Royal Crown Revue- Mugzy's Move

This is Royal Crown Revue's second album, which was released 1996.

Hey Pachuco! starts off as a great opening song. The jungle-drums as per Sing Sing Sing are always a hit with me. However, in this song, I somehow find them to work best to build the tension which gets resolved when the smooth walking bassline arrives. Therefore I find the rest of the song drawn out, due to the return of the opening section.

Bebop isn't really my cup of tea. So songs like Mugzy's Move and Park's Place don't appeal to me. This probably also explains why I find songs like Datin' With No Dough, Topsy and The Rise and Fall of the Great Mondello to be disjointed and lacking flow.

It might also explain why I find the audio quality to give an impression of sparseness, lacking any power or immersion. I understand this style often goes with the turf for bebop.

I Love the Life I Live is a nice cruisy song, despite Sinatra-esque jazz not normally being my cup of tea. The big exception is the cover of Bobby Darrin's Beyond the Sea. This song is an absolute classic, so simple yet can be its appeal never tires. And Royal Crown Revue's version here captures such magic.

The Walkin' Blues is a great little rhythm and blues. It's a bit of an oddball inclusion for this album, but I'm not complaining!

Taking Sing Sing Sing!!! and adding cranking it up even further with some electric guitar is a brilliant idea. And these sections of Barflies at the Beach work a treat. But returning to the my lack of appreciation for bebop again, I find the rest of the song to be more of a medly than a cohesive song.

Last but not least, Zip Gun Bop. The verses are pretty forgettable, so the song relies heavily on the guitar riff, horn line and chorus. Which are all outstanding, and deliver enjoyment in spades. This is one of the trademark songs of the neo-swing genre, and rightly so. Timeless.

Favourite songs

Zip Gun Bop, The Walkin' Blues, Beyond the Sea

Worthwhile?

Zip Gun Bop single-handedly makes this a must-have album for me. The rest of the album is a mixed bag, but there are a few other enjoyable songs.

Richard Cheese- Sunny Side of the Moon

Since 2000, Richard Cheese has been producing comedy/jazz albums. This mid-career Best Of was released in 2006.

Like for Weird Al Yankovic's albums, I find that the choice of original song plays a big part in whether I enjoy the parody. So, even if the adaptions of songs like Rape Me, Baby Got Back, Bust a Move and Freak on a Leash are brilliantly executed, I struggle to enjoy even these versions. Although, at the other end of the spectrum, the original version of Creep is unfortunately too sacred for me to enjoy the parody.

That's the bad news out of the way, because the concept of mixing lounge-jazz with shocking rap/metal/grunge lyrics is a masterstroke in my book. People Equals Shit is a perfect example; the gutter profanity becomes very amusing when mixed with the gentle lounge-jazz music.

Closer and Nookie differ slightly in that they use a boogie-woogie musical style, and it works just as well.

At this point, it seems there is a very simple formula to success for Richard Cheese. This is to find the song with the sickest lyrics possible, then put it to saccharine backing music. So while Sunday Bloody Sunday and Another Brick in the Wall are solid efforts and bring nice variety to the album, for me their lack of immature amusement means they're relegated to album fillers.

My earlier comment about Creep is a bit hypocritical, given my reaction to Rock the Casbah. The original is a song I enjoy so much, that almost any half-decent cover of it is enjoyable for me.

Also quite uncontroversial (relatively speaking!) are the lyrics to Hot For Teacher. Despite this, I really enjoy this version, as it replicates the fantastic sense of chaotic energy from the original song, with a nice twist of the different style.

At the other end of the intensity scale, the slower tempo of Come Out and Play  allows the original's clever lyrics time to be properly appreciated. Very nice.

Building up from an anonymous and innocent jazz start is another trick well used. For example, Down With the Sickness and Gin and Juice could well be any other lounge jazz songs, until he starts dropping f-bombs and hoes left, right and centre. This is probably the only time in jazz history we'll hear lyrics such as:
So we gonna smoke a ounce to this. 
G's up, hoes down,
While you motherf***ers bounce to this.
The arrangement gives the songs some lasting appeal, as they build up nicely and have good structure. Another highlight for me is the nice use of plastic strings for Gin and Juice.

All of the above is cranked up to the extreme for Badd. The extensively reworked lyrics allow it to start relatively innocently, before it builds-up into a hilariously degraded climax of X-rated mahem. Fantastic!

PS I forgot to mention the recording quality... it's brilliant.

Favourite songs

People Equals Shit, Closer, Down with the Sickness, Nookie, Rock the Casbah, Hot For Teacher, Gin and Juice, Come Out and Play, Badd

Worthwhile?

So silly. So fun.

Big Bad Voodoo Daddy- How Big Can You Get

Big Bad Voodoo Daddy (BBVD) recorded an album of mainly Cab Calloway covers. It was released in 2009, five years after the album "Everything You Want For Christmas".

Come On With The Come On kicks things off with brilliant and energetic big band swing. Thankfully, this musical excellence is enough for me to not worry about the very inane lyrics.

Similarly, the boogie-woogie goodness of Calloway Boogie is a treat. However, I'm not a fan of self-indulgent lyrics with nothing more thoughtful than to say than "our music is great". But the fantastic groove, beautiful horn arrangements and general big-band perfection more than makes up for this.

On the other hand, Hey Now Hey Now doesn't have much of musical interest to me, so the lyrics stand out like a sore thumb. The Call of the Jitterbug and The Jumpin' Jive also don't appeal to me, but this is just because I'm not a fan of this style.

Regarding the recording quality, I appreciate it is more an art than a science, with no "correct" answer... However this album's recording - which somehow achieves remarkable power, clarity and character at the same time - is simply perfect. I don't say that lightly and all of the very ordinary recordings of big bands that I've heard over the years makes this achievement even more incredible.

How Big Can You Get relies heavily on the main melody, since it's used for both the chorus vocals and the main horn line. But when the melody is this catchy and enjoyable, there is no complaint about this at all!

The combination of tickity-tack vaudeville and powerful, syrupy big-band horn sections works a treat for The Old Man on the Mountain. The nice little story is also enjoyable, making this my favourite song of the album.

On paper, Reefer Man and Tarzan of Harlem tick all the right boxes. Yet nether of them appeals to me, and I have no idea why.

The Ghost of Smokey Joe is a re-hash of Minnie the Moocher which, in my opinion, doesn't bring enough new to the table to be worthwhile. It also features some very awkward composition at times. As per BBVD's live album, their version of the original Minnie the Moocher is absolutely fantastic.

Favourite songs

Come On With The Come On, Calloway Boogie, How Big Can You Get, The Old Man on the Mountain, Minnie the Moocher

Worthwhile?

While there is much to be enjoyed with this album, when I am in the mood for BBVD, inevitably I will reach for their live album instead. Which is a bit of a shame, because there are some great songs on How Big Can You Get.

Frankie Wants Out- Prohibition

This the debut album from the Australian neo-swing band. It was released in 2009, a couple of years after their debut, I think.

Previously, this post was a self-important and overly harsh criticism of the album, comparing it unfavourably with their live shows. It also cared not for all the challenges of an indy band releasing a full-length album, nor that mixing a horn section into a rock band is no easy task. Sorry.

In the years since, I have increasingly appreciated this album on its own merits (along with having the ground-breaking revelation that a CD can't match a great live gig for excitement). So, these days I am very thankful that this album exists, and do enjoy listening to it.

Here are some highlights from the original post:

Happily, When High Rollers Get Low is when it all comes together. Here, the band shines with an infectious neo-swing groove backing a well-told tale of underworld debaunchery.

Fever Dream also shines, thanks to the contrast between the softly introspective verses and an absolutely smoking hot chorus. The swirling horns, loping rhythm section and passionate vocals make for a wonderfully wicked experience.

Favourite songs

Music Prohibition, Capone's Valentine, When High Rollers Get Low, Swing Kittens Meow, There's More Than One Way, Fever Dreams, Snowbird, Michael Makes the Money

The Dresden Dolls- self titled

This is the 2003 debut album from the "dark cabaret" band, which was formed in 2001.

Good Day quickly establishes the style for the album, and personally I'm a big fan of the semi-chaotic mix of drums, piano and howling vocals. While most of the time the lyrics are a tale of heartbreak, I find it optimistic in that it's often about channelling the pain into a motivating energy. For example, the cute reference to Gloria Gaynor hit with the line "I'd like to do more than survive, I'd like to rub it in your face". Unfortunately, the song drags out a bit at the end though.

The whispered sections of Missed Me are fantastic, as is the simple melody. However, again, the song drags out and the wailing gets grating after a while.

Girl Anachronism and Coin Operated Boy no longer hold any appeal for me. Not due to the songs themselves, but just that they've been played to death over the years. Oh, and the distortion effect on the vocals is annoying. The singer injects fantastic emotion and energy into the lyrics, why on earth would anyone want to distort that??

Speaking of sound quality, the album has huge variation between the quiet and loud sections. When listening on the train, this is a pain in the arse! But the trade-off is more than worth it, when you are able to listen in a nice quiet room, the contrast is fantastic. Perhaps for this reason, I wasn't really getting into this album while listening to it on my mp3 player. But then it came to life brilliantly when I sat down and listened properly on a decent stereo.

Half Jack is where it all comes together, and the result is brilliant. Personal highlights are the "uh huh" lyric melodies, the build-up throughout the song and the headbanging goodness of the chorus. Similarly, The Perfect Fit works a treat. The concept of a tradesman who "fixes" broken hearts, in the same way a plumber fixes pipes, as discussed by the lyrics, is an interesting idea! Also, I really dig the sneaky reference to The Doors' "Hello, I Love You", and the huge finale is a brilliant highlight which ties the song together nicely.

Gravity is the perfect example of piano-rock. The effect is both characterful and enveloping, like Ben Folds at his best. Great stuff.

The Jeep Song is pure dark-cabaret-pop genius. "Toorak tractors" are a pet peeve of mine, so I can easily imagine associating heartbreak the sight of one of these overweight, fashion-conscious SUVs. So it's perfectly described by:
I guess it's just my stupid luck, 
That all of Boston drives the same black fucking truck
Every element of this song is fantastic- bouncy verses, seamless flow, nice subtle variety in the backing, a multitude of catchy hooks, great climax. And nicely biting lyrics.

Due to their position in the album, Slide and Truce usually get overlooked for me. Not that there's anything really wrong with them, but I prefer not to return to the downhearted mood. The pick-me-up fun of The Jeep Song is the perfect note to end on.

Favourite songs

Half Jack, Gravity, The Perfect Fit, The Jeep Song

Worthwhile?

Yep. This CD has a special role as my go-to album for wallowing in self-pity! Just like Ground Components, it somehow makes a bad mood an enjoyable experience...

The Pietasters- Willis

Released in 1997, this is The Pietasters' third album. It is the predecessor to Awesome Mix Tape #6.

Crazy Monkey Woman kicks things off with a bang. Raucus and chaotic, it isn't so much a song, as a bold opening statement. While the horn lines don't really stand out, I really dig the rawness of the delivery, and that they perfectly complement the song. The standout feature, though, is the gravelly lyrics, delivered with lashings of venom.

Fat Sack takes the fury of Crazy Monkey Woman, cranks up the tempo and adds a touch more oi-punk. The result is stupid... Stupidly fun. A great song for moshpit slamming.

On the other hand, Out All Night is every bit as smooth as, say, Buck-O-Nine's "My Town". A gentle running bassline, catchy horn line, nice singalong chorus; it's all the same ingredients. Rather than matching saccharine lyrics, though, Out All Night's are wonderfully dark and nonsensical. Refer to Exhibit A: "when you cry it smells like soup"! It is this obscurity and edginess that makes the song a favourite for me.

Ocean's cruise-ship style (is that even a thing?!) injects some nice variety into the album, although it's not a particularly memorable song for me in its own right.

Recording quality? Best give that treble knob a twist anti-clockwise, my friend. I don't often consider albums to be sibilant, but this one is just too much. Once tempered so, it's highly enjoyable, with a punchy yet characterful sound.

Soul and punk-rock sounds like a strange combination, but it works a treat for Stone Feeling. All the glitter and showy brass makes the of the lyrics arrogance even better. Very "in your face", in a good way. However, the ending is very strange indeed.

This approach is also successfully used on the cover of Time Won't Let Me, although I do find its chorus to be a bit of a letdown somehow.

Higher is pretty much a generic reggae song. However, it is well executed, and The Pietaster's trademark gravelly lyrics makes it enjoyable for me.

Yet another genre thrown into the pot is calypso, for Without You. And, again, the result is brilliant. Wonderfully ironic lyrics, a catchy beat and great horn lines make this a great song I reckon.

The drum beat and bassline of Crime is brilliantly infectious. It's so good that even as the song fades out, you just wish it could go on forever. The lyrics treat the listener to the unique and slightly disturbed perspective, which is a hell of a journey. Like Camus' "The Stranger", the slight madness makes for beautiful poetry and is a brilliant reminder that "unconventional" emotions are no less legitimate. By the way, I'm condoning mothers filming suicides (the first line of the lyrics). On a less philosophical note, the horns fit perfectly (avoiding sounding too "happy"), the tortured hammond organ sound is superb, and the bells make a nice touch. This is an all-time favourite song of mine.

Bitter also uses the soul/punk-rock mix to good effect. In particular, the subdued verses work nicely to further amplifies the already huge chorus. And the xylophone is great touch!

The cover of New Breed is too stop-start for my liking. Moment finishes things off with a nice vintage ska sound.

Favourite songs

Crazy Monkey Woman, Out All Night, Fat Sack, Stone Feeling, Without You, Crime, Bitter

Worthwhile?

100%. Over the course of this album, we've jumped all over the place, including a unique mix of ska, punk-rock and soul in various proportions. But the gravelly vocals have been a constant delight, and the variety of styles are all brilliantly executed.

The Vaudevillains- Welcome to the Neighbourhood

This is the first and only album from The Vaudevillains. It was released in 2009, two years after their debut EP.

Thankfully, in that time, they learnt how to end a song properly! Actually, the opening track (Neighbourhood) is the exception. It has some good moments and establishes the mood nicely, but drags out badly towards the end. And the bridge is very strange indeed.

The recording quality is typical sub-par rockabilly fare. It features woofly and double-bass, and a guitar sound robs the big choruses of their power. Technically, the vocalist struggles a bit, however I really enjoy the lyrics, especially to sing along to. Perhaps the reason is that both of us can't sing very well!

Hector Hell introduces a new style of rockabilly ballads for the band. Based around lyrics which tell a brilliant tale, the style is much like a modern day Johnny Cash. And the power chorus works a treat. The rather simple backing music is the perfect accompaniment- setting the mood of driving through a lonely road in the moonlit mangroves.

Similarly, Shadow in the Sun (no relation to the Audioslave song) is another brilliant piece of Johnny Cash-esque storytelling. This song is on high rotation in my car, and it's an all-time favourite singalong song of mine. The appeal for me is how the bouncy rockabilly, contrasts nicely by the dark tale of a lonesome soul.

Things jump up a few gears with Million Miles Away. This psychobilly thrash is bursting with frenetic energy. The verses are itching to explode, and boy does the chorus explode!

Close Your Eyes is a song that I really dig, but I don't know why. On the surface, it's fairly generic, so perhaps its just that it has been executed so well. A highlight for me is the double-bass playing, which is incredibly intricate. The subtle flourishes of the instruments in the background are great, as is the wailing singalong chorus.

Dead March features a great riff for the verses, but somehow it doesn't "sit" right. It kinda feels like the instruments wants a slower tempo, but the vocals are forcing them to rush. The chorus, though, comes together very nicely.

This Time Last Year and Reaper are nicely hyperactive thrashes, as per Million Miles Away.

Trip to the Moon is pretty much unchanged from their EP. But I don't feel ripped off in the slightest, it means I get to enjoy this wonderful song twice as often!

The jazz track Fortune is an oddball inclusion. But it is a nice ballad, and rounds out the album well.

Maybe this is a sign that I listen to too much rockabilly(!), but to me this album has very unique appeal. The poetry is fantastic and, well, I'm just a sucker for almost all things rockabilly!

Speaking of poetry, since the lyrics for Shadow in the Sun are nowhere to be found on the internet, I thought I'd do a community service by documenting them here:
I dodge my shadows in the night.
I live my life like it's a fight.
Well I don't mean to be cold,
But I rather be alone now than dead.

I watch my words when I talk,
Look over my shoulder when I walk.
Well I'm always ready, 
But I don't know what for.

Everyone's got a shadow in the sun.
Might as well face it, cos it's you that cannot run.
It's what you are, not what you will become.

Sometimes I know I can be wrong
Nothin' in life really going on.
Well maybe I don't want to climb too high,
Cos I know that I might fall.

Failure is my greatest fear.
I hear it whisper in my ear.
Well lately I've been feeling
My whole world's really unfair.

Favourite songs

Hector Hell, Shadow in the Sun, Million Miles Away, Close Your Eyes, This Time Last Year, Trip to the Moon, Reaper, Fortune

Worthwhile?

This is one of my all-time favourite albums.

Radiohead- OK Computer

This is the highly acclaimed third studio from Radiohead. It was released in 1997, two years after The Bends.

In my book, Airbag is a poor opening track. I'm not a fan of the style, as it feels like aimlessly wandering. However, this style is probably the only common theme on this very varied album, so it is probably an appropriate way to set the scene.

The next song is the modern equivalent of Bohemian Rhapsody... which can only mean Paranoid Android. Both songs are pretty much a bunch of great songs rolled into one, with a lot of variation in style throughout the song. Also, the lyrics are genius- very deep and obscure yet also super catchy.

The brilliance of Paranoid Android isn't just that each section is wonderfully enjoyable, its that somehow the diverse sections have been stitched together in a perfectly coherent fashion. While I enjoy every minute of the song, if I had to pick a favourite section, it would be the "rain down" section, and how it flows into the headbanging rock riff afterwards. Due to all the hype, it's easy to blase about this song, but it really is brilliant. It is utter nonsense, yet at the same time it is perfect:
That's it, sir
You're leaving.
The crackle of pigskin.
The dust and the screaming.
The yuppies networking.
The panic, the vomit.
The panic, the vomit.
God loves his children,
God loves his children,
Yeah.

Subterranean Homesick Alien features a nice gentle soundscape, which I enjoy. However, the chorus for me is a big letdown. It is a similar story for Lucky, the gentler moments with the intense prog-rock mood work a treat. In particular, I really like the cicada-esque sound in the background background. But the pained chorus doesn't really work for me.

The recording quality here is an interesting issue. Given the style, it doesn't really matter. Which is a good thing, as the quality is quite patchy- the reverb effects are often overdone, the bass is often boomy and the drums sometimes get lost in the mix. On the plus side, the top end is nicely crisp.

Exit Music (for a film) has a simple and wonderful haunting beauty.

Karma Police is the perfect musical form of a 1984-type story. It hits the nail on the head as a post-grunge pop song with bite. While Fitter Happier isn't actually a song, I still really dig the build-up to the twist at the end!

At the point when Electioneering comes in, things are all quite serious and heavy. So this mindless headbanging song is much appreciated here. The jangly garage rock style (with cowbell!) is great fun.

No Surprises sounds like a major influence for early Muse. I really like the instrumental side of the song, but the vocal delivery kinda grates with me somehow.

Favourite songs

Paranoid Android, Exit Music (For a Film), Karma Police, Fitter Happier, Electioneering, Lucky

Worthwhile?

Paranoid Android single-handedly makes this album worthwhile for me. Unfortunately I don't really "get" the rest of the album; many people would say it is a masterpiece, in which case it is wasted on my dumbed-down ska/rockabilly tastes...

The Toasters- In Retrospect

The Toasters were formed in 1981, and have released almost as many compilations as they have actual albums! This one was released in 2003.

East Side Beat kicks things off with a nice gritty modern version of the the classic rude boy story. All the Toasters trademarks are present, but I'll get to that later.

Since the band has such a tightly defined style, any variety must be found in subtle variations. So Talk is Cheap's point of difference is that the organ is driving the groove instead of the guitar. Also, the lyrics are nicely poignant, a rarity for a ska song.

Weekend in L.A. features a great horn line. I also dig the the chord progression and the sharp breaks in the solos. Its similarities with New York Fever run much deeper than both have an American city in their title! Musically, they are also very similar, which makes New York Fever is another hit for me.

At first, the horn line in Don't Let the Bastards Grind You Down seems to be taking the cheesiness too far. But it actually works well alongside the anarchy-inducing chorus. The lyrics are again a highlight- this time its important life lessons, delivered with the tongue firmly in cheek.

Moving away from their upbeat ska formula, Thrill Me Up's 80s jive-reggae style does not appeal to me at all. Nor does Shebeen, History Book Version or Mona.

Thankfully, Dub 56 brings us back to the successful recipe of bouncy rock-ska. Similar is Underground Town, with a great depiction of all walks of life squeezed together on a train. Just because they are similar to many other Toasters songs, does not dampen their appeal for me at all. In my opinion, they're all great fun.

2-Tone Army isn't a successful execution of this style, though. The chorus is a major letdown, and somehow feels tacked on. On the other hand, the horn line is fantastic. Conversely, The Recimination is sub-par in many aspects but features a great chorus (reminding me of early Area 7).

Havana brings about great change of pace, which works a treat. Also, the double entendres are very funny. This is a great example of James Bond ska. Meanwhile, Dog Eat Dog's reggae opening is brilliant.

Ska Killers has a really tough sounding intro. While the rest of the song is good, I wish the horn line and the verses followed through with a bit more aggression.

Pirate Radio is an awful dogs breakfast attempt at a pop song, like a Madness tribute gone wrong.

Hard Band For Dead is a great execution of the traditional ska style. Simple, catchy, fun. It shows where the bands influences lie, and- despite the reduced tempo- it has the same feelgood quality in spades.

A quick note on the recording quality- being a compilation, it varies a bit through the album. In general, it's a bit saccharine, but it never really puts a foot wrong.

I'm Running Right Through the World has a few good points worth mentioning: the lyrics, the chord progressions (especially in the bridge), the backing horn lines and the chorus... hang on, that's most of the song! And all the "usual" Toasters characteristics somehow shine even brighter in this song. It turns out I've saved the best for last, because this compilation CD does. This song is my favourite Toasters song, which makes it one of my all-time favourite songs, ska or otherwise. The ultimate feelgood pick-me-up.

To sum up, the Toasters are a 3rd wave ska machine! Some may say it's quite cookie-cutter (especially the verses), but I don't think this matters. Every horn line is a classic. The groove is rock solid and infectious. The guitar and keyboard perfectly complement each other. When it's executed this well, the small amount of variety present is enough to make each song highly enjoyable. (Yet, a live Toasters show somehow manages to be even better than this.)

Favourite songs

East Side Beat, Talk is Cheap, Weekend in L.A., Don't Let the Bastards Grind You Down, Dub 56, Dog Eat Dog, Hard Band For Dead, New York Fever, I'm Running Right Through the World

Worthwhile?

Absolutely. Having just finished listening to it, right now I'm pretty much bouncing off the walls in whimsical joy!

 

The Vincent Black Shadow- Fears in the Water

This is the 2006 debut album from the band. Before they even play the first note, the fact that a) the lead singer sounds like Gwen Stefani and b) the band is named after a badass vintage motorcycle has them in my good books already!

But if I may start with a whinge, the audio quality has... ahem... some flaws. Everything below about 200 Hz (kick-drum and bass guitar) is a mess, and everything below about 100 Hz is just plain missing. Then at the top end, it sounds quite harsh, like a badly compressed mp3. The bass guitar is often very quiet, and the resulting hole makes the overall sound of the band really thin. On the plus side, the vocals sound brilliant. The chorusing is straight from the book of early No Doubt, and it works a treat. Also, there are many instruments added to the rock band throughout the album (strings, trumpet, organ, etc) and are integrated with nice balance.

On to the songs. Metro perfectly introduces the style of pop-goth rock. Like if No Doubt traded their horn section and sunny California setting for a dark cathederal with organ! Highlights of Metro are the moody pre-chorus and the catchy pop chorus. Great stuff.

Control is another superb balance of light-hearted pop fun with emotive goth styling. The keyboards and fake strings work very well, and I really dig the lyrics. Valentine also uses a similar recipe to great effect. It is intensely powerful for the chorus- the band cranked up to 11, the singer furiously wailing and the strings adding even more epic-ness. Another favourite section of mine is the second half of the bridge.

Pop music needs more harpsichords! That's my conclusion after hearing Bullet on the Tracks. Its faster pace keeps things varied across the album, and the song is constantly dripping in great pop hooks.

The band seem to like their ballads in a 6/8 tempo, which is fine by me. Don't Go Soft is a solid effort, with a nice use of strings. Ghost Train Out is a bit more evocative for me, thanks to the music setting the vivid scene of a moonlit landscape (similar to Howling Bells). This song also shows the wonderful range and power of the lead singer, and engaging lyrics for the verses.

Things get a bit crazy for The House of Tasteful Men. It's a bit oddball, and quite immature- I like it! Appropriately, the lyrics of the verses don't make any sense, and they are complemented nicely by the whimsical chorus verses. Musically, it jumps all over the place and occasionally the transitions between sections are a bit clumsy, but I don't care, it's great fun.

Surgery's highlight is the great headbanging chorus. I find the verses are a bit strange, but they do stop the album from getting stale, so I guess it works. Fears in the Water has a similar hint of "mad genius" and, again, the headbanging chorus is fantastic.

Dream is another that works because of the contrast it provides on the album. That's not to say it isn't a good song in its own right- the lyrics are great and the chorus is wonderfully addictive. My favourite moment is the build-up to the ending: starting with a howlingly intense bridge, followed by an acoustic version of the catchy chorus, then finally the epic final chorus at full noise.

Just before the end of the album, the band pull a trumpet out of their hat for This Road is Going Nowhere. And it works a treat, adding another great dimension to their sound. To top it off, the stop-start verses contrast perfectly with the addictive bouncy chorus.

To wrap things up, Letters to No-one is another frenetic energy-fest. Which makes for pop brilliance, similar to House of Tasteful Men. It feels more like a breakneck twisting journey than a structured song. For example, where's the chorus? I dunno, but nor do I care!

Favourite songs

Metro, Control, Bullet on the Tracks, Valentine, The House of Tasteful Men, Ghost Train Out, Fears in the Water, Dream, This Road is Going Nowhere, Letters to No-one

Worthwhile?

Recording quality issues aside, this is a fantastic album. I really dig the style, and they pull off the pop/goth balance perfectly.

Howling Bells- Self Titled

This is the debut album for Howling Bells, released in 2006... or perhaps it is actually Waikiki's second album, since the band is largely the same, aside from an image change...

And said image change was worked a treat. Gone is the contrived pop blandness of Waikiki, replaced with a wonderfully moody musical tapestry.

The Bell Hit does a fine job as opening song. The verses do jump around a bit erratically, however the chorus is a fine pop offering. Similarly, The Night Is Young has some great moments, but it jumps all over the place, again interrupting the groove.

Velvet Girl steps up the game in regarded to verses. Their sparseness and haunting mood introduces a wonderful new element. All topped off with another nice catchy pop chorus. Blessed Night also follows this recipe to good effect.

The art of writing a catchy pop song was not lost in the transition from Waikiki to Howling Bells. Low Happening features a great riff, brilliant lyrics and could well have been written for Waikiki. Thankfully, though, the newfound character gives this song a new dimension. While the chorus doesn't really stand out in the song, I do appreciate how they used an unusual style for it.

To mention the recording quality, the character of the album is built on the wonderfully simple sound of the vocals, keyboard and guitar. It's not a big rock sound, but nor is it meant to be. Great work.

The exception, however, is Wishing Stone, which is drowning in too many effects and chaotic background voices. On a brighter note, I really enjoy the lyrics of the chorus.

A Ballad For The Bleeding Hearts is a brilliantly bare song. All I can say is that it's spine-tinglingly beautiful, and the bridge is a particular highlight.

The first verse of Setting Sun is pretty unimpressive. But then the chorus comes along, and all is forgiven! The following verses reveal it's all part of the plan, and it makes for a really interesting song.

Into The Woods really appeals to me, as far as the music goes. But I find the male vocals to be somehow spineless and annoying.

Just as The Bell Hit perfectly sets the scene as the first track, I'm Not Afraid is a great choice for finishing up the album. At the end of the journey, this gentle song leaves a lasting impression of serenity.

Favourite songs

Velvet Girl, Low Happening, A Ballad For The Bleeding Hearts, Setting Sun, I'm Not Afraid

Worthwhile?

Absolutely. The lead vocals have always been raw, honest and with great range. In this album, this voice has found a fitting home, amongst the moody mangrove scene set by the accompanying instruments.

Royal Liverpool Philharmonic Orchestra- Dvorak Compilation

This CD was released in 2004, although the notes suggest that it was recorded in 1989. It features the New World Symphony and the American Suite, both written by Anotnin Dvorak in the mid-1890s.

My uncultured taste in orchestral music is pretty much limited to the fire and brimstone style of war music. Cue Wagner's Ride of the Valkyries and Dvorak's New World Symphony.

The Adagio movement features a pretty mean key "riff", but I find the rest of it to be forgettable orchestral fluff (at least in CD form). But the Allegro movement is brilliant- exploding with the power of a thousand suns. I also find the quieter parts between choruses more engaging, although perhaps this is simply due to anticipation for the next hit of that epic (orchestrally-headbanging) riff!

(Yes, this is probably one of the worst ever classical music reviews...)

Favourite songs

New World Symphony- Adagio

The Slackers- Better Late Than Never

This is The Slackers' debut album, released in 1996 (the band formed in 1991, hence the album's title). Actually, to be precise, this review is of the 2002 remastering.

I wonder, if there were no such thing as "ska", would Work Song be classified as jazz? Well, it would in my book. In fact, it would sit alongside the jazz classics thanks to its wonderful groove and great horn line for the chorus.

Speaking of the groove, I'm such a fan of it that I'd probably like almost any Slackers song by default. Case in point is Runaway, which isn't particularly memorable, but their style makes it an enjoyable listen nonetheless.

The third song on the album is a brilliant Jamaican influenced rhythm'n'blues. Most of a song is husky and understated tale, which will have you tapping your toe without realising it. Then it suddenly bursts into an infectious "party mode", which is also a treat. And the lyrics- the classic tale of man and woman making eyes at each other in a dimly lit bar. It's such a cool song... so why oh why did the band have to tarnish it with the awful title Pedophilia?!

The sinister James Bond / Al Capone ska tradition is brilliantly executed for Two Face. The story of betrayal is perfectly delivered by the husky mobster vocals. And the horn line is brilliant. In fact, everything about this song is brilliant!

Just to quickly mention the recording quality- I haven't heard the original version of this album, but the remastered version is hardly a polished production. However, the raw sound does bring a unique character to the sound, in particular the dark "quacking" sound of the  horns. And I do like the crackling vinyl effect, which fits in nicely with the album's character.

Cuban Cigar is just a quirky interlude, in my opinion. You Don't Know and Tonight are both traditional ska songs, and quite similar. Yet the former doesn't work for me, but I dig Tonight as cheesy fun. What's the difference? I have no idea!

The next song, Sarah, is the reason I bought this album. It reminds me of The Nurse somehow, and both are brilliant songs. The wonderful piano/horn melody will get stuck in your head for days, and I really dig the stumbling semi-chaotic groove. The lyrics are wonderfully obtuse yet illustrative; on one hand, there's:
Mother said "You turned my food to poison",
To my father on a cold thanksgiving day.
Holidays leave me with empty noise,
And so I turned my head and walked away 

...which I have absolutely no idea what it is meant to mean, yet I think it is wonderfully descriptive! On the other hand,
I guess I thought that we could live forever
In this state of such imaginary grace.
You could find your diamonds in my arms, dear.
And I could find a reason in your face. 

...perfectly sums up being lovesick in a futile situation, and clutching at straws to try to make it work. I'd better stop myself before I quote the lyrics of the whole song! Because it one of my all-time favourite poems.

The lyrics are also the highlight of Prophet, not just telling the story but also creating a strong sense of character for the first-person narrative. And this is backed up by a typically brilliant Slackers groove, of course.

Treating us to some great variety, Our Day Will Come is great "sleepy" rocksteady. And Contemplation is batshit crazy (yes, that's the technical term!). Love it! 7 & 7 hits the nail on the head as a Skatalites tribute.

A Certain Girl is great cheeky fun. The band perfectly ham it up to emphasise the tease of the lyrics. It is a standout cover of this incredibly adaptable song (The Slackers' version, this, this, this, this, this, this, this and this original. Yikes!)

Favourite songs

Work Song, Pedophilia, Two Face, Tonight, Sarah, Prophet, Our Day Will Come, 7 & 7, A Certain Girl

Worthwhile?

When it comes to vintage-sounding ska with a heavy rocksteady groove, I'm easily won over. So even the "mediocre" songs are enjoyable for me. But the band regularly manage to pull something special out of their hat, and the result is brilliant.

Tiger Army- Music From Regions Beyond

This is Tiger Army's fourth album. It was released in 2007, to furious howls of "sellout" from many of the bands' previous fans. 

Prelude: Signal Return and Hotprowl form a rousing phsychobilly opening. Although it is kinda false advertising for the rest of the album, it sure gets the blood pumping.

Afterworld and Spring Forward retain the action-packed psychobilly musical, overlaying it with soft and poetic lyrics. I reckon the contrast works a treat, like a rockabilly version of decemberunderground. Ghosts of Memory follows the same recipe, with some stunning poetic lyrics. For example:
Faded purfume in a room
Once a sanctuary, now simply a tomb

Forever Fades Away moves more into emo ballad territory (or perhaps "pop goth-punk ballad" if you find the term "emo" insulting...) I really dig it- highlights include the opening riff with hi-hat accompaniment and the perfect pop/headbanging chorus. The rockabilly purists can get stuffed, I'm a big fan of this "AFI with a coiffure" sound. In my book, it makes for the perfect power ballad.

That's not to say there's anything wrong with the bands' traditional sound, as shown by LunaTone. Nothing says I can't like both aspects of the band! LunaTone execute the style very well, although I find that Pain has cheesy lyrics and an awful ringing sound, I think from the cymbals.

While I'm moaning about recording quality, the drum sound throughout the album is quite smeared. Although maybe this is for the best, so that it doesn't sound too "slick" and commercial. The guitar sound is appropriate for the job, and I always love the sound of a double bass.

As the Cold Rain Falls is, objectively, a solid song. However it doesn't speak to me, somehow feeling like the lyrics are disconnected from the music. On the plus side, the chorus is pop/emo brilliance.

Hechizo de Amor is simply beautiful. The Spanish style of both the vocals and the music creates a stunning oddball of a song.

Finally, the icing on the cake is Where the Moss Slowly Grows. As always, the lyrics are brilliant, as is the gentle mood created by the background voices.
Embrace- this joy, this pain
Don't miss this chance, it will not come again.
You mean more than you may ever know.
Don't linger- where the moss slowly grows.

 

Or, as I believe the kids would say... YOLO.

 

Favourite songs

Afterworld, Forever Fades Away, Ghosts of Memory, LunaTone, Hechizo de Amor, Spring Forward, Where the Moss Slowly Grows

Worthwhile?

I must admit I was initially sceptical when reviewing this album, because when listening to it on the train a few times recently, it kinda washed over me without making an impact. But making to the effort to properly concentrate on it has revealed a brilliant album.

Big Bad Voodoo Daddy- Live

This album was recorded in 2003, just after their fifth studio album.

The concept, however, is fatally flawed, because no CD can reproduce the amazing experience that is a Big Bad Voodoo Daddy (BBVD) live concert.

... however it gives it a pretty good shot, starting out with the perfect introduction: "Ladies and gentlemen, the baddest band on any stand: Big.... Bad..... Voodooooooooo.... DADDYYYYYY!!!".

The opening track, The Boogie Bumper, then sets the scene quite well (albeit let down by some out-of-tune horns). Jumpin' Jack then kicks it up a gear with the timeless combination of jungle drums, swirling horns, a pulsing bassline and a bouncing piano. It is all tied together with frenetic energy, and the result is a bundle of fun. Kings of Swing is similarly fantastic, showing that BBVD have got high-energy swing down to a fine art.

The latin groove of I Wanna Be Just Like You (aka Jungle Book Theme) adds a nicely variety, and is complemented by a great horn line. Unfortunately, by the end it feels like it's flogging a dead horse, as the chorus is repeated over and over.

Also featuring an interesting beat is You Know You Wrong, a great piano-led tune. I do enjoy the song in its own right, but it also serves a far greater purpose. And, for me, the horn glissando is references to the ending throughout the song are a wonderful tease. That tease being how the ending leads into...

Big Time Operator. Wow. This is probably my favourite BBVD song. The crazy, bouncing party energy and the story of a seriously classy dude is a guaranteed hit. It feels like the band are egging each other on in tongue-in-cheek competition, yet at the same time they are working together to create wonderful music. For example, the piano bashing away in the background feels like part of the song, yet if you listen closely he's basically going off tap soloing throughout the song, yet it fits perfectly. A minor quibble is that on the CD, the song seems to drag out. But watching the DVD it all just feels oh so right.

Minnie the Moocher is a bit overdone and cheesy, but it's still great fun.

Oh Yeah is vintage BBVD pop neo-swing. Brilliant. You and Me & the Bottle Makes 3 Tonight is more of the same, however I find it doesn't hit the heights of Oh Yeah (except for the wonderful bridge).

While I Like It and Please Baby are not really standout songs in my book, they work well to inject some variety into precedings.

And after we're back from this breather, Mr Pinstripe Suit appears to knock our socks off! The is another featuring huge energy, brilliant horns lines and an engaging story. Also, it makes for a great pop song, thanks to the catchy singalong chorus.

Simple Songs is a nice vaudeville tune. So Long Farewell Goodbye also is well executed, if not really my cup of tea. However it is completely undermined by not being the last song on the CD. This honour goes to Always Gonna Get Ya, unfortunately either my attention span is too short or the CD is flogging a dead horse by this stage!

Despite all my raving, as I said before, the CD doesn't do the band justice. Which is why the included DVD is another level of enjoyment. Any time I'm moaning about some minor detail above for the CD version, would have been just part of a wonderful experience while watching the DVD. This especially applies to my criticisms that some of the songs drag out on the CD. There is no sense of this whatsoever when you watch the live concert, every second of it is a treat.

Other benefits of the DVD are the on-stage antics of the band. They're barely ever standing still- instead they strut, prowl and bounce around stage as appropriate. The "naked" piano is also poetry in motion, as is the soloists heckling each other, trading 4s, etc. This isn't a concert- the band are having a  party on stage, and we're lucky enough to be invited to watch!

The sound quality is nicely crisp and the instruments are very well balanced. A minor gripe is that the horn section lacks top-end sparkle, but on the other hand, the clarity of the percussion is brilliant. It's an impressive effort, especially considering that it's a live recording.

Favourite songs

Jumpin' Jack, You Know You Wrong, Big Time Operator, Minnie the Moocher, Oh Yeah, Kings of Swing, Mr Pinstripe Suit, Simple Songs

Worthwhile?

A classic of the neo-swing genre.

PS the CD is great, but you MUST watch the DVD, people!!

Firebird- Buildin' a Hot Rod

This is the debut album from the Australian rockabilly/psychobilly band, which was released in 2006.

Have a guess what the topics discussed in the lyrics of this album are. Hot-rod cars and women? Spot on! Let's start with the hot-rod songs.

All three are pretty similar, so the devil is in the detail. For some reason, Fire Up the Motor sounds like a poor cousin of Stray Cats Built for Speed, so I don't really dig it. Hot Rod Woman (killing two birds with one stone!) doesn't have much of a interesting story to the lyrics, however the chorus is wonderfully catchy.

This leads me to develop a theory about rockabilly songs, if I may. The style has been successfully used so many times over the years, and it is sort of accepted that the verses are just "background fill" while the vocals tell the story. Therefore, to stand apart from the millions of other rockabilly songs, one requires an engaging story to the lyrics and a memorable chorus. Buildin' a Hot Rod features both of these ingredients, and is my pick of the three songs.

Coming close but no cigar is Always Rockin' 88. Musically it is fine, but the self-obsessed lyrics that put me. Also relegated to the millions of solid yet forgettable rockabilly are Lonely Hotel and Back Door Slammin'. Somehow, the slower songs (Local Honky Tonk and Cryin' I'm So Blue) don't appeal to me either, nor does the accented offbeat style of If I Ain't Got You, although I do like its bridge.

By normal standards, the recording quality is mediocre (e.g. muffled cymbals, muddy double-bass, compression sucking away all of the dynamics). Unfortunately it's pretty typical fare for rockabilly albums, though.

I really dig the slower "stoller" style of rockabilly, and Well Alright Well Ok and Vampire hit the nail on the head. Vampire is the perfect execution- a voodoo-esque tale of devillish femme, combined with a brilliant catchy chorus (especially the snappy "vam...PIRE" at the start!). It is my favourite song from the band.

Knock Knock Knockin' is simply great headbanging rock'n'roll goodness. At the other end of the spectrum, the unusual beat of Itchin' Scratchin' is a nice novelty, and makes for a nice moment when it resolves into a "normal" beat.

Overall, since the album sticks to a very well-worn and tightly specified rockabilly style, it isn't easy for an album like this to shine. So while there are many tracks I am happy to skip, those songs that do stand out are very impressive indeed

Favourite songs

Buildin' a Hot Rod, Well Alright Well Ok, Vampire, Knock Knock Knockin', Itchin' Scratchin', Hot Rod Woman

Various- Orchestral Spectacular

As per my last post, when it comes to classical music, I have no idea what I'm doing!

So we'll also skip through this one quickly, to minimise the chance of me sounding like uncultured swine. At least this compilation is a bit closer aligned to my taste for violent, bloody classical music.

If only Khatachurian were were born a few hundred years later, Sabre Dance suggests he'd be writing oi-punk songs! Unfortunately, I find the songs all fury, and lacking in interesting musical ideas.

Mussorgsky's The Great Gate of Kiev also comes close for me. The  brass intro has a wonderfully rich sound. The rest of the song, though, doesn't fire up my imagination unfortunately. It's probably more the fault of the listener than the song, but for me it would be better suited as a soundtrack to some visuals rather than a standalone song.

From the middle-eastern influence of the opening melodies to the build-up into an unstoppable juggernaught, Bolero is a timeless classic. This song contains the full spectrum of things I dig about classical music. A minor gripe with this version is that I felt the ending is not as powerful as it could be. But perhaps nothing on a CD can compare to a whole orchestra pouring every last ounce of strength into it, all live in front of you.

I wish I could rave about Tchaikovsky's Festival Overture 1849: Op 49, but unfortunately the headline melody has been flogged to death for me.

On the other hand, the riff for Ride of the Valkyries never fails to raise the hairs on the back of my neck. Meanwhile, the scene set by the rest of the orchestra perfectly sets the scene of a fearsome war for life, the universe, everything. Incredible.

Favourite songs

Bolero (Ravel), Ride of the Valkyries (Wagner)

Worthwhile?

Yes, there's some timeless songs here.

Ukrainian Symphony Orchestra- Classical Masterpieces Vol 1

Warning: terrible review ahead!

Please excuse the fumbling around, classical music is not something I listen to much. I don't really know what I'm doing here, but that has never before stopped anyone who possesses both an opinion and an internet connection!

My taste in classical music tends to lean towards the "we're going to war, get me an orchestra to fire up the troops" style, so I kinda picked the wrong compilation. Pomp and Circumstance is probably closest to this style, but I don't really rate it. While the chorus is nice and catchy, it feels awkwardly tacked on to the rest of the song.

Bach's Toccato and Fugue in D Minor just screams "mad scientist bashing away at an organ". Hell yeah! A brilliant celebration of insanity. The only thing that could possibly make it more ridiculously extroverted was if it was played by the fury of over a thousand volts arcing through the air.

So... do these songs compare well with their contemporaries? Is this recording well played and conducted? I have no idea! Like I said, a terrible review...

Favourite songs

Adagio (Albinoni), Toccato and Fugue in D Minor (Bach)

Worthwhile?

Not for me!

The Cat Empire- Two Shoes

This is The Cat Empire's second album. It was released in 2005, two years after their highly successful self-titled album.

There are two aspects to this album- the chinscratching experience of listening to the CD in an armchair, and bouncing around like a possessed loon when the songs are played live. Sly, Lullabye and The Car Song somehow don't really work for me in the former setting. But at a live gig, it's a completely different story and the songs work a treat.

Recording quality is satisfactory... once you give the "treble" dial a big twist clockwise. Prior to this, it's an inexplicably muffled sound.

Settling into a gentle groove, In My Pocket has a wonderfully peaceful and uplifting vibe. Also, the chorus lyrics are perfect... ok, maybe just for semi-drunken chorus singalongs! Finally, The Cat Empire's pre-chorus reggae breakdowns are always a highlight for me.

Two Shoes takes a similar approach and again it works very well. It feels like during each verse, the crowd quietens to hear the wise poet's heartfelt and truism filled lyrics. Then each chorus comes along to re-inject some energy with an upbeat crowd singalong. Brilliant.

Miserere should be more of the same, but it doesn't work for me. Somehow, neither the lyrics nor the music have any hook for me. Although, a trivial detail has great appeal for me- I really like the gentle heartbeat-esque thud of the kick-drum. Yes, quite a strange element to find enjoyment in! More meaningfully, the ending is wonderfully uplifting ending, in a similar way to the final scene of Neon Genesis Evangelion Episode 26.

Sol y Sombra has very immature appeal for me- my nickname for the song is "Soggy Salada"! More seriously, I dig each of the varied sections, but as a song they don't gel that well together. 1001 takes a similar concept and makes it work brilliantly.

Speaking of irreverence, Protons Neutrons Electrons is brilliantly whimsical, with the tale being perfectly complemented by the tongue-in-cheek music. Great, silly fun.

One would expect that Saltwater, a ska song, would be right up my alley. Yet somehow it just feels to me like every ska cliche haphazardly thrown together into a song.

That leaves The Night That Never End. A beautiful lullabye. And then, slowly, through the song it builds up... like The Wine Song ... into a crazy party of gypsies on speed. Flailing around in careless ecstacy. This song covers the full spectrum of energy levels and is brilliant everywhere in between.

Favourite songs

In My Pocket, Two Shoes, Protons Neutrons Electrons, The Night That Never End, 1001 

Worthwhile?

For many years, I considered this to be a boringly conventional follow-up to their debut album. But rediscovering it has made me realise that it would have just looked silly if they'd released another album of eclectic songs which wildly jump all over the place. The emotions on this album are just as intense and varied, merely more measured in their execution. So, I think I actually prefer this album in many ways.

The Living End- White Noise

This album is controversially The Living End's first album that didn't have a red, white and black cover. Shock, horror! It turns out this change was a statement of intent, as the album debuted a slower, heavier style.

It was the bands their fifth album and was released in 2008. Although this is only two years after State of Emergency, between these two albums the band were on hiatus and very nearly called it quits. 

How Do We Know wastes no time establishing that there is a new style in town. It's massive riff rates up there with Audioslave's finest. And towards the end, the backing strings are a nice touch. However, the recording quality is terrible! Ok, I get that they were going for a rougher "garage" sound, but the clipped bass drum and random feedback rings are taking it too far in my opinion. While this raw style continues through the album, thankfully they made their point in the opening track and the rest of the album is much less jarring.

Raise the Alarm is a great blend of old and new. Highlights are the lyrics and the perfect singalong chorus. A minor quibble is that the first two songs expose the lead vocals as lacking the required power for this hard-rock stuff.

Now, the title track, White Noise. I'm not trying to be controversial, but I don't rate it at all. Despite having won various awards, I regard it as a throwaway pop hit which has a few decent hooks that are rehashed over and over as the song drags out. While I'm slagging off songs, Make the Call feels like a cliched and contrived Wolfmother ripoff, Kid is middle-of-the-road blandness with awful lyrics, and the verses of the reggae song Sum of Us feel lumbering and disjointed (although it comes together nicely for the chorus).

Waiting for the Silence is quite similar to the much-maligned stuff off Modern Artillery (ie the song Jimmy), however the rousing chorus rescues it somewhat. On the other hand, Loaded Gun and 21st Century- both of which feature terrible choruses but very nice verses. The headbanging riff of Loaded Gun and the frenetic guitar and vocal energy in the verses of 21st Century both work very well.

It all comes together for Moment in the Sun, which features a traditionally brilliant Living End chorus. It's simple, fun rock'n'roll and the piano is a nice touch.

Hey Hey Disbeliever uses the cheese-cutter riff in the verses to brilliant effect. The chorus is pretty good in its own right, although the transition into it is a bit abrupt and upsets the groove. Interestingly, I find it actually works better towards the end when they drop all the way to an acoustic sound at the start of the chorus. But enough of this over-intellectualising, the song is perfect for epic headbanging!

Favourite songs

How Do We Know, Raise the Alarm, Moment in the Sun, Hey Hey Disbeliever

Worthwhile?

Hmm... tricky question... Well, I know that one must embrace change, but this album is a mixed bag. It's a case of a few solid songs scattered amongst the mess. Trying to put my biases about The Living End aside, I will say that the handful of good songs do make it worthwhile.

Rocket to Memphis- Swampwater Shuffle

This EP was released in 2007, two years after the band formed.

Although I'm a big fan of the genre of this EP, the execution leaves a bit to be desired. Catwoman and Devil's Ride both have their moments, but also often sound disjointed or clunky. The Jazz Butcher also has some great moments (especially the pre-chorus) but is let down by the contrived, pun-fest lyrics.

Unfortunately, the recording quality is also a mixed bag. And the bad stuff is pretty damn bad- muddy sound and poor balance of instruments. The worst affected by this is Devil's Ride.

The "stroller" style of rock'n'roll always appeals to me, so I quite dig Voodoo Twist. The harsh reality is probably that it's a mediocre execution of the style, and that I'm easily pleased by songs of this style...

What Kind of Man, though, stands on its own as a solid song. The lumpy style is nicely maintained through the song, and perfectly matches the bittersweet lyrics.

Favourite songs

What Kind of Man, Voodoo Twist

Worthwhile?

No. Clearly, the band were still finding their feet at the time of this EP.

The Cure- Staring at the Sea

This mid-career Best Of album was released in 1986, ten years after the band formed.

I really dig the musical style of Killing an Arab and Jumping Someone Else's Train, however I find the philosophical lyrics quite depressive and heavy going. It's not that the lyrics aren't a worthy artistic statement or well executed, it's just that I find them hard work. This situation also applies to many of the other songs on this album, so to spare the whingeing I will focus on the stuff that I do like.

Boys Don't Cry has some great pop hooks, and these are lyrics that I actually really enjoy. (Although I must admit that I prefer Area 7's version)

The Love Cats and Close to Me are both upbeat bouncy tunes that I enjoy. Although they verge on being twee at times, they're still great fun.

So it turns out that the only Cure that I really enjoy are the superficial pop hits. D'oh! I guess I fail at serious "intellectual" music then...

Given my rant in the previous post about vinyl recording quality, I did chuckle when I read the liner nots on this album lecturing the listener how CDs are actually better, even if they don't like the different sound. It seems some people were quite touchy about the subject! And speaking of recording quality, it is surprisingly good. The "art rock" style means a thin sound for the bass guitar (and you can't fatten it up too much with EQ because it is quite messy), but everything is nicely crisp and characterful.

Favourite songs

The Love Cats, Close to Me

Worthwhile?

In a direct sense, I don't get much out of this CD - just  a couple of catchy little pop songs. Taking a wider view, however, The Cure have influenced many of my favourite bands, so I have to thank this CD for many other great albums (for example, Bloc Party's Silent Alarm)

The Doors- L.A. Woman

Founded in 1965, The Doors worked at a furious rate, releasing one album per year. L.A. Woman is their sixth album, released in 1971, a few months before Jim Morrison's death. This review is of the 1999 remastered version.

On a personal note, as a child it was one of my favourite albums. Every so often, I would retreat to the front room and carefully put this album onto the turntable. And while I don't normally buy into the "superiour" sound of vinyl compared with digital music, I'll happily admit that the woofly tones and crackling of the vinyl album were a great part of its character.

It has been a while since I last listened to this album. Yet as soon as it started playing, it felt like putting on a favourite old sneaker that's been lost at the back of the wardrobe for a while: after all this time it still feels familiar and "just right". Ahhh!

The Changeling is a great mini rock-opera. Full of  variety and twists and turns, it still manages to sound cohesive and is nicely stitched together.

On the surface, Love Her Madly is usually remembered as a nice catchy little pop song. But it too is quite an intricate arrangement of twists and turns. For me, though, the highlight is the twist in the lyrics at the end of the first verse:
Don't you love her...
As she's walking out the door.

Been Down So Long is a simple yet brilliantly passionate blues. Cars Hiss By My Window is a simple yet brilliantly relaxing blues. Indeed, The Doors had nailed the blues style in all its forms. Crawling King Snake and The WASP are also solid efforts, again each with a different take on the genre.

L.A. Woman is the most energetic song of the album, thanks to the driving boogie beat. This beat and the lyrics perfectly compliment each other, to create the vivid imagery of speeding interstate through the night in the name of love. Since my childhood, this has been a favourite for closing the curtains, cranking the volume, and being transported to another universe!

Perhaps some ahem "chemical stimulation" is required to properly appreciate L'America. Because un-stoned listening reveals it to be quite incoherent as a whole. On the other hand, even sober Hyacinth House is enjoyable as a nice light pyschodelic ballad.

To quickly touch on recording quality, it is excellent, especially for a 1970s recording. In particular, the vocals are stunning.

As soon as that brilliant walking bassline starts, Riders on the Storm begins to wash all your troubles away. Another highlight is the organ- which is basically free to solo throughout the whole song. While it serves as background fill here, if you listen out for it, the playing is intricate, captivating and refreshingly understated. Then the ghostly lyrics over the top are the icing on the cake. Riders on the Storm is the perfect lullabye.

Favourite songs

The Changeling, Love Her Madly, Been Down So Long, Cars Hiss By My Window, LA Woman, Hyacinth House, The WASP, Riders on the Storm

Worthwhile?

What an incredible album- 30% it is comprised of timeless classics (Love Her Madly, L.A. Woman and Riders on the Storm). And the most of the remaining tracks are "merely" great songs!

Millencolin- Machine 15

Released in 2008, approximately 15 years after the band formed (hence the album title). It follows the album Kingwood and, as of 2014, the band have not released an album since.

Having read a couple of other reviews for this album, I am setting myself the challenge of being the first person to review this album without comparing it to Pennybridge Pioneers. Let's see how that goes...

For some reason, it always takes a few listens for me to get into the groove of this album. Once I'm "in the zone" and the stereo is cranked, this CD becomes a brilliantly enveloping and powerful experience. However, it takes a while for the subtleties to shine, and first impressions are that it barely differs from generic commercial rock offerings of Foo Fighters, Kings of Leon, Good Charlotte, etc.

There is no such confusion with the opening though, which is kick-arse. Machine 15 is a simple yet effective headbanger to get you in the mood. The perfect start.

At the other end of the spectrum is Detox. The stadium rock sound does not mix at all well with the homely ditty style. Add in too many repetitions of the twee chorus, and the result is a train-wreck. Maybe it could be considered just a throwaway pop song, but Millencolin are better than this.

Other offenders seem to sound like a Good Charlotte, Kings of Leon or Foo Fighters B-side, by this I mean uninspired 2000s pop-rock. To name and shame, these songs are Broken World, Come On, Brand New Game (with particularly cliched lyrics) and Turnkey Paradise.

Danger For Stranger is how it should be done. Sure, it's pretty formulaic, but they've executed it perfectly. And its bouncy energy is infectious. Great fun. (Ok, I'll admit, maybe part of the appeal for me is that I don't understand its lyrics...)

Recording quality is disappointing in several areas: a harsh and messy sound for the cymbals, a distracting overuse of stereo panning and the dreaded Loudness Wars resulting in the choruses feeling squashed. On the bright side, there's much less distortion compared with Millencolin's previous album and it does have a nice "meaty" rock sound.

Vicious Circle starts off sounding a bit uninspired, like the offenders above. But then all is forgiven with the chorus! This is vintage Millencolin brilliance- desperately empassioned with lyrics that feature slightly awkward phrasing and are bittersweet yet uplifting. Brilliant.

Who's Laughing Now and Route One are both solid new-age "grunty" Millencolin songs. The chorus of Route One is a particular highlight.

As for Ducks and Drakes, well any songs with a title similar to Duckpond is off to a great start in my book! And this delivers. The classic Millencolin qualities of mysterious and slightly awkward lyrics are still there to be enjoyed, now complemented by the maturity of more sophisticated arrangements and a big sound. And, as the icing on the cake, a nice use of strings. Something old, something new- perfectly blended.

Similarly, Saved By Hell is a wonderful new direction. Highlights include the brilliant contrast between sections, choruses of headbanging goodness, touchingly gentle verses, great lyrics and a grand sense of scale. Again, the strings are used very nicely, which is rare for a rock band. Rather than cheesy cameos, their countermelodies sit perfectly as an integrated part of the song. Kudos. It is a new string in Millencolin's bow (terrible pun- sorry!).

Favourite songs

Machine 15, Vicious Circle, Ducks and Drakes, Route One, Danger For Stranger, Saved By Hell

Worthwhile?

This album shows a continuing progression from the pop-punk ditties of Pennybr... ummm I mean their early albums..., to the stadium riff-rock debuted in Home From Home, to now being capable of some epic rock operas. Each step of the journey has been thoroughly enjoyable, including this one.

Vaudevillains- Vaudevillain Nights

Has it really been 7 years since 2007 already?! It seems like only yesterday that these kids were emerging on the local scene with a fresh take on rockabilly. And this is their debut EP.

Across the CD, the highlight is definitely the storytelling of the lyrics. It's wonderfully illustrative and moody, also nicely intriguing (I'm a big fan of lyrics I don't understand!). Unfortunately, another common theme is terrible endings. Often they are drawn out and fit awkwardly with the rest of the song.

The title track, is case in point. Focussing on the good stuff, the lyrics brilliantly paint a picture of a wild, hedonistic carnival scene. And the music itself is toe-tappingly catchy, with a great riff.

It's interesting to compare this CD to my previous review of Joe Cocker. The style of Joe Cocker isn't something I'd normally dig, so for the song The Letter to appeal to me is an incredible achievement. On the other hand, rockabilly is right up my alley, so perhaps even the most mediocre rockabilly song would score a rave review from me? Hmm, I wonder...

Which brings me to Ill Motivation and Werecar. To damn them with humble praise, both are just solid songs without any real highlights (except, perhaps, the catchy chorus of Werecar). But, probably due to the genre, I still really enjoy them.

To quickly mention the poor recording quality... well... on the bright side the vocals have a haunting quality that works a treat. But otherwise it sounds like some guys where hanging out in a garage drinking beers, and then spontaneously decide to record some times (possibly after the sound engineer had enjoyed a few too many beers...). But this is the first-up effort for an indie band, so I shouldn't get too precious about it.

Trip to the Moon is a fantastic story, and has great music. I really dig the unusual use of the snare drum throughout the verses, which contrasts nicely with the more conventional drum pattern for the chorus. Add the hillbilly bassline and the spacious guitar, and it makes for great music. As for the lyrics, they recount one's battle with his inner demons in a wonderfully poetic style:
This time alone inside my head,
This time alone is all I dread.
And maybe it's the only thing to do.

This evil isn't make-believe
It steals my thoughts, it haunts my dreams
And maybe it's the only thing to do:
Take a trip to the moon.

Devil Drives a Valiant is a musical version of a Tarantino film. There is no cooler story than a demonic femme drag racing at night on deserted country roads in a 70s muscle car. With a catchy little tune to back it up, it is rockabilly perfection.
Side by side, we run on down the track
Beaten again, she must run under 10 flat
I said "damn demon, that's quick for a six",
She said "I'm the devil, you know I've got my tricks"

Favourite songs

Vaudevillain Nights, Trip to the Moon, Devil Drives a Valiant

Worthwhile?

Yep. Garage rockabilly is a guaranteed winner in my book!