Saturday, April 2, 2011

Vintage Review: Hawkwind: Levitation [B+]


Artist: Hawkwind
Album: Levitation
Released: 1980
Label: Atomhenge/IODA (2009 re-release)
Genre: Space Rock

Purchase date: 1 November 2010
Format: AAC files
Source: iTunes

Hawkwind is a British hard rock band that formed in the late 60s. They pioneered the "space rock" genre, and were the first band that metal-god Lemmy Killmister (of Mötorhead fame) every played with. (Note: Lemmy got the name for his new band from the last song he'd written and recorded with Hawkwind). Led by Dave Brock, Hawkwind is probably one of the closest British analogues to The Grateful Dead when it comes to die-hard fans who follow them around. (There isn't much similarity otherwise.)

One of my college buddies turned me on to Hawkwind back in the late '90s. (Hi, Curtis!) At the time, this band's records didn't have a US label, so I dubbed copies of his tapes and CDs onto cassette.

Levitation has a hard rock sound, bordering on heavy metal. The band downplays the intricate guitar solos typical of metal and instead uses sound effects, electronics, and spoken word interlude to evoke science fiction imagery that's typical of space rock. It's not a terribly intellectual take on science fiction, but I think it's a whole lot of fun.

Rating: B+



Review: Eric Clapton: Complete Clapton [A/D]

Artist: Eric Clapton
Album: Complete Clapton
Released: 2007
Label: Reprise Records
Genre: Classic Rock / Blues / Pop

Purchase Date: 26 October 2010
Format: CD (used)

The last CD I picked up at last October's Tompkins Library Book Sale was the two-disc Eric Clapton best-of collection Complete Clapton. As far as collections go, this one is pretty good-- it contains just about every major hit from Clapton's career from The Yarbirds to the present day. As a career retrospective, it's excellent. The tracks are mostly in chronological order by release date, and it's really interesting to hear Clapton's evolution over the past 40+ years.

Unfortunately, this is also the compilation's weak point. Clapton is one of those musicians who started out at the apex of his talent and slowly declined. His records from the '60s are by far his most interesting, and the absolute dreck he's released in the past decade is the palest of shadows of his former talent. Greg Kot and Jim DeRogatis of Sound Opinions did an episode last summer called "Off the Rails," in which they took a look at artists whose careers have gone completely off the rails. Clapton was their number one pick of how the mighty had fallen.

From the amazing heights of his work with Cream, Blind Faith, and Derek and the Dominoes, to the kitschy nigh-unlistenable "blues lite" of his recent work, Complete Clapton is an excellent career retrospective. Disk 1 is amazing, chronicling Clapton's career as a superstar in the 60s, 70s, and early 80s. You can hear the quality of his songwriting and the level of his ambition decline a bit by the end of Disk 1, but it is a wonderful ride with just one or two weak tracks toward the end. Then there's Disk 2. When the best track on a Clapton album is the yawn-inspiring acoustic version of "Layla" from his 1992 MTV Unplugged album, you have a problem.

So, while an excellent career retrospective for one of the great musicians of the late 20th century, I found this album to be a disheartening chronicle of the deterioration of a once-great career.

Rating: Disk 1: A; Disk 2: D-; Overall: C+




Monday, March 21, 2011

All Tomorrow's Parties: Moved to NJ?

I had pretty much decided to attend this year's All Tomorrow's Parties festival. I was looking forward to spending a weekend grooving to cutting-edge music while enjoying the trappings of the decaying splendor of the Borscht Belt at Kutscher's Resort in Monticello, NY -- which is where the 2008, 2009, and 2010 festivals were held. The resort is only about two-and-a-half hours away from my house, so getting there would have been a breeze.

I had seen an announcement from the ATP site that they were throwing an I'll Be Your Mirror event in Asbury Park, NJ in late September (which is when ATP-NY usually is), but I had assumed that this was an expanded event.

Today, I finally got confirmation that ATP at Kutscher's isn't happening, and that the Asbury Park IBYM is this year's ATP-NY, and it's now sold out. I'm really kind of bummed out over this.

Oh well, I do have tickets to this year's Grassroots Festival, and it's a blast, so I will get my fix of music festivals this summer.

Classic Album Reflections: Traveling Wilburys


Artist: Traveling Wilburys
Album: Volume 1
Released: 1988
Label: Warner Bros. (original) / Rhino (reissue)
Genre: Rock / Folk / Americana

Purchase Date: 26 Oct 2010
Format: CD (used)

I suppose it's a bit of a stretch to call the Traveling Wilburys' first album a "classic," but the mature musicians comprising this late-'80s supergroup were certainly classics in and of themselves. Comprised of Roy Orbison, George Harrison, Bob Dylan, Tom Petty, and Jeff Lynne (of Electric Light Orchestra), the group put out an album of music that was a whole lot of fun and helped re-launch Orbison's career.

The album came out during my first semester in college. I couldn't afford a CD player at the time (they were in the $250 price range, if I recall correctly), and I didn't bring my turntable out to college with me, so I bought it on cassette. I was heavily in my prog rock phase at the time, so this album of folk-rock, country-tinged Americana, and off-kilter humor was a real breath of fresh air during my Jethro Tull - Yes - Rush - Pink Floyd marathons. For a year or so, I played this tape pretty frequently, although eventually it started to gather dust in my tape rack.

I haven't had a working cassette deck in more than a decade, so my old tape isn't doing me much good any more. I heard the odd track from on the radio every once in a while. At one point I tried to pick up the CD, but I found that it went out of print in the mid '90s, and used copies were trading well over $40, so I never acquired it. (Fortunately, Rhino Records re-issued it in 2007.)

So, when I found this CD on the rack for $3, I had to snap it up. Listening to it now, I think it still stands up. The opener "Handle With Care" and the closing "End of the Line" are the strongest tracks. It's a period piece, but a fun one, and a wonderful showcase for the voices of Orbison and Harrison, both of whom are no longer with us.



Rating: A
(Note: includes a whole bunch of nostalgia points...)

Thursday, March 17, 2011

Classic Album Reflections: Synchronicity


Artist: The Police
Album: Synchronicity
Reased: 1983
Label: A&M Records
Genre: Rock / pop / post-punk

Purchase date: 26 Oct 2010
Format: CD (used)

In the summer of 1983, I had just finished seventh grade, and was finally becoming interested in the popular music scene. I was listening to the local hard rock station on the radio a great deal at the time, and one of the DJs put the album cut of "Synchronicity II" on high rotation that summer. I wasn't all that familiar with The Police, but I really liked the sound of that song. Then, "Every Breath You Take" became one of the big hits of the year, and The Police seemed to be everywhere.

I remember buying the LP at the Record Town at the Bedford Mall with money I'd earned mowing lawns. I also remember that this was the first record I brought home that my mom took an instant dislike to, and asked me not to play it on the living room stereo. Fortunately, we had a cassette deck, so I dubbed a copy onto cassette and mostly played that. (I realized that this was also a very effective way to keep my LPs in excellent condition, so I started to do this for all of my records, at least until I was able to buy my own stereo for my room.)

Nominally a loose concept album about Jungian psychology, I'd never heard of Jung at 13, so most of the literary references were lost on me. What I did like was the music plus the vivid imagery in the lyrics. The fact that most of the lyrics are distinctly creepy was not lost on me. This was one of the first pieces of music I'd encountered that had disturbing or otherwise difficult lyrics, and I really enjoyed the darkness of it.

I hadn't listened to this record in years, and really enjoyed hearing it again. I'd forgotten how creepy some of the lyrics are: the hit single "Every Breath You Take" is about a stalker. "Wrapped Around Your Finger" seems to be about a Dom-Sub relationship. "Mother" (the stinker track of the album IMAO) seems to be told from the perspective of the character Norman Bates from the film Psycho. "Synchronicity II" is about the living hell that is the suburban rat race-- and who can forget the post-apocalyptic imagery of the video? "Walking In Your Footsteps" is a typical '80s afraid-of-the-Bomb song, and the closing track "Tea In The Sahara" leaves its protagonists to die stranded in the desert.

This music certainly showcases the fear and anxiety that was latent in the mid-'80s zeitgeist. Not an uplifting album, but the music really carries it. I had fond memories of this album, and I think it still stands up very well.



Monday, March 14, 2011

Classic Album Reflection: Sgt. Pepper's Lonely Hearts Club Band

Artist: The Beatles
Album: Sgt. Pepper's Lonely Hearts Club Band
Released: 1967
Label: Capitol Records
Genre: Pop / Classic Rock

Purchase Date: 26 Oct 2010
Format: CD (used)

I picked up a handful of classic albums in October at the Friends of the Tompkins County Library Book Sale. I had previously owned these albums in some form or another, but for whatever reason, did not currently have them on CD or other electronic format. Instead of a review, I thought that I'd share some personal thoughts related to these albums. After all, what kind of a review could an amateur blogger with two followers write about Sgt. Pepper that hasn't already been said, better, by far more qualified people?

I picked up the Sgt. Pepper disc because I'd never had it on CD: I had an old LP and a well-worn cassette copy of that LP. I also had the mp3s, which had been ripped from CD by the employee who had been assigned my office computer before it was assigned to me. So, I'd never really been without this album.

I'm a Gen-Xer, so the music of the Beatles didn't permeate the zeitgeist like it did for the Boomers. I didn't wallow in the mud at Woodstock; I didn't tune in, turn on, or drop out for the Summer of Love; and I never dropped acid and went to a love-in. The '60s were long over before I had any awareness of them. But it was the music of the '60s that made me a music fan, and Sgt. Pepper was the gateway.

Growing up, no one in my family had much interest in contemporary music. At the time, my mom had a "I know what I like and I like what I know" relationship with music. She had about two dozen records that she liked to play: LPs by Dean Martin, Elvis, Ann Murray, Johnny Mathis, John Denver, and Crystal Gayle were frequently on the turntable. There were a few songs on the radio I liked, and I did buy a few '45s to play on my kid's record player. Of course, we only listed to my parents' radio stations, and my singles mostly reflected their taste. I remember getting singles of Glenn Campbell's "Rhinestone Cowboy," Mecco's disco version of "Star Wars," and Arlo Guthrie's "City of New Orleans." But I was barely even aware of rock, and I didn't know what to make of it when I did hear it.

When I was 10, I won a copy of Sgt. Pepper's Lonely Hearts Club Band in a radio contest. I remember dropping the needle onto the LP and being confused for a moment when all I heard was crowd noise and an orchestra tuning. But then, the music of "Sgt. Pepper" started. I remember being fascinated with the changes in style and mood of the record. I was entranced by "Lucy In The Sky With Diamonds," with the psychedelic imagery, distorted instruments, and tempo changes. It was the same with the rest of the album: the exotic "Within You Without You," the sort-of Big Band sound of "When I'm Sixty-Four," and the tragic wistfulness of "A Day In The Life," which I thought was a very strange way to end it.

I listened to this record over and over. This was the record that first got me really excited about listening to music, and so began my journey into music geekdom. No single album looms larger in my personal music history.

I still listen to Sgt. Pepper frequently. I continue to be amazed at how fresh this music sounds, more than 40 years after its publication. This is truly one for the ages.

Saturday, March 12, 2011

Review: Endless Boogie: Full House Head [C-]


Artist: Endless Boogie
Album: Full House Head
Released: January 2010
Label: No Quarter Records
Genre: jam band / blues-rock

Purchase Date: 5 Oct 2010
Format: mp3 files
Source: eMusic

I first heard of this Texas-based country-rock jam band on the Sound Opinions radio show. Back in August, Jim and Greg did one of their semi-regular "Buried Treasures" shows, in which they talk about some new releases that they really liked but hadn't caught the attention of other critics. (That's also where I first heard of Sweet Apple.)

As you might guess from their name, Endless Boogie is a jam band with a danceable beat. They meld Texas blues-rock with a jam band sensibility to craft very long, droning songs that are still kind of catchy. I really liked the excerpts that they played on Sound Opinions, and I found the 30-second snippets on the download sites appealing, so I bought the album.

While I can see that this band must be pretty fun live, this recording didn't do a lot for me. The guitar work is very good, and I liked the bluesy droning at first, but after a little while, it all starts to get monotonous. The songs are all very long, and I was looking forward to the end of many of them. I also wasn't a fan of the lead vocalist's style-- it's more of a growl than singing, which I found mildly unpleasant.

Sound Opinions called this album buried treasure, but I wish it had stayed lost.

Rating: C-