Audioslave- Audioslave

This is the debut album, released in 2002. This was about 2 years after Rage Against the Machine split, which freed up its members to create the band with Chris Cornell (Soundgarden imploded about 5 years beforehand).

The album is over 65 minutes long, so let's get stuck in...

Wow, what an opening! Cochise is the perfect way to kick off this hard rock album. From the build-up of the introduction to the classic riff that explodes on the scene, it establishes the mood perfectly. Show Me How to Live continues the theme of riff-driven hard rock goodness. Gasoline is again similar, but in my book it needs more to differentiate it from the previous two songs.

Recording quality is a mixed bag. Cochise is a painful distortion-fest (*cough*... Loudness War again, sigh) and the bass guitar sound is messy in Show Me How to Live. But when it's good, it's very good indeed: wonderfully meaty and enveloping, with the more subtle elements (cymbals, vocals and quieter guitar parts) being crisp and sweet.

My favourite song on the album is What You Are, probably due to the contrast in intensity between the poetic verses and the headbanging chorus. Both are wonderful in their own way, and somehow complement each other perfectly here. The lyrics are also brilliant, for example:
When you asked for light,
I set myself on fire

The mood is then relaxed (relatively speaking!) for Like a Stone. With a relatively laid-back chorus, the song gently flows from start to finish. This serves as both a breather amongst the onslaught of this album and a great rock ballad in it's own right. I Am the Highway is similar to Like a Stone, which also makes it a fine song (aside from the pointless viola opening).

While I'm on my high-horse, here's a few more quibbles: Set It Off is a bit bland in my opinion, especially the lytics. And while Shadow of the Sun has good section, somehow I don't think they fit together properly. Hypnotize's electronica elements do not appeal to me at all, nor does its cheesy chorus. Bring Em Back To Life's downfall is the awful distortion effect on the vocals. And The Last Remaining Light comes across as a B-grade copy of Soundgarden's Black Hole Sun.

While the hard rock style is very enjoyable, I can only take it in limited doses as I find it quite draining. Therefore I wonder if I'm a bit harsh on the later songs in the album, because I've had my fill by then? To end on a good note, Exploder features a fantastic riff and epic chorus.

Favourite song

Cochise, Show Me How to Live, What You Are, Like a Stone, I Am the Highway, Exploder

Worthwhile?

Headbanging hard rock isn't usually my cup of tea, so the handful of songs which do captivate me is quite an achievement. It therefore fits nicely as the token riff-rock element of my collection.

Garbage - Bleed Like Me

Bleed Like Me is Garbage's fourth album, released in 2005. Following the electronic influenced style of the Beautiful Garbage album, Bleed Like Me is a return to their rock sound.

And quite a pop-friendly rock sound at that. I hate to admit it, but many of the songs wouldn't be out of place on a Bon Jovi album! Part of this is due to the production values, which achieve polished pop-music greatness. Sure, it's got the whole gamut of Hollywood tricks thrown at it, but much like No Doubt's Rocksteady album (sorry for the unimaginative comparison to another female-fronted band...), there's no shame in that when it's done this well.

The album starts off with a bang, thanks to Bad Boyfriend. Perfect for establishing the mood, and a solid song in itself. Run Baby Run features a "wall of noise" chorus used to good effect on a few songs on this album. However, the lyrics are inane and, aside from the energetic chorus, I find the song a bit bland. Why Don't You Come On Over feels quite contrived. Right Between the Eyes is another in this style, this time with better execution. Sex is Not the Enemy trades the aggression for feelgood vibes, which I think makes for a catchy tune.

The electronic influences on Beautiful Garbage never really appealed to me, therefore neither do Metal Heart and Boys Wanna Fight.

It is similar in style to Why Do You Love Me, yet also worlds apart. Speaking of Why Do You Love Me, in my book this one of my all-time favourite pop songs. The "wall of noise" chorus is a bit simplistic, but who cares, it's a great singalong! The groove is strong and if you listen closely, the lyrics are actually quite poetic and illustrative. Great fun.

Of the ballads, It's All Over But the Crying is the weakest in my book. I can't put my finger on a reason, but somehow it just doesn't appeal to me. However, Bleed Like Me and Happy Home are amongst my favourite songs of the album due to their grand sense of scale. Bleed Like Me tells the stories of some lost souls, somehow reminding me Lou Reed's Walk on the Wild Side.

Happy Home almost seems like an instrumental to me, perhaps similar to most of Pink Floyd's Wish You Were Here album. With both songs the chorus is more a refrain than a singalong highlight, which is a good contrast to the pop structure of the rest of the album, and leads to the songs flowing very nicely. Both songs also go for a long time without much variety, but like all good prog-rock, it transforms you to a trance where time loses its meaning!

Favourite songs

Bad Boyfriend, Right Between the Eyes, Why Do You Love Me, Bleed Like Me, Happy Home

Worthwhile?

I won't get into the debate of whether this album is a cynical pop exercise or a brilliant exercise in refinement. All I can say is that I really enjoy it- from the throwaway pop hits to the epic rock operas.

The Louisville Sluggers- 'Bout Time

This is the first and only album from the Australian neo-swing band. It was released in 2004, released four years after their second EP.

At the time of its release, this album was a favourite of mine, but when trying to get back into it for this review, initially struggling to find much nice to say about it. Common complaints were songs that felt quite musically bland, some songs being good sections which were awkwardly shoehorned together and other songs having too heavy reliance on a few hooks, resulting in songs feeling too drawn out.

Audio quality is also a let-down, with a dominant (sometimes boomy) double bass and kick-drum sounding at odds with the style of the song. While the trumpet solos sound great, there is something wrong with the horns when playing as a section. The sound is strangely weak, perhaps out of tune even.

Against all these complaints, the band holds a trump card, though: the lead vocals. Wonderful. From syrupy-smooth ballads to jazz diva to soaringly powerful, all styles are a joy to listen to.

The rockabilly influence is stronger than The Louisville Sluggers' previous recordings, starting with the instrumental Reverend Rumble. While I dig the style, the execution to me sounds like a poor cousin to fellow Sydney band Casino Rumblers and lacks enough musical ideas to justify its length. I hold similar feelings for Heat.

The combination of jazz, rockabilly and stunning vocals elevate Radio (All She Had On...), Don't Boss Me, Sands of Time and Hightime to greatness. The vocals do carry these songs somewhat, but regardless I really enjoy them.

Night Time is a wonderful oddball on this album. The spaghetti western style is a highlight, and the songs builds-up very nicely. Miss Mirradell (The Ghost Of) features a pretty poxy chorus, but the soft verses are beautiful and the vocals- as always- are a highlight.

The acoustic ballad Doin' Time is a wonderful duet. Perhaps it's Fulsom Prison Blues with a feminine touch, which of course is a recipe for greatness. Similarly, the hidden track extended version of He's the One (from the Hey Honey, Please EP) uses this style to great effect. It draws out all the best bits wonderfully and the bare-bones nature reveals a wonderful side to this song. This is one song where the composition deserves praise: the gentle build-up perfectly suits the song as the instruments slowly enter for the final big band chorus.

Snake Johnny is mostly too disjointed and staccato for my liking, it seems to change styles just as it is finally getting into a groove. However the bridge is brilliant, in a similar style to Masterplan's. Somehow my favourite lyrics from the album is this riposte:
"You know the monster inside you is alive."
"I keep it checked."
... which takes on a great meaning in the context of the song.

Favourite songs

Radio (All She Had On), Night Time, Miss Mirradell (The Ghost Of), Doin' Time, Sands of Time, Snake Johnny, Hightime, He's the One

Worthwhile?

I thought this album was a shoe-in, but surprisingly this has turned out to be a mixed bag (although perhaps the real issue was my unrealistic expectations). However, in the end, there are definitely enough great moments to make this album worthwhile.

The Living End- Save the Day

As the follow-up to the Prisoner of Society EP, Save the Day was the 1998 single off The Living End's debut album.

As per my review of the song on their debut album, Save the Day is an oddball song as far as The Living End's style for the time goes. Somehow, it quite reminds me of The Angels. Much of the enjoyment for me is in the lyrics, which perfectly capture the unsung heroes watching our back. Maybe I'm imagining things, but it seems this single version is slightly slower than the album version?

The B-sides are throwbacks to the band's very early (It's For Your Own Good  and Hellbound) style. Lone Ranger is big on youthful energy but also feels immature, especially in the simplistic chorus. The punk meets spaghetti western style works well overall, though. Mr Businessman is more of the same musically (not a bad thing), but with a bit more variation and polish musically, and a much more interesting chorus.

The recording quality here is satisfactory. The double-bass has a hollow, echoey feeling on Mr Businessman (like the inside of a guitar's sound box), but on the other songs it strikes a nice balance between character and clarity. I also like that the vocals aren't too forward in the mix here.

Favourite Songs

Save the Day, Mr Businessman

Worthwhile?

Yes, I really dig The Living End's early raw style. Despite any technical shortcomings, they're both fun punkabilly romps.

"cracked a hunge"

Just thought I'd commemorate the passing of 100 posts with some kind of reflection. So if anyone is actually reading this, thanks for joining me on this eclectic musical adventure. It's been great fun, I've enjoyed uncovering many long-neglected favourites. At the current rate, I should have finished my collection in only 4 years!

While some albums have copped a pasting (probably making me look narrow-minded in the process!), I don't really enjoy writing these kinds of reviews. It's much more fun to be waxing lyrical about positive musical experiences.

Looking forward, there's some great albums which are coming up soon. Regarding the lack of variety at times, I must apologise about the "Great Ska Binge of 2001" and the recent "Psychobilly Obsession", both of which got into a bit of a rut. But we're through that now, so there's a great and varied mix of music ahead.

Maroon 5- Songs About Jane

Oh, man... this album sure is a skeleton in my closet... how embarrassing, to have to admit to owning this! It's Maroon 5's highly-successful debut album, released in 2002.

Recording quality, you ask? Unfortunately the Loudness Wars strike again, for most of the singles and the song Sweetest Goodbye. Sigh. And the ballad She Will Be Loved achieves a double-word score for the drums being both overly processed and clipping badly. The recording of the other songs on the album isn't to my taste either, sounding overly processed in the style of the early "nu-metal" sound.

Ok, I'll stop procrastinating... onto the music. The poppy blend of rock and funk does have its moments. This Love has an excellent groove and a classic singalong chorus (although the song often feels like padding between choruses). Likewise, Harder to Breathe features a catchy groove.

My favourite song is Not Coming Home, somehow the stop-start chorus really appeals, and the groove is very catchy.

As expected most of the rest of the album is superficial funk-pop. The lyrics are often random smatterings of cliched lines, with very lazy rhyming. Even worse than the embarrassment of owning this album is that I don't really dig the funk elements. Therefore I must admit my favourites are the sugar-coated pop hits. Damn, there goes any last shred of respect for my taste!

Favourite Songs

Harder to Breathe, This Love, She Will Be Loved, Not Coming Home 

Worthwhile?

Nope. This hits have remained catchy over the years, but hearing them occasionally on the radio is more than enough. And the rest of the album has little to offer.

The Slackers- Wasted Days

This is the fourth album by ska band The Slackers. It was released in 2001, three years after The Question.

There is a strong New Orleans style throughout much of the album, wonderfully described here as "Boogie on the Bayou". The opening song, Wasted Days, kicks things off with an indignant account of a relationship breakup. Such a level of vocal bitterness is unusual for rocksteady, making for an interesting "ska blues". The bassline is also a highlight.

The recording quality is quite stylised, but I really dig it. It's often quite a dark and reverberant rocksteady style (and the 150 Hz region does need some calming down via EQ settings) but it still avoids sounding muffled or blurry. I also dig the natural sounding vocals and the difference in instrument sounds between songs, particularly in the horns and strings.

Please Decide continues the bayou (swamp) ska style. I'm torn about its "gospel on speed" ending, though. The immature ska side of me loves the abrupt jump into madness, but the more sensible side thinks that it destroys the mood of the song. So This is the Night has a similarly rich character, with a slightly quicker tempo. Another in this style is Henderson Swamp, which is my pick of the bayou ska songs. It somehow reminds me of slowed-down version of Iko Iko. The highlight of this song is the subtle transition in groove for the bridge. And the cat meowing samples are a great quirky addition.

The unusual addition of strings to the early ska style works a treat on Dave's Friend. Also, the storytelling is brilliant. It perfectly relates the experience of trying to reach out to a friend who's gone off the rails. The lyrics of the bridge are a particular highlight, as the truth of the matter is revealed:
So call me up sometime,
when you're done with your cocaine and speed.
I may not be a friend you want,
But I'm a friend that you need.

The Barry Manilow feel of Made Up My Mind doesn't really do it for me (especially the lyrics), although I do quite like the violin wailing away in the background.

Sermon serves as a brilliantly tongue-in-cheek introduction to The Nurse, and is totally cheesy. I love how it's so over the top. And there is no more fitting song than The Nurse do deliver the revelation of "no more waking up early on Sundays", "and I'm gonna shake my ass"!

The Nurse is hands-down my favourite song on the album, and one of my all-time favourite songs. The super-catchy early ska/rocksteady beat is perfectly supported by a great, yet simple, horn line and very clever lyrics. The tempo is actually quite brisk, but the short lyrical phrases give it a very laid-back feel. This contrast is yet another highlight. As for the lyrics, my interpretation is that they  alternate between a nurse on the battlefield (similar to the story of Simpson and His Donkey) and personal relationship dramas. The two stories are wonderfully intertwined and very obscurely painted through brilliantly mixed metaphors:
Sweet horse (pronounced like "whores")
I've implored
To lay me
Some wisdom

The last handful of songs are fine as background music for me (thanks to their strong grooves), but not songs I would choose to actively listen to. However, the cover of Bon Jovi's Dead or Alive is a brilliant exception. The song is perfectly suited to this dub version, and the layering is very well done.

Favourite songs

Henderson Swap, Please Decide, Dave's Friend, Sermon, The Nurse, Dead or Alive

Worthwhile?

The Nurse alone makes this album worthwhile. But there are some top quality support acts in this unique swamp ska album.

Buddy Holly- Best Of

This 1995 compilation, contains 20 songs from Buddy Holly's tragically short yet highly influential career.

Regarding the recording quality, initially I was planning on using some EQ tweaks to cover up some of the flaws and then cutting it some slack for the remainder (on the basis of the songs being recorded in the early 1950s). But even back then, the boomy double-bass, harsh vocal reverb effect and occasional distortion during drum fills shouldn't be tolerated. Also, the tonal balance of this 1995 re-release is quite inconsistent between songs, as if some record company just slapped the songs onto a CD without even checking how they sounded (not to mention the errant sub-bass from plosives and random thumps, which gets a modern subwoofer pounding pointlessly).

While I'm moaning, there are some horrid cheesy songs dripping in violins, such as True Love Ways, Peggy Sue Got Married, Maybe Baby, Wishing and It Doesn't Matter... but let's move on and focus on the good stuff...

Oh Boy is one of his faster songs, and an all-time classic of rock'n'roll. The song feels a bit too "wholesome" for rock'n'roll, but Buddy was always more the gawky nerd music whiz than the firebreathing rock'n'roll frontman. Peggy Sue is another classic in this style. My two favourite songs happen to both be covers- Rave On and Brown Eyed Handsome Man. Both hammer along at furious pace with fantastic energy.

The lyrics of Midnight Shift are horribly sexist (the notion that a girl being out late must mean she is unfaithful!) but this sped-up blues is quite catchy. This song is just one example of the variety of influences with which Buddy Holly experimented. Think it Over incorporates rhythm and blues elements wonderfully. Meanwhile the use of knee tapping for the percussion section of Everyday is genius. It makes for a simple and wonderful, yet unique, lovesong.

Favourite songs

Oh Boy, Think it Over, Peggy Sue, Rave On, Heartbeat, Everyday, Brown Eyed Handsome Man

Worthwhile?

Over fifty years later, it is a bit of an effort to overlook the old-fashioned daggy bits. But it's well worth the effort, there is some great wholesome early rock'n'roll to be enjoyed here.

The Wrights- Evie Parts 1,2&3

In 2005, the one-off Australian rock supergroup "The Wrights" formed to perform and record this tribute to Stevie Wright's 11 minute trilogy "Evie".

(As a fanboy of The Living End, the fact that Chris Cheney was involved made this a compulsory purchase for me...)

Part 1 opens with a fantastic riff, making the verses a highlight for me. However the chorus isn't really to my taste, and I find the last minute or so of the song drags out. I must also admit I prefer the original version, I think due to the more frenzied feel, especially of the almost madman vocals during the verses.

Things take a slower and gentler turn with Part 2, a wonderfully passionate ballad. The piano part, background vocals and even cheesy strings fill out the song brilliantly. But the icing on the cake is the vocals, brimming with passion and the slight rough edge perfectly suits the song. Brilliant vocals, slight rough edge and full of emotion. After the songs climax, it becomes the perfect lead in to...

... the return to maximum volume with Part 3. For me, the funky drum beat in combination with the soaring guitars is what makes this song special. While I don't really car for the chorus's "carefree Motown" style, this is just a minor quibble in a fantastic song.

Just to quickly touch on recording quality (as is my want...), I feel the kick drum is a bit lost in the mix. Initially I though the whole recording was a bit subdued, but it really comes to life when the volume is turned up... and of course this album is meant to be enjoyed loud!

Favourite songs

Evie Part 2, Evie Part 3

Worthwhile?

Yeah. With a couple of cracking rock songs, this gets my vote. Do yourself a favour!

True Live- Mintons

This debut EP was released in 2005, a year before their album The Shape of It, which features many of these songs. (the album cover for this EP is nowhere to be found on the internet, so the image here is from the follow-up album).

Question This kicks things off with an infectious bassline. Sadly the recording of said double-bass is a bit of a letdown, its sound has great character, but is a bit indistinct and perhaps distorted. Aside from this, the recording quality of the album is very good, with the springs sounding wonderfully spacious throughout. Back to Question This, other highlights are the strings interludes and the terrifically poetic and insightful slow rapping.

The lighthearted jazz interlude of Mintons is a catchy delight. Its recipe of rapping on top of a vaudeville jazz beat works a treat. Also, the speed-up at the end works well, although the final chaotic chorus is a bit out of place.

Bounce features everything wonderful about True Live: snappy strings "riffs", sharp breaks, catchy lyrics and brilliant infectious bassline (which is very nicely recorded). This is my all-time favoured hiphop song with strings (ok, there isn't a lot of competition for this honour!). It's a great song for both quietly bopping along alone at home and jumping around like crazy in a moshpit.

While Evolution is a bit so-so in isolation, it provides a nice poetic change of pace on this EP, with great introspective lyrics in the verses. Try Walk Left heads closer to traditional rap: almost as angry as Eminem! But the poetry of the lyrics is in another league.

Favourite songs

Question This, Mintons, Bounce

Worthwhile?

On paper, the combination of hiphop and strings could be a cheesy novelty. But True Live implement it with fantastic style and maturity. Fantastic.

The Vasco Era- Miles

Miles is The Vasco Era's debut EP, released in 2005. At the time, their style of simple heavy bluesy rock was proclaimed to be the next big thing.

... and while they are hardly international rock superstars these days, their raw and energetic sound is still a delight to behold.

Kingswood gets straight into their formula of catchy blues/rock riffs countered by basic grungy screaming choruses. Unfortunately, the chorus is a bit lacking in punch, and the drums strangely get quieter on every second phrase of the chorus, which is quite off-putting. While I'm ranting about recording quality, it is generally pretty good across the EP (in a raw style) but the high frequencies are quite muffled somehow.

Somehow, He Came Along Again does not appeal to me at all, sounding immature (not in a good way!) both lyrically and musically. Turn to Blue is a nice gentle slide guitar lullabye, showing good variety from the band, but not really my cup of tea.

Don't go to Sleep is my favourite song on this EP. With a fantastic riff, it reminds me of Nirvana Unplugged, but with explosive choruses. Also, the super-simple drum fills in the chorus are a highlight for me.

Favourite songs

Kingswood, Don't go to Sleep

Worthwhile?

Yes. An oddball, yet very enjoyable, addition to the collection.