CD Review: Chimaira—Resurrection
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Chimaira—Resurrection
By Alex Bracey
Poor Chimaira. Just a couple of years ago they seemed poised to take their place among the heavy-weights of the New Wave of American Heavy Metal. It was going to be the Big Four of Nu-Thrash. Killswitch Engage would take the place of Metallica, Lamb of God would play the role of Slayer, Shadows Fall would be Megadeth, and Chimaira would be Anthrax. Instead it looks like the Cleveland-bred thrashers will end up being the Laaz Rockit of that bunch. While all those other bands (and others such as Avenged Sevenfold and Mastodon) have gone on to pretty decent success and major-label backing and distribution, Chimaira have done nothing but spin their wheels and release the same tired record three times in a row.
While they probably don’t like to be referenced as such, Chimaira started off as a nu-metalish band, sounding very much like a certain group of masked madmen from Iowa on their Roadrunner debut Pass Out of Existence. It was a very forgettable and uninspiring album to say the least, though the band did manage to gain the respect of one Kerry King of Slayer who took the band out on tour. It was while hanging out with Slayer that Chimaira re-discovered their thrash roots. By the time The Impossibility of Reason came out a couple of years later, the band had dropped the bottom-heavy Kornisms and adopted a much speedier and thrashier sound that suited them well. They landed slots on some high-profile tours, and the album-ending instrumental tune “Implements of Destruction” was so awesome that fans began comparing it to such voiceless thrash classics as Metallica’s “Orion”.
Unfortunately, two albums later, “Implements of Destruction” remains the high point of their career. The followup to The Impossibility of Reason, the self-titled Chimaira, came and went and nobody gave a rat’s ass. It wasn’t terrible, but for anyone born before 1990, it wasn’t anything that had not already been heard 1000 times. Thrash metal isn’t a new genre; a lot of ground has been covered. If you’re going to play it nowadays, you better bring something interesting to the table. Some mindbending grooves, unbelievable drumming, unique vocals, something. Chimaira brought none of that. All the promise that that one instrumental track on the previous album held remained just that—a promise. Despite assurances that Chimaira was going to redefine the genre, it didn’t even redefine the band. It was the same old same old. Hell, even Roadrunner dropped them.
So, it was not exactly with baited breath that I waited for Chimaira’s newest attempt at re-writing the thrash record book. Now on Ferret records the band was primed for a…wait for it….wait for it… Resurrection. Could there possibly be a more clichéd title (either for a song or album) than that? Come on guys, at least try. Oh, I get it, your last album died at birth so this is the “resurrection”. Brilliant. Such a lack of creativity is exactly why these guys will never be more than also-rans. That and they have no idea how to write a song that anyone will remember five minutes after listening to it.
Resurrection kicks things off with the title track, which truth be told isn’t bad. It’s not good either, but it’s not horrible. What is horrible is singer Mark Hunter’s repetitive screech. The metalcore scream has been done to death, and Hunter is intent on kicking the corpse for good measure. His voice is completely indistinguishable from the 236,798 metalcore losers out there. On the rare occasion that he does sing, it’s apparent that he should stick to the screeching. It’s an old cliché that if a metal singer screams all the time, it’s because they can’t sing. Well, clichés are usually based in truth. Now, vocal talent isn’t always a prerequisite for being a good metal singer, but if you don’t have it to fall back on then you should probably have some good hooks, melodies, or memorable lines to fall back on. If you’ve heard any Chimaira before, you know that Mark Hunter has none of those in his songwriting arsenal.
From the title track, the album moves on to even more hackneyed and frankly embarrassing territory. And that’s just the song titles—“Pleasure in Pain”, “Worthless” (why couldn’t this have been the album title?), “Killing the Beast”, “No Reason to Live”, etc. Christ, this might BE a Laaz Rockit album. Trust me, the titles are the most original elements of the songs. Musically, these guys are competent, even good, but they simply have no concept of how to make a memorable song. Simply mash together all your Fear Factory, Pantera, and Hatebreed albums (minus the passion and talent of those bands) and there you go. Lyrically, what little I can gather from Mr. Hunter’s silly yelling, appear to be comprised mostly of some ridiculous chest-beating during the verses and then repeated screaming of the title of the song (“Resurrection! Resurrection!” or "Worthless! Worthless!”). Drivel, pure and simple.
In closing, if you have never heard another thrash metal, metalcore, or metal record in your life…don’t start here. This is garbage. Go get the latest from Mastodon or Lair of the Minotaur. If you are indeed a metal fan, you shouldn’t bother with this either. You’ve heard it before and you’ll hear it again. Probably on the next Chimaira record.
The Showdown---Temptation Come My Way
By Alex Bracey
Christian metal has come a long way in the past couple of years. It wasn’t so long ago that pious bands such as Living Sacrifice, Bride, and Mortification had to eke out careers in the shadows (or maybe the light?), preaching to the converted so to speak. Jesus-metal was the domain of the devout only. Christian headbangers were shunned by their more Lucifer-loving contemporaries and no one outside of the Bible-thumpers took them seriously. After all, metal is about rebellion, right? And what bigger and more ready-made symbol is there than Satan for all that pimply-faced rage? It seemed that unless your band dressed in bumblebee-colored outfits, being metal and Christian were all but mutually exclusive.
And then a funny thing happened. Quietly at first, like sheep in wolves’ clothing, more and more Christian metal bands started creeping into the mainstream (or what passes for mainstream in the metal universe anyway). As I Lay Dying, Demon Hunter, Hopesfall, Symphony In Peril, Zao, Underoath, Norma Jean, and others began scoring slots on secular tours with the likes of Slayer and Killswitch Engage. Before you knew it, die-hard metal fans were singing the praises of bands that, truth be told, they didn’t even realize were Christian. Almost insidiously, God had managed to work his way into the devil’s music.
But lost amid the Gospel-shuffle was a little band named The Showdown. Their 2004 debut, A Chorus of Obliteration, came and went with little fanfare, despite the fact that it was actually more entertaining and praiseworthy than the efforts of most of their Christian metal peers. While it was still rooted firmly in the metal-core sound that had become all the rage, it sported some tasty riffs and interesting vocal arrangements to go along with the played out breakdown-laden formula. Lyrically, it was also much different than the typical Christian fare. Instead of Godly laments and introspection, they treated the listener to a more epic sound, detailing stories from the Bible in an almost Maiden-esque fashion (lyrically speaking) rather than just preaching. All-in-all, it was an impressive debut that showed a lot of below-the-surface potential if they could develop their own style. And now, with their 2007 release Temptation Come My Way, The Showdown have done just that.
And Jesus-fucking Christ, it rocks.
This is a born-again Showdown. Gone are the ridiculous and tired hardcore screaming vocals, replaced by a Hetfield-like metal bark that lends itself much more easily to the Southern-rock vibe they have adopted. One of the biggest knocks against metalcore is the sameness of all those screamers out there. I mean come on, can you really tell me what the difference is between the singer from Dead To Fall and the singer from I Killed The Prom Queen or Bury Your Dead Valentine In Your Arms That Remains or whatever the fuck those bands are called? No you can’t and don’t even try. Wisely, The Showdown have seen the light, so to speak, and that alone elevates them from the pack. While singer Dave Bunton won’t be confused with Ronnie James Dio or Rob Halford anytime soon, he has a decent enough voice that works well with the music he’s singing over, which in this day and age is all one can ask for. What sets these guys apart, though, are their catchy as hell choruses that will stick to your brain like Silly Putty. One or two listens to “Forget My Name” with its Dangerous Toys-meets-Armored Saint chorus and you’ll be singing it all day long. Same thing with “Six Feet Under”, “Fanatics and Whores” and every other track on the album except for the lone dud, a tragically emo-ish pseudo ballad entitled “Death Finds Us Breathing”. Hell, they even manage to make a cover of the old Kansas classic “Carry On My Wayward Son” kick ass.
Out the window are the blatant Pantera rip-off riffs. Instead we are treated to some quasi-thrash/hard rock riffage, mixed in with a little down south boogie. Think Death Angel meets C.O.C., with a little bit of Metallica thrown in. Is it earth-shatteringly original? Not really. Is it pretty fucking good? Nope. It’s border-line great. What these guys have managed to do is record an album that rocks organically and not artificially, which in the era of fake-ass wannabes like Avenged Sevenfold and Every Time I Die. Ironically enough, this would make a great party album for those drunken nights when you and your buds get good and blitzed and wanna sing to the top of your lungs and bang your head like a loon. Look out evil-doers, Temptation Come My Way is the first great metal album of 2007. Believe it.
Clutch—From Beale Street To Oblivion
By Alex Bracey
In order to provide full disclosure, I must admit to something up front before you read any further into this review: I love Clutch. No, I don’t think you read that closely enough. I. Love. Clutch. They are without a doubt and without hesitation for thought, my favorite band and have been for well over a decade. Their eclectic yet familiar blend of stoner rock groove, bluesy boogie, clever lyricism and jam-band ethos has positioned them at the apex of my own personal musical Mount Everest (just a notch or two above Danzig and Slayer, in case you were wondering). And that’s not even taking into account that they are the best live band in the world right now. In a nutshell, Clutch kicks my, your, and your mama’s ass on a daily basis. If you don’t agree, I hear there’s a new album from The Used dropping soon. Go knock yourself out, Emo McCocksucker. I just wanted to establish from the jump that, yes, I am an unabashedly pathetic and dorky Clutch fanatic.
“Why is that important?” you ask. “Who cares how much you like the band, Al, what does the record sound like?”
Well, this is the reason it matters, junior: This is the album that non-Clutch fans have been waiting for.
“Huh?”
Yep. This is it. This is the big one. If Clutch is going to break into the mainstream, this is the one to do it.
“So this is their best album yet?”
Um, no. The title of “Best Clutch Album Ever” (BCAE) will vary from fan to fan (IMO it’s a tie between the self-titled and Blast Tyrant), but it’s doubtful that this one will ever be as beloved by the die-hards as past releases.
“So it sucks, then?”
No, jackass, it rules. Clutch is physically, metaphorically, and spiritually incapable of sucking and don’t you ever even hint at such a thing again. What I’m saying here is that Clutch has managed to throw together a cohesive, accessible, and smoking new album that is radio-friendly and inviting enough for the frat-boy set to chew on and swallow without getting choked.
“So they sold out?”
So help me I will sickle you where you stand. If by sell-out you mean making a kick-ass rock record containing songs that would easily fit in a rock radio play list in between AC/DC and Wolfmother, then yes. Sell-out as in making a corporate record designed to sell blue jeans or Lexuses? No. From Beale Street to Oblivion is, much like every album they’ve made since Transnational Speedway League, a wholly organic and rockin’ affair. The stoner riffs have been toned down a notch from the past couple of albums in favor of a more straight-up bluesy sound all the while retaining a hint of their new-found gospel goodness from Robot Hive/Exodus. From opening track “You Can’t Stop Progress” to closer “Mr. Shiny Cadillackness”, Clutch hits you over the head with boogie riffs, a more relaxed back-beat, and some wicked guitar solos. Oh yeah, and there’s some harmonica to boot. Lyrically, it’s anyone’s guess what the hell singer Neil Fallon is talking about. But that’s always been part of their brilliance. Clutch is one of the few, if not the only, bands capable of singing about such ridiculous topics as robots, Star Wars, bounty hunters, tractors, or shoguns, and not sound silly. While I have not had time to dissect the lyrics as carefully as I will, what little I have picked up is typical Fallon. In other words, complete nonsense, but brilliant nonsense nonetheless. All that said, there is no reason why the layman should not be able to pick this record up as be hooked immediately.
“Okay, so for all this ass-kissing, you say this probably won’t go down as their best yet? Why?”
Okay, here’s the deal. For a Clutchophile such as myself, the album falls just a smidge short of the brilliance of Blast Tyrant. While it is consistently good from start to finish, I shy away just a little from calling it great. There is a bit of sameness to some of the songs, particularly in riffing. While the band has had a definitive and identifiable sound for years, some of the guitar work sounds just a tad recycled at times. According to the eco-nuts out there recycling is a good thing, but in this case it makes some of the tracks blur together on occasion, though I’m sure repeat listening will cure that. On the first 5-6 times I’ve listened, however, I’d have a hard time telling some of the songs apart. Even on Robot Hive/Exodus, which gave us a couple of the worst songs the band has ever done (“Circus Maximus” anyone?), there were several songs that upon first listen made you stop and say “Goddamn these guys are awesome.” Unfortunately there are no real instant classics on Beale Street, no real standouts like “The Mob Goes Wild” or “10001110101” that floor the Gearheads right out of the gate. That being said, I’m sure within the next few weeks after my 10,000th listen to the new disc, I’ll probably be singing its praises as a work of unparalleled brilliance. They have a habit of growing on you that way.
“So what are you saying, exactly?”
What I’m saying, imaginary adversary is that if you’ve never heard Clutch before or if you’ve never been exactly floored by them before, give this one a spin. I have a hunch it might be more to your liking. If you’re already a Clutch fan, you’re going to buy it anyway, so it really doesn’t matter anyway. You pretty much know what you’re going to get out of it: A slab of pure rock fury that will satisfy your urge for new Clutch tunes.
Powerman 5000—Destroy What You Enjoy
By Alex Bracey
I have a confession to make: I’m a Powerman 5000 fan. I know that’s not a cool thing to say in the year 2007, when metalcore and emo/screamo have ruled the hard rock roost for the past few years, essentially doing to nu-metal what grunge did to glam over a decade ago, namely eviscerating the genre and exposing the silliness of it all. While a couple of bands have managed to survive the fallout with credibility intact (System of a Down, Slipknot, Deftones, Incubus), the second-tier acts are left grasping at straws. Really, what’s the difference today between Drowning Pool, Static-X, or Saliva and Warrant, Slaughter, or Trixter? The difference being there’s no nostalgia (yet) for the wallet-chain swinging set. But for me, I never lumped PM5K in with those other bands, even though 99% of the population does.
I first heard Powerman circa 1996 or so, opening for Danzig. They were the first band on the bill, had yet to release a nationally distributed album, and were known only for having Rob Zombie’s little brother as their front man. Oh yeah, and they stole the show. Powerman in their early days were a rap/metal/funk amalgam that was easy to groove to and impossible to categorize. Their debut Mega! Kung-Fu Radio remains an odd footnote in both Powerman’s history and nu-metal in general. The simplistic riffs and down-tuned guitars that would characterize the nu-metal genre and their later work were not yet all-encompassing, and PM5K had a freshness and goofy fun-factor that made them quite enjoyable.
Fast-forward a couple of years. Korn are superstars. Fred Durst is everywhere. Bands like Godsmack and Staind are beginning their rise to fame. And Powerman 5000 release their second major label release, Tonight The Stars Revolt!. It is an instant hit, due in large part to the success of the breakout single “When Worlds Collide” which was featured in countless video games and MTV promos. Gone was the rap and funk of their previous releases, replaced by the generic riffage that dominated the airwaves at the time. The songs were formulaic, silly, and a huge step down from Kung-Fu Radio. Yet oddly enough, even though I was beginning to chafe at the banality of nu-metal, I dug it. The band had adopted some sort of sci-fi spacemen personas, and even though their music played strictly by the rules, PM5K stood out for me, particularly in the live department. I saw them on a tour for that album and to this day it was one of the best shows I’ve ever seen. In any regard, Spider and company seemed like they were on top of the world.
And then something funny happened. With nu-metal beginning to fade from the spotlight, Powerman went back into the studio and recorded what should have been the follow-up to Tonight the Stars Revolt! Release dates were set, promos sent out, the WWE even began using one of the tracks (“Bombshell”) as the entrance music for the then-popular Dudley Boys. Entitled Anyone For Doomsday? the album had the makings of being just as big of a success as its predecessor, as it should have caught the last crest of that nu-metal wave. As anyone who knows anything about the band already knows, it was not to be.
AFD, completed and ready to roll, was pulled from the release schedule and shelved mere days before it was to hit shelves. Many stories have been bandied about as to the reasoning behind the move. Some say that the album’s title was too controversial so soon after 9-11, while others claim that the record company could see the writing on the wall and knew that the genre was on its way out. Spider himself had a different and much more believable reason for yanking the album---he didn’t like it. As anyone who has heard AFD can attest, that shit-canned album was little more than a clone of Tonight the Stars Revolt! a sci-fi themed by-the-numbers affair that offered absolutely nothing new. Unhappy with spinning his wheels, Spider opted instead to essentially commit career suicide and deep-six the project and record a brand new album, the critically well-received but commercially disappointing Transform. Despite poor sales the aptly titled album was a success from an artistic aspect. PM5K had reinvented itself yet again, this time as a no-frills rock band, lacing its radio-friendly hooks with a more punk-themed anti-establishment stance. Despite my affection for their earlier material, Transform remains my favorite Powerman album. Until now.
2006 brought us a new PM5K album, Destroy What You Enjoy. Despite a collective shrug of the shoulders from the majority of media trendsetters and a near-complete change of lineup, Powerman has delivered a damn good album. With no major-label micro-management to worry about and no real commercial expectations or pressure, Spider has been set free to make the music that he wants to, and that music is more of the Transform-era goodness that he left off with last time. No spacesuits, no nu-metal, just rock and roll with a punk-rock sneer. The tunes are instantly memorable (“Wild World” especially is irresistible) and the band sounds tighter than ever. Lyrically, it gets a little bit dunderheaded, but then again I don’t look to rock stars for my political commentary. So long as it’s not embarrassing, I can deal with boneheaded or nonsensical lyrics.
Will Destroy… sell six million copies? Not even close. Will it even match Tonight…? Probably not. But in terms of quality rock, it has already surpassed it. It’s refreshing to see an artist make the albums he or she wants to make instead of what they are supposed to. While the wild experimentation of the early days is still missed, if you’re going to make just a good old fashioned rock album this is the way to go. Hard driving, not complicated, and fun. To borrow one of Destroy What You Enjoy’s song titles---now that’s rock and roll.
Artimus Pyledriver—Artimus Pyledriver
By Alex Bracey
Sometimes it’s hard to come up with different ways to describe the same shit. I mean, really, in the damn near forty years since Sabbath laid the groundwork for all that is metal, just about every style, genre, and sub-genre has been done to death. Thrash, death, black, grind, metalcore, etc etc et-mutha-fucking-cetera. Within genres, there’s a basic template that is followed and except for the masters of the form, 90% of bands could be described with the same cut-and-paste review. Case in point, the DRT debut of Dixie-bred rawkers Artimus Pyledriver.
Have you ever heard Zeke? The Bronx? The Bars? Turbonegro? Valient Thorr? Alabama Thunderpussy? Nashville Pussy? No? Then go pick this up. If you are familiar with those other bands at all then there’s really no need to seek this out. What we have here is your standard Motorhead/AC/DC/C.O.C. mashup which is to say full-on balls-to-the-wall rawk’n’roll inflected with a little bit of punk influence and not even a hint of nuance, subtlety, or originality. Hell, even the singer sounds like a Brian Johnson clone. Does this mean that they suck? Not really. It rocks, certainly, but it also lacks the personality of the better bands in this genre. This form of hard rock, while admirable from a pure ass-kicking, “let’s throw something on the stereo while we pound some brews” point of view, has always left me feeling a little empty. It’s like stoner-rock without the groove and feel. If you’re into this style, you’ll eat it up even though you’ve heard it a thousand times before. Decent but far from essential.
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HIM- Uneasy Listening Volume 1
While HIM is preparing to enter the studio to record their follow-up to Dark Light, their first album for Sire records, their previous label has released a collection of acoustic tracks and remixes entitled Uneasy Listening Vol 1. Most of these songs have been released on various singles in the past, but HIM fans have always wanted for the rare stuff to be collected into easy to collect cds, so this is a good start.
Almost all of these songs are slower paced and moodier than the originals. The polish and production of albums like Deep Shadows And Brilliant Highlights and Love Metal have been completely removed, and replaced with a stripped down sadness that really brings out the meaning in the lyrics. Lets take it track by track…
The Sacrament has never been one of my favorite HIM songs, but the darker keyboards on the Didrhythm Remix give a new dynamic to the song . I’m happy already!
The Funeral Of Hearts (Acoustic Version) also comes across as much more heartfelt. It kind of makes me wish Johnny Cash could have covered this. The song has always had a playful side to it, which has been completely removed, to great effect.
Join Me In Death (Strongroom Mix) doesn’t quite match up to the original, which in my opinion would be just about impossible anyway. It’s not really changed much, just the sound is a little muffled. The original version changed the course of my life though, so I can’t expect a remix to top it.
Close To The Flame (The Rappula Tapes) may be better than the original! There’s several songs from Deep Shadows on here and the aspects of that cd that some fans didn’t like as much such as being “too slick” or “overproduced” have been rectified.
In Joy And Sorrow is one of the few songs from Brilliant Highlights that I really like, but HOLY CRAP is the String Version better! It‘s downright depressing, but in a good way. I‘ve always taken this song to be a love song for the unloved and the acoustic guitar and violin bring that home more than ever before. For HIM fans this is worth the price of the cd by itself.
It’s All Tears (Unplugged Radio Live) has some Spanish influence to it. Not a bad thing, just very different from what HIM fans might be used to. That might make the song a bit inaccessible to some. One of the things that fans do love about the band is vocalist Ville Valo’s contrast of very deep, sinister lows with higher, sweeter notes. He’s all over both here, and Ville fans should love it.
When Love And Death Embrace (AOR Radio Version) isn’t much different from the original. Decent song, but kind of pointless.
Buried Alive By Love (Deliverance Version) is on an album of ballads? I love th original version of this song so I wasn;t sure what to expect but this is pretty awesome. Again, the slickness of recent cds is gone resulting in whatever glimmer of hope this songs message once had is now utterly defeated by love. I don’t prefer this to the original, but I’m really glad that I heard it! The best song on Love metal is now the best song on Uneasy Listening.
Gone With The Sin (O.D. Version) would be the song I’d play to fans who had just discovered the band through Ville’s work with Apocalyptica. The violins accompanying Valo are haunting and would be welcome on future album tracks.
Salt In Our Wounds (Thulsa Doom Version) sarts kind of doomy until the chorus hits, which fits more with the tone of the cd. This has never been one of my favorite songs by the band and this doesn’t change that.
Please Don’t Let It Go is another one of my least favorite HIM songs. Wow, the song selection for this thing is kind of baffling! This is just an acoustic version of the song.
One Last Time (Rockfield Madness Version) is not really that different from the original, and like Join Me In death, its just sounds a bit muffled. Here’s the problem with remixing songs from Razorblade Romance, that album is lightening in a bottle. It’s tragic and uplifting, sadistic and sweet. How do you recapture that? Besides that, though it wouldn’t fit in on this release, there is another version of this song that every HIM fan should hear. It’s called The 9th Circle, and it’s a kick ass hard rock song with alternate lyrics that should definitely be included on a future compilation like this.
For You (Unplugged Radio Live) is exactly what the title suggests. Again, including so many songs from Brilliant Highlights, which many consider to be the bands weakest release is a little offsetting at first, but it’s good to hear these rougher versions of the songs. I MUCH prefer this to the original.
The Path (P.S. Version) is exactly that. It’s completely different lyrics that I suppose are meant to be a Part 2 of sorts. Cool. Just as I started thinking that the production should have been closer to the original to blend the songs together better it turns around and does just that. I’ve always really liked this song anyway.
Lose You Tonight (Thulsa Doom Extended Mix) is all about the mood. It wants you to sit back and feel the song inside you. Like Salt In Our Wounds the songs softer choruses work better than the verses.
Overall, I would say that those of you who are already HIM fans should buy this cd. Several songs ar quite good, while others at least give an interesting view of songs you already know. The title of this collection implies that there will be future volumes, and though it’s great to hear the softer side, I hope the next volume focuses on heavier tracks. There are some amazing unreleased songs from HIM’s history that deserve to be heard. The only drawback to a release like this is the concept of over saturating the market. After the success of razorblade Romance and just prior to Dark Light Universal flooded stores with reissues of HIM’s back catalog. When a new fan who had only heard one song on the radio walks into a cd store and sees that the band they are interested in had released 5 albums within one year, I think it could have had a negative impact on the band. Keep in mind that most people thought that HIM was a new band, and there’s nothing really wrong with them not having heard of the band before. So here’s what you should do. Established Him fans…buy this, it’s worth it. For those of you who enjoy Dark Light but haven’t caught up with the previous cds, go ahead and buy this too, as it’s much cheaper than the import greatest hits album. New fans who haven’t bought any Him cds yet, go buy Dark Light or Razorblade Romance first so you’ll get a more accurate view of what the band is all about.
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Vains Of Jenna-Lit Up/Let Down
As an unashamed fan of 80's glam and sleaze rock, and a strong supporter of it's soon-to-come return to prominence, I am of two minds regarding the debut album by Vains Of Jenna...
First of all, Thank you Bam Margera for realizing that the music industry needs a shake-up! When Bam discovered HIM he did everything in his power to help expose them to US audiences. Vains Of Jenna are a different story however, as they didn't even have a record deal. bam solved this problem by starting his own record label, Filthy Note, just so he could sign them. Since 1992 the music industry has been afraid to have fun and be sexy. Bam's a smart guy though, and he knows that the public is ready for a change. Trust me on this, the girls screaming for Ville Valo or Gerard Way at concerts are not yelling "PLEASE RESPECT ME" or "SHOW US HOW UNDERSTANDING YOU ARE".The public is ready to have some fun and Vains of Jenna are the trashy cure for your ills. VOJ is essentially a hybrid of 80's sleaze with the more bluesy hard rock bands of the same era. Fans of Guns N Roses, Faster Pussycat, LA Guns, Hanoi Rocks, and some kickass bands you've never heard of like Spread Eagle, Tygertailz and Bang Tango should find something to like on this disc. Those of you who weren't around in the glam heyday will find a refreshing change from the tired trends that you should be bored of by now. It's dirty, it's raw, it's probably drunken and it's just what this industry needs.The best songs are the opening track "Don't Give A Damn", "Hard To Be Vain" and the albums only ballad "Lit Up/Let Down".
Remember how I said that I'm of two minds regarding this cd? Here comes the bad part. First of all, the cd is only 8 songs, with two acoustic versions of album tracks tacked on at the end. Acoustic songs should be added as a bonus, not to pad out a short cd. Secondly, though for new listenners this is a good introduction to sleaze rock, it hardly ranks well among it's 80's forefathers. I was ready to LOVE this cd, because this is my favorite genre of music, but I don't. It's good, and it's fun, but it just doesn't quite reach the level of their influences. This is a very young band, who are still developing an identity, so I'm confident that their next release will be badass, but they are just not there yet. There is a bonus video on the disc for the song "Noone's Gonna Do It For You" so I assume that that is the single. It is also the worst song on the cd. When the chorus sang the line "Janie's on the run" it felt uncomfortably close to Aerosmith's "Janie's Got A Gun"...then it went a step further by actually saying the title of the Aerosmith classic. Ouch, that was bad!
So, do I reccomend this cd or not? I actually do, but as a primer. Once you get used to this form of music that you probably haven't been exposed to, check out the bands that laid the groundwork for Vains Of Jenna. And give VOJ a little time to truly develop into the band that could save rock n roll.
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My Chemical Romance-The Black Parade
My Chemical Romance has released two very distinctly different, yet equally amazing cds in their history. I Brought You My Bullets, You Brought Me Your Love was raw like an exposed nerve, and heavily steeped in fantasy. It’s follow-up, the smash hit Three Cheers for Sweet Revenge was full of catchy sing-a-longs that showed a more polished band that remained fascinated with death. Both spectacular in their own ways, yet quite different. Still, they were unmistaken MCR albums. Given this history, it’s a surprise that so many people weren’t expecting another evolution for the band with it’s new album The Black Parade. Of course they were going to change, the question is, will it maintain the level of quality fans have come to expect?
I’m happy to say that not only do they live up to their past but at times they even surpass it. Unlike every other successful band of the last few years, MCR is not content with simply remaking their previous hit record. They are aware of the changing tide of music and while other bands are left confused as to why an exact replica of their previous cd is not being embraced by fans, MCR blazes a new path of bitterness and despair with what is purported to be a concept album about a cancer patient. Here’s a track by track review of The Black Parade.
"The End"- is essentially an intro to the concept of the cd, and it works. You can immediately tell that the band has grown, changed, and along the way have listened to some Pink Floyd. Plus, it has one of the best lines vocalist Gerard way has ever written, and its bound to end up as thousands of Myspace screen names in the near future.
"Dead"- shows that the band hasn’t completely abandons what made them special. They still sound like My Chemical Romance, so put your fears to rest, they may have been inspired by Queen and Pink Floyd on this album, but they didn’t lose themselves along the way. This would actually fit in nicely on 3 Cheers.
"This Is How I Disappear"- It settles in at this point that this album is truly a follow-up to the song “Helena” from 3 Cheers. Whereas that song was written about the death of Gerard and Mikey’s grandmother Elena Lee Rush, this entire album is about loss, with cancer as it’s central theme. This doesn’t feel like fiction, it feels like a band pouring their hearts out. It just took them a few years to figure out how to express it.
"The Sharpest Lives"- seems to be about Gerard’s bouts with alcohol abuse. Again, it would fit right in with Three Cheers, but it’s perhaps a bit broader in scope.
"Welcome To The Black Parade" has caught quite a bit of flack from fans for being “too epic”, for ditching the trappings of the dying emo trend, but to me that’s the point. This band is too good to fall out with the rest of the boys when this trend dies in the near future. They will carry on.
"I Don’t Love You Like I Did Yesterday"- seems to break away from the concept, but it’s worth it. A perfect example of the bands transcendence into becoming a true Rock band. Again, it sounds like MCR, but on a grander scale..
"House Of Wolves"- is another one for the old school fans. I’ll add that though I love the bands earlier work, there were always a few songs on each cd that didn’t match up to the rest. This time all of the “signature” style songs are great, perhaps a little less catchy, but generally better written and performed.
"Cancer"- is beautiful. You know it hurt to write this song.
"Mama"- features guest vocals b Liza Minnelli, who I understand was Elena’s favorite singer. This is NOT a song about the power of positive thinking, let me tell you that! There’s a fitting vaudeville type feel to the song, and in fact, much of the album. Broadway musicals seem to be a big influence as well on the album, and somehow mixing that, 70’s classic rock, and modern day MCR works amazingly well.
"Sleep"- is one of the biggest departures for the band. Instead of being a straight-up rocker, it crescendos like a Queen song.. This album is of course a compliment to 70’s rock pioneers like Queen or Pink Floyd, but again, they never bow down before the masters. Instead the step up to the plate and become masters themselves.
"Teenagers" is an anthem for today’s youth. It’s full out, fist in the air arena rock, complete with a bluesy hard rock style guitar solo. I like it! This song is fun in the same way that “Headfirst For Halos” from I Brought you My Bullets… was. Lyrically, it’s rather dark and disturbing, but it’s so upbeat musically that you don’t focus on the darkness. In fact, the most disturbing (and possibly controversial) line in the song made me laugh out loud. Gerard has always been good with delivering difficult subjects and imagery in a fun and uplifting way, and this is a fine example of that. It's also very reminiscent of T-Rex, furthering the 70's connection of the disc.
"Disenchanted"- pretty much gives up all hope that this will end happily. One of the strengths of this album that many casual listeners wont grasp is that this is really an ALBUM, not just a collection of songs. That concept has been forgotten for a long time, and its so good to see a band bring that back. This cd is meant to be listened to all the way through, not just for you to download the singles and put your Ipod on shuffle. Though you could enjoy any of these songs on their own, listened to as a whole gives a much bigger impact than most albums of the past several years.
"Famous Last Words"- As dark as this album is, and its pretty bleak, somehow the band manages to put an uplifting spin on things. Again, after feeling the sadness and despair of this album, this song comes off as downright majestic.
Unlisted Track- I’m assuming this song is called "Blood", but that’s just a guess. This is a brief little number that fully embraces the vaudeville influence that I mentioned earlier, though lyrically it remains signature MCR. It’s a fitting end to an album that is stylistically all over the map, but somehow makes it all fit together.
The bottom line is this, closed-minded fans who don’t think the band should ever change, yet if they didn’t would stop liking the band anyway when the emo trend dies (check your watches) might be a little taken aback by this cd. If you recall though, songs such as "You Know What They Do To Guys Like Us In Prison" did experiment a little with this sort of thing, so there was always a slight vaudeville aspect to the band. The classic rock elements simply show a more mature band, who have all taken a huge leap in talent since the last cd. My only real complaints about the cd are more with marketing than the actual music. This cd is being promoted as a concept cd yet the story seems to go back and forth between a few topics, and without exposition it almost comes off as a theme album, much like 3 Cheers. I also can’t quite figure out why the band has adopted the alter ego of a band called The Black Parade. This is an album to be proud of, and an album that will stand the test of time. For those of you who don’t quite “get it”, give this album a chance. Yes, they have shed the last shreds of emo from their sound. Yes, they have changed. And yes, this is a brilliant album that deserves to be in your collection.
VARIOUS ARTISTS: BUTCHERING THE BEATLES
First of all, let me qualify this review by saying that I'm not exactly a Beatles fan. They have some catchy songs and all, but I just don't think their musical contribution compares to Zeppelin, Sabbath or a number of other bands. So, when I heard that a bunch of 80's metal stars were going to "butcher" their songs I was pretty excited about hearing the cd. One look at some of the names below and I knew my ass was about to get kicked.
1. "Hey Bulldog" - Alice Cooper, vox; Steve Vai, guitars; Duff McKagen (Velvet Revolver / Guns N Roses), bass; Mikkey Dee (Motorhead), drums
2. "Back In The USSR" - Lemmy Kilmister (Motorhead), vox/bass; John5 (Marilyn Manson / Rob Zombie), guitars; Eric Singer (Kiss / Alice Cooper), drums
3. "Lucy In The Sky With Diamonds" - Geoff Tate (Queensryche), vox; Michael Wilton (Queensryche), guitar; Craig Goldy (Dio), guitar; Rudy Sarzo (Dio), bass; Simon Wright (Dio), drums; Scott Warren (Dio), keys
4. "Tomorrow Never Knows" - Billy Idol, vox; Steve Stevens (Billy Idol), guitars; Blasko (Ozzy Osbourne), bass; Brian Tichy (Billy Idol), drums
5. "Magical Mystery Tour" - Jeff Scott Soto (Yngwie Malmsteen / Soul Sirkus), vox; Yngwie Malmsteen (Rising Force / Alcatrazz), lead guitar; Bob Kulick, (Meat Loaf / Paul Stanley Band), rhythm guitar; Jeff Pilson (Dokken / Foreigner), bass; Frankie Banali (Wasp / Quiet Riot), drums
6. "Revolution" - Billy Gibbons (ZZ Top), vox / guitar; Vivian Campbell (Def Leppard), guitar; Mike Porcaro (Toto), bass; Gregg Bisonnette (David Lee Roth / Ringo Starr Band), drums; Joseph Fazzio (Superjoint Ritual), drums
7. "Day Tripper" - Jack Blades (Night Ranger / Damn Yankees), vox; Tommy Shaw (Styx / Damn Yankees), vox; Doug Aldrich (Whitesnake / Dio), guitars; Marco Mendoza (Whitesnake / Thin Lizzy), bass; Virgil Donati (Steve Vai / Soul Sirkus / Planet X), drums
8. "I Feel Fine" - John Bush (Anthrax), vox; Stephen Carpenter (Deftones), guitar; Mike Inez (Ozzy Osbourne / Alice In Chains), bass; John Tempesta (The Cult / Testament), drums
9. "Taxman" - Doug Pinnick (Kings X), vox; Steve Lukather (Toto), guitar; Tony Levin (John Lennon / Peter Gabriel), bass; Steve Ferrone (Eric Clapton / Tom Petty), drums
10. "I Saw Her Standing There" - John Corabi (Motley Crue), vox; Phil Campbell (Motorhead), guitar; C.C. Deville (Poison), guitar; Chris Chaney (Jane's Addiction), bass; Kenny Aronoff (Smashing Pumpkins / Jon Bon Jovi), drums
11. "Hey Jude" - Tim "Ripper" Owens (Judas Priest / Iced Earth), vox; George Lynch (Dokken / Lynch Mob), guitar; Bob Kulick (Meat Loaf / Paul Stanley Band), rhythm guitar; Tim Bogert (Vanilla Fudge / Beck / Bogert & Appice), bass; Chris Slade (AC/DC), drums
12. "Drive My Car" - Kip Winger (Winger), vox; Bruce Kulick (Kiss / Grand Funk), guitar; Tony Franklin (The Firm / Whitesnake), bass; Aynsley Dunbar (Whitesnake / Journey), drums
Well, consider my ass about half-kicked. Okay, we know the musicians involved are all incredibly talented, and you get about what you'd expect from them stylistically, so lets focus on the singers here, as they can make or break each of these songs, and I'll throw in mentions for the others when needed..
I must admit that I've never heard "Hey Bulldog" before in its original version, but I'm guessing that the guitar wasn't quite as blazing as Steve Vai's. I actually kind of like this song, except that Alice Cooper seems to be phoning it in. In fact, this is a recurring problem throughout the cd. Lemmy, Geoff tate and Billy Idol all seem intimidated by the material they are covering instead of truly living up to the title of the cd. JESUS! did I just criticize Lemmy AND Billy Idol in the same sentence? Well, I'm a huge fan of both of them (and Queensryche) so I know what these guys are capable of, and they just seem to lack their usual passion in these songs. Perhaps the title is too ambitious?
Just when I'm about to completely give up hope, here comes Jeff scott Soto and the guitarist that gave him his first big break, Yngwie malmsteen! Yngwie is incapable of playing a song without Yngwie-fying it, which on a cd like this is actually a good thing. I'm a unashamed Yngwie fan (except for the crap he's been hashing out for the past decade) and I'm an even bigger Soto fan, so this started to turn the tide for the album for me. It's probably the least impressed I've ever been with Soto, but that's okay. He's one of the best, so I'll deal with it.
Wait a seond, what the hell is Billy Gibbons doing on this cd? Don't get me wrong, he does a fine cover of "Revolution" but he's not metal by ANY stretch of the imaginaton! On a bright note, this song finally lets us all know what it would sound like if a member of Superjoint ritual and a member of toto recorded together. We can all sleep well tonight now that the bruning question has been answered. They actually turn in a good cover, but it just doesn't belong on what clims to be a metal cd..
"Day Tripper" reunites former Damn Yankees co-vocalisst Jack Blades and Tommy Shaw. These guys always sounds GREAT together, and this is no exception. They are a dream team of vocal harmonies. Unfortunately, the other musicians are kicking out the jams so much that it clashes with the vocals. I also feel the need to mention that guitarist Doug Aldrich was a member of the band Lion, who recorded the theme song to Transformers: The Movie back in the 80's. What are you all looking at me like that for?? That song was AWESOME!Lets see YOU write a metal song about Autobots!
Next up is John Bush, who has the voice that every man should have, but none do. If you don't like John Bush, then you do not like metal. He's paired up with musicians that make sense, and they change the song up just enough, while keeping it familiar as well. Good job, boys. PS: Anthrax never should have fired John to get Joey Belladonna back.
Doug Pinnicks band King's X has at times exhibited a massive Beatles influence, so there was no way he was going to mess up "Tax Man". King's X has been criminally overlooked for the past few decades and it's a shame. In my opinion THEY re one of the greatest bands of all time and people should be covering THEIR songs. the way the words "tax man" are sung kind of reminds me of the theme to the 70's batman tv show, and anything that makes me think of batan gets bonus points from me!
GOOD LORD! Its John Corabi! John is an incredible frontman, and he has the confidence to make this song his own. He swaggers through 'I Saw Her Standing There" with a touch of Little Richard in his step. Finally someone on this cd had the balls to truly redefine their song!
Ripper Owens [icked a rather left field choice of songs, dont you think? He's one of he best screamers in the business, but he shows his versatility here while giving us possibly the best song on the cd. He actually reminds me a bit of Axl Rose in his tone and delivery.
Despite massive criticism over the years, Kip Winger always had a decent hard rock voice, and his bands cd "Pull" is a hell of a lot better than most reviewers will evr give it credit for. Unfortuantely, like many of the other singers, he seems overcome with the legend of The Beatles and flatlines his vocals to try to sound more convincing. Dude, if I wanted to hear "Drive My car" done right then I'd be listening to The Beatles right now, not you. The songs could have used an extra kick.
So, whats the final verdict? Well, I'm still not a Beatles fan, and this cd failed to live up to the promise of "butchering": them. Its in a weird little place...Beatles fans wont like it because it isn't The Beatles, while metal fans will wish that the cd actually rocked a little harder. My advice is, that you should get this if you are a completist of any of the musicians therin. I happen to be a completist of John Bush, John Coarbi, Jeff Scott Soto and King's X so I definitely would have paid for this. While you're at it, check the store for cds by King's X or any of John Bush's work with Anthrax or Armored saint, and buy those too.