, 100% guaranteed and can still be heard everyday in North America at bars, nite clubs, and even on the radio. It's sad really and I blame the DJ companies for subjecting us to this mindless, soulless tripe, year after year, decade after decade.
"Do you really want to hurt me?" goes the song. I think they do. I really do.
"Oh Mickey your so fine, your so fine, you blow my mind, hey Mickey!" - Toni Basilsagerosemaryandthyme
"I love rock n roll, put another dime in the juke box, baby." - Joan Jettison
"Stayin' Alive" - HeeBeeGeeBees
"Dancin' Queen" - ABBADABBADOO
"YMCA" - Value Village People
"I Will Survive" - Gloria Gaynorstraight (?)
"You spin me right round, baby, right round, like a record baby" - Dead or Alive but Wish They Were Dead
"Billie Jean" - Michael Jackolantern. Me, I'd prefer Billy Dee, as in Lando Calrissian than MJ anymore.
"Paradise by the Dashboard Light" - Meatplow. This usually has the guys and gals on either side "singing" to each other, but no one knows the lyrics, so they mumble it, except for one couple who raise the bar as they've been singing it in the car since 1981 on their annual camping trip to Johnston Lake.
And are you now totally sick of Bran Van Morrison's "Brown Eyed Trout" now? Does anyone really get the joke of this song?
This song is ALWAYS followed by "Cecilia" by Simple Simon and Worthless Art Garfunkle. Does anyone know that it's "I fall on the floor and I'm laughing"?
"I knew the bride when she used to rock n roll" - Nick something or other. This usually has a line dance to it and all the women go "Oooah, oooah, wooh-wooh" in unison. Cute, but bloody annoying. When is it going to stop?
This is usually followed by "Wild One" by that skinny old guy and more (*gasp*) line dancing.
And since everyone is line dancing anyway, we often get the country music inserted here:
"Achy Breaky Heart" by Mullet Boy
"Friends in Low Places" by Garth Brooks n Dunn That, which song you'll usually find the drunk uncles at the host bar putting their arms around each other or to their nephews telling them about their lost love.
And let's not forget "Mony Mony" by Billy Idoltry. You know that lyric which everyone throws in there after each line ... "Hey mother____, get __, get ___ed". The kids still do it! We were chanting this at hall parties 20 years ago! What have we done?!
And for the rap "Funky Cold Medina" by Tone Deaf Loc and "Bust A Move" by Wasn't That Young MC are usually on the menu, followed by "Ice Ice Baby" by Vanilla Fudge Icehead aka Rob "Spaz" Van Dam Winkle.
Often some AC/DC "You Shook Me All Night Long" is thrown in there to satisfy the one or two rocker chicks in the crowd.
Then for the oldtimers, they always play a 50's medley with Elvis, Buddy Holly, Bill Hailey and the Comets in there, then a Beatles medley because your aunt Betsy love Ringo Starr and "I Wanna Hold Your Hand".
Then when the oldtimers get tired, we gotta keep the teens out there, so we got some J-Lo and "Waiting for the Night ... oh oh ..." blah blah blah. Britney "Shave My Head Baby one more time" yadda yadda.
ENOUGH IS ENOUGH!!!
Everyone of these songs is played at a wedding, 100% guaranteed and can still be heard everyday in North America at bars, nite clubs, and even on the radio. It's sad really and I blame the DJ companies for subjecting us to this mindless, soulless tripe, year after year, decade after decade.
"Do you really want to hurt me?" goes the song. I think they do. I really do.
Tuesday, February 20, 2007
We're back!
After a year hiatus, I've decided to start posting here again. Whether my other cohorts decide to, it's up to them. I'm going to focus on music, movies, radio, television, and culture in general.
So what has happened in rock music in the last year?
Wolf Mother
An Aussie band that's been kicking ass on the award shows and the charts. Influences include The Jimi Hendrix Experience, The Who, Black Sabbath, Led Zeppelin and Deep Purple, Cream and Styx. So they gotta be good right? Yes, they are. Can they continue where Jet left off?
The Killers
What's The Cure to kill off this band for good?
The Police reunion
They opened up the Grammy's, and have finished recording in Vancouver, and hit the road right away. But will Stingalingadingdong still control the band? Will Stewart Copeland tolerate the repetitive fade out chorus endings? Will Andy Summers find that augmented 67th minor chord he's been searching for?
Milhouse Van Halen
There's a Van Halen reunion with David Lee Roth but sans Michael Anthony. (Is that really a reunion?) I saw them in concert about two and a half years ago with Sammy. Not a great show, but not a bad show either. Sammy kind of ruined it for me. Can Diamond Dave still do the splits at his age?
Chris Cornell leaves Audioslave
The friggin guy doesn't even have the decency to tell his bandmates to their face. They learn it by watching him announce it on TV. Tsk tsk. Regardless, this is sad news, being that I always thought they and only a few other bands like Queens of the Stone Age and Velvet Revolver were keeping true rock alive in this world.
QOTSA
Speaking of the Queens, new album out this year as well.
Metallica
New album out soon. All I know is that Rick "Turning Albums Into Gold" Rubin is producing (well everyone). At least Bob Rock won't be playing bass guitar on the album and hopefully Kirk wants to solo again.
Rush!
Rush's new album titled "Snakes and Arrows" boasts Neil's perception of religion in today's world, comes out on May 1st. There is hope!
Okay, can we now officially declare that "Theory of a Nickelfault" mope rock is now dead?
So what has happened in rock music in the last year?
Wolf Mother
An Aussie band that's been kicking ass on the award shows and the charts. Influences include The Jimi Hendrix Experience, The Who, Black Sabbath, Led Zeppelin and Deep Purple, Cream and Styx. So they gotta be good right? Yes, they are. Can they continue where Jet left off?
The Killers
What's The Cure to kill off this band for good?
The Police reunion
They opened up the Grammy's, and have finished recording in Vancouver, and hit the road right away. But will Stingalingadingdong still control the band? Will Stewart Copeland tolerate the repetitive fade out chorus endings? Will Andy Summers find that augmented 67th minor chord he's been searching for?
Milhouse Van Halen
There's a Van Halen reunion with David Lee Roth but sans Michael Anthony. (Is that really a reunion?) I saw them in concert about two and a half years ago with Sammy. Not a great show, but not a bad show either. Sammy kind of ruined it for me. Can Diamond Dave still do the splits at his age?
Chris Cornell leaves Audioslave
The friggin guy doesn't even have the decency to tell his bandmates to their face. They learn it by watching him announce it on TV. Tsk tsk. Regardless, this is sad news, being that I always thought they and only a few other bands like Queens of the Stone Age and Velvet Revolver were keeping true rock alive in this world.
QOTSA
Speaking of the Queens, new album out this year as well.
Metallica
New album out soon. All I know is that Rick "Turning Albums Into Gold" Rubin is producing (well everyone). At least Bob Rock won't be playing bass guitar on the album and hopefully Kirk wants to solo again.
Rush!
Rush's new album titled "Snakes and Arrows" boasts Neil's perception of religion in today's world, comes out on May 1st. There is hope!
Okay, can we now officially declare that "Theory of a Nickelfault" mope rock is now dead?
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