New York City never seems to stop churning out up-and-coming bands these days. And with Baskervilles, the trend continues. The band released its self-titled debut in 2004 (on Secret Crush Records) and its follow-up, Twilight hits stores the first week of June. A preview track, courtesy of 1-Up PR, is below.
Baskervilles - "Caught In A Crosswalk" (MP3)
This summery, indie guitar pop ditty features catchy trumpet phrases. It's like a female-fronted answer to the Mike Watt/Eddie Vedder collaboration "Against The 70s" from the 90s, only with a 60s-type of vibe, and no distorted guitars. The rest of the album promises to continue in this direction, with dance-ready beats, the occasional handclaps, and male/female vocal-led tracks. It's a bit like Boston's Via Audio, only they're from New York.
A Blogcritics review of the full album (by yours truly) will be cross-posted here in June.
Tuesday, May 20, 2008
Friday, March 28, 2008
Anderson Cooper, Candy Crowley Mislead on Obama
On the 3/27/08 edition of CNN's AC360, host Anderson Cooper and reporter Candy Crowley did not do their homework on democratic presidential candidate Barack Obama (and I let Cooper know that on his blog too). Cooper simply reported that he was the most liberal member of the U.S. Senate for 2007, according to National Journal. He never went into why that rating is misleading or just outright BS, instead just stating that the Obama camp considers it a "flawed" report. Nor did he cite any other report on Obama's voting record. He and Crowley also failed to report evidence that Obama has reached across party lines in his short time in the U.S. Senate. I will go into that in a moment.
According to a VERY credible report by political scientists Keith Poole and Jeff Lewis, Obama is tied with democrat Joe Biden as the 10th most liberal Senator in the U.S. Senate. Why does this report look more credible than the NJ study? First of all, avid socialist and liberal democratic Senator Bernie Sanders and pure liberals like Russ Feingold and Chris Dodd are all at the top of the Poole-Lewis study, ahead of Obama as they should be. The NJ study, on the other hand, has Obama ahead of everyone, which makes no sense given Obama's post-partisan rhetoric and work across party lines, a fact that extends to his time in the Illinois state senate (a fact that Cooper and Crowley casually mentioned).
Cooper and company apparently did not understand that the National Journal rating on Obama is flawed now, just as it was in 2004 when its study said John Kerry was the most liberal Senator. Read this Media Matters item to see why.
And that's not all that's wrong with National Journal's studies. The current one considers, for example, the vote (and Obama's in particular) on passing the 9/11 recommendations to be a "liberal" issue when it was clearly bi-partisan, as was the 9/11 Commission's report. It also wrongly considers votes on the federal minimum wage, embryonic stem cell research, and children's health insurance to be "liberal" issues as well, even though they all got bi-partisan support in Congress.
And Candy Crowley is a lazy journalist. She says Obama has no record of cooperating with Republicans in the U.S. Senate. Just go to Obama's Wikipedia page: there you will find that he has helped to pass ethics(/transparency) reform with Oklahoma Republican Tom Coburn and a bill to reign in nuclear and conventional weapons with Indiana Republican Dick Lugar. It was dubbed the "Obama-Lugar" bill. He also co-sponsored an immigration bill that John McCain introduced to the Senate in 2005.
So shame on Crowley and Cooper for not doing their homework on Obama, a democrat who has gotten support and votes from both sides of the aisle in this primary campaign, including from the likes of former president Eisenhower's granddaughter and hundreds of Republicans in Colorado. Thus, he is a liberal/moderate democrat who definitely has a bipartisan track record. Anderson Cooper and Candy Crowley, like so many supposed so-called journalists and pundits, simply didn't look hard enough to find it.
According to a VERY credible report by political scientists Keith Poole and Jeff Lewis, Obama is tied with democrat Joe Biden as the 10th most liberal Senator in the U.S. Senate. Why does this report look more credible than the NJ study? First of all, avid socialist and liberal democratic Senator Bernie Sanders and pure liberals like Russ Feingold and Chris Dodd are all at the top of the Poole-Lewis study, ahead of Obama as they should be. The NJ study, on the other hand, has Obama ahead of everyone, which makes no sense given Obama's post-partisan rhetoric and work across party lines, a fact that extends to his time in the Illinois state senate (a fact that Cooper and Crowley casually mentioned).
Cooper and company apparently did not understand that the National Journal rating on Obama is flawed now, just as it was in 2004 when its study said John Kerry was the most liberal Senator. Read this Media Matters item to see why.
And that's not all that's wrong with National Journal's studies. The current one considers, for example, the vote (and Obama's in particular) on passing the 9/11 recommendations to be a "liberal" issue when it was clearly bi-partisan, as was the 9/11 Commission's report. It also wrongly considers votes on the federal minimum wage, embryonic stem cell research, and children's health insurance to be "liberal" issues as well, even though they all got bi-partisan support in Congress.
And Candy Crowley is a lazy journalist. She says Obama has no record of cooperating with Republicans in the U.S. Senate. Just go to Obama's Wikipedia page: there you will find that he has helped to pass ethics(/transparency) reform with Oklahoma Republican Tom Coburn and a bill to reign in nuclear and conventional weapons with Indiana Republican Dick Lugar. It was dubbed the "Obama-Lugar" bill. He also co-sponsored an immigration bill that John McCain introduced to the Senate in 2005.
So shame on Crowley and Cooper for not doing their homework on Obama, a democrat who has gotten support and votes from both sides of the aisle in this primary campaign, including from the likes of former president Eisenhower's granddaughter and hundreds of Republicans in Colorado. Thus, he is a liberal/moderate democrat who definitely has a bipartisan track record. Anderson Cooper and Candy Crowley, like so many supposed so-called journalists and pundits, simply didn't look hard enough to find it.
Sunday, March 02, 2008
Bill Richardson (R-NM) WTF?
On last night's edition of Geraldo Rivera's show Geraldo At Large on Fox News, during New Mexico Governor Bill Richardson's comments about the Democratic race for president, the Fox News screen labeled him (R-NM). This wouldn't be the first or second time FNC has mislabeled a politician's political affiliation. First, they labeled disgraced former Republican congressman Mark Foley (D-FL), RI Democrat Sheldon Whitehouse a Republican and his competitor, Republican Lincoln Chafee a Democrat in the weeks leading up to the 2006 midterm elections (where Whitehouse defeated Chafee for a Senate seat). They also labeled Republican Senator Lamar Alexander (D-TN) in '06 as well. And just last month, Fox News labeled John McCain (D-AZ)!
I know Gov. Richardson looks a bit different now with more facial hair, but anyone who has paid any fair mount of attention to his run for the presidency would know that if anything has changed, it's that he has moved more left than right, after being considered a moderate Democrat for many years. That makes the mislabeling of him as a Republican even more bizarre. And it's not like he, and for that matter, John McCain are virtual unknowns either. Both have been involved in politics and in their respective political parties for at least twenty years.
Now, Fox News isn't the first or only network to misidentify a politician (and therefore misinform and confuse viewers), but there is an alarming pattern of ignorance and/or stupidity at work behind the scenes. And you wonder why so many people -- mainly partisans -- chuckle at the thought of this channel being considered a legitimate "news" station, nevermind "Fair & Balanced."
I know Gov. Richardson looks a bit different now with more facial hair, but anyone who has paid any fair mount of attention to his run for the presidency would know that if anything has changed, it's that he has moved more left than right, after being considered a moderate Democrat for many years. That makes the mislabeling of him as a Republican even more bizarre. And it's not like he, and for that matter, John McCain are virtual unknowns either. Both have been involved in politics and in their respective political parties for at least twenty years.
Now, Fox News isn't the first or only network to misidentify a politician (and therefore misinform and confuse viewers), but there is an alarming pattern of ignorance and/or stupidity at work behind the scenes. And you wonder why so many people -- mainly partisans -- chuckle at the thought of this channel being considered a legitimate "news" station, nevermind "Fair & Balanced."
Tuesday, January 22, 2008
Patriots Turn Out The Lights On The Bolts, Again
Note: Posted on Blogcritics last night
With yesterday's hard fought 21-12 win over the San Diego Chargers at Gillette Stadium, the AFC Champion New England Patriots have now earned a trip to four of the last seven Super Bowls. Perhaps almost as impressively, New England's appearance in the AFC Championship game was their fifth in the last seven years, and they've won all but one of them.
Their lone AFC Championship loss in that span was to the Indianapolis Colts last year, and it left a bitter taste in the mouth of every Patriot in the RCA Dome that fateful day in January 2007. They had an 18-point lead at one point and it was looking like the Patriots were going to the Super Bowl for the fourth time in six years (and likely defeat the Chicago Bears). But a combination of un-Patriot-like actions, including poor, seemingly worn out defense, late-game penalties and a Brady interception in the game's final drive led to their demise — and to Peyton Manning's first Super Bowl ring.
It was that loss, not "Spygate" as many in the mainstream sports world (including ESPN) have said that has made the Patriots as determined as ever to play football at their very best level and get back to the Super Bowl. And with a 9-point victory over the Chargers, the Patriots did what they could not do a year ago at this time: play disciplined football, get a lead, and hold onto it until the clock runs out.
The now 18-0 Patriots proved yet again they can win any way possible and why they are on their way to becoming one of the greatest NFL teams ever. With Randy Moss
relegated to a being decoy (and making just one catch) for a second straight game and Brady throwing 3 INTs for the first time since his team knocked the Chargers out of the playoffs in last year's divisional round, a short passing game, a strong running game and a trademark bend-but-not-break defense was how the Patriots won. (This win also marks the third game in a row in just over a year that the Patriots have beaten the Bolts.)
For the second time in this playoff run, New England outran one of the best rushing
teams in the NFL. Second-year RB Laurence Maroney cut-and-ran for over 100 yards for the second straight week. Clearing the way for Maroney's strong running performance was the offensive line, led by Pro Bowlers Matt Light and Logan Mankins and excellent blockers like TE Kyle Brady.
New England's 21 points didn't come easy though, as Brady got some pressure from SD's defense, and his wide receivers were tightly covered by the San Diego secondary all day long, not wanting to get beat down the field. Emerging star corner back Antonio Cromartie, Quentin Jammer, and DE Igor Olshansky were among the reasons the Patriots offense got frustrated for much of the game. But Brady stayed cool in the freezing weather in Foxborough, Massachusetts and lead the Pats to three TD drives (2 passing, one running TD by Maroney).
Besides Maroney, the unsung hero of this game on the offensive side was long-time Patriot Kevin Faulk, who has split time between running and receiving for years. Never a starting RB due to his tendency to fumble the ball — though not this season — he was always been reliable catching the ball and is the team's all-time leader in receptions by a running back. On Sunday, he led the team with 8 catches for 82 yards. Along with Maroney's runs, it was Faulk's great hands and crucial third-down catches that kept the ball in Patriot hands in a 15-play drive that sucked up the last nine minutes of the game, not even giving the Chargers a chance to make a late-game comeback.
Everyone knows about the Patriots' highly potent offense, but they also have a top five defense, and it showed. San Diego had three red zone opportunities to score touchdowns in this game, but only came away with three chip shot field goals. New England's defense either stuffed the run or knocked down QB Phillip Rivers's passes once SD got inside the 10-yard line. Veterans like Tedy Bruschi, Richard Seymour and former Charger Junior Seau were major contributors to SD's touchdown-less drives.
In a close game such as this, turnovers can be costly, but it's what you do with them that matters. Brady had 3 INTs, one of which was a tipped ball, but San Diego only turned them into two field goals. The Patriots, by contrast intercepted Rivers twice and used Asante Samuel's 2nd quarter interception to turn a 7-6 lead into a 14-6 edge, one they would never relinquish and would indeed add onto, via a Wes Welker TD reception from Brady in the 4th quarter.
Sure, the fact that San Diego lost one of the league's best RBs LaDainian Tomlinson to injury early hurt their chances of scoring touchdowns in those red zone opportunities, but
they still had a resilient QB in Rivers and emerging receivers like Chris Chambers and Vincent Jackson for him to throw to. Even TE Antonio Gates hung in the game with a dislocated toe. The Pats defense just had the poise and smarts to stop Rivers, backup RB Michael Turner and co. whenever they had to. In other words, they played like true champions.
Now, let's just hope the Chargers don't act like sore losers like they did after last year's playoff loss to the Pats. (Hint: Tomlinson complaining that a couple Patriots over-celebrated their victory at San Diego and imitated Shawne Merriman's own celebratory dance.)
Music Review: Jimmy Eat World - Chase This Light
Note: Posted on Blogcritics.org December 2007
For the last eleven years or so, Jimmy Eat World has put out full-lengths that have either been labeled landmark releases that influenced a generation of emo-centric rock bands or gotten fairly respectable praise from fans and critics alike.
The first of them, 1996's Static Prevails saw the then young Mesa, Arizona quartet making a raw, melodic but mostly emo-core record that only hinted at its top-notch songwriting abilities. 1999's Clarity, though criminally under-marketed by their former label Capitol Records, slowly but surely solidified Jimmy Eat World's reputation at home and abroad as one of the best and most influential bands in the emo genre.
Commercial and radio hits, however, didn't come until Jimmy Eat World released Jimmy Eat World (a.k.a. Bleed American) in 2001. Though it contained an emo hit ("Sweetness") written in the Clarity era, this record was more in the power pop vein than any previous release. It was such a big hit that songs like "The Middle," "Sweetness," "Authority Song" and others have gone on to be featured in everything from sports stadiums to movies and in the case of "The Middle," covered by local cover bands or ripped off by newer so-called "emo" bands.
2004's Futures, in contrast to prior releases, had a darker sound and mood, but wasn't a commercial hit. Still, fans and critics mostly praised it, and even on the band's current tour, the few songs from the album that make their set list get loud cheers.
So, does Chase This Light (Interscope Records) recapture any of the magic and power of Jimmy Eat World's best records?
In essence, there's a little Clarity on the album, and some of the pop appeal of Jimmy Eat World (a.k.a. Bleed American) as well. For example, first single "Big Casino" has a speedy rhythmic guitar going through its verses that harkens back to Clarity's minor hit "Lucky Denver Mint." It's a heavy power pop number that's getting lots of airplay on modern rock radio, but the song doesn't quite have the catchy vocals to sing along to that their more successful radio hits had.
By contrast, the final track on the album, the incredibly expansive break-up song "Dizzy" will remind older fans of why they fell in love with Jimmy Eat World in the first place. The intensity of Jim Adkins's personal lyrics and the tense and melodic guitars that complement each other as "Dizzy" builds to a crescendo are classic Jimmy Eat World. It's the best song they've written in a long time, IMO.
Elsewhere, strong points on the album include the political and punk-inspired anthem "Electable (Give It Up)," "Firefight," new single "Always Be," and "Carry You." The latter track has a truly memorable chorus and should be a future radio hit. However, like some other tracks on the record, "Carry You" is a bit too pop-friendly in its production, with double octave vocals in the verses and "do-do, do-do-do" background vocals that take away from the personal and passionate vocals Jim Adkins brings to the song.
"Gotta Be Somebody's Blues" has a live string section conducted by David Campbell, but they are the song's highest point, as the hushed nature of Adkins's vocals isn't very appealing. This is not to say that it's a bad song. There is not a "bad" song on Chase This Light, just some songs that do not entice you to hit the repeat button on your CD player.
There is one song, however that is bound to cause mixed reaction among Jimmy Eat World's older and newer fans. "Here It Goes," found in the last half of the album, is basically a dance-pop rock number with a bass line straight out of '80s pop. It's the most un-Jimmy Eat World song of all-time, IMO, but it is infectious and hard to resist.
Taken together, Chase This Light is a largely satisfying power pop rock record with hints of what used to be their trademark emo anthems. While it certainly will get more spins in my CD player than Futures and Static Prevails, it's not quite on par with emo masterpieces like Clarity and the near perfect power pop of Bleed American CD. In fact, this record suffers at times from super slick, pop-oriented production and perhaps too much of it overall - in a too-many-cooks-spoil-the-broth kind of way - with the legendary Butch Vig serving as executive producer, while Chris Testa, John Fields, and the band serve as co-producers.
Ultimately, like many 2007 releases, Chase This Light isn't an instant classic but is definitely worth owning if you've been a Jimmy Eat World fan all these years. In Pitchfork fashion, I'd give it a 7.8 out of 10.
For more info on the band, visit their official website or their Myspace page.Also, check out a Windows Media audio clip of the new single "Always Be".
Music Review: Joe Satriani - Surfing With The Alien: Legacy Edition (CD/DVD)
Note: Posted on the Blogcritics web site last month
Twenty years after its initial pressing, famed guitar teacher and virtuoso Joe Satriani's Surfing With The Alien still stands as an album that revitalized instrumental music and made him a household name in rock, one of the best in the business.
More than selling millions of records, it inspired legions of guitarists to follow his path and even made instrumental rock music a genre cool enough to earn Grammy nominations, of which Satriani himself has earned fourteen. This year, the album got the remaster treatment — courtesy of Epic/Legacy Recordings. Along with a bonus DVD featuring a full Satriani concert, the total package stands out as one of the most notable reissues of 2007.
It's easy to forget that SWTA was Satriani's sophomore effort, with 1986's Not Of This Earth being his first foray into the instrumental rock world. It was solid and technically impressive in its own right. But the array of diverse sounds and moods of SWTA's ten tracks, along with Satriani's technically precise playing made this record a masterpiece.
From beautiful emotive love ballads like "Always With Me, Always With You," swinging blues rock boogies like "Satch Boogie," impossibly fast, complex hard rockers and strange or classical-sounding music, it's all there.
Original producer John Cuniberti was chosen by Joe to remaster the album, and there is a noticeable difference in overall sound, not as much in his lead guitar playing as in the backing guitars, drums and other percussive instruments. The sonic textures of the instruments that compliment his guitar work are more crystal clear or explosive-sounding than ever before.
In the liner notes, Satriani gives some valuable insight into both what went into the production of SWTA and his experience playing the 1988 Montreux Jazz Festival, the full performance of which is included in the DVD portion of this re-release. Nigel from Spinal Tap tells some pretty amusing stories of his encounters with Satriani on the DVD as well. You also get to see a couple of old videos from this era, including a black-and-white video of "Always With Me, Always With You."
Satriani's versatile technical skills and incredible songwriting abilities are on full display throughout SWTA, as his many adoring fans and musicians already know. But whatever the reason, the audience at the 1988 Montreux Jazz festival gave mostly respectable applause throughout Satriani's SWTA-heavy set most of the time. In fact, as Joe recalls in the album's liner notes, much of the crowd left as soon as his band started playing!
They were supposed to hit the stage at midnight on July 15, 1988 but got pushed back to 4am because prior bands played well over their set times. As if that wasn't bad enough, Satch was told to cut down his set time as well. Unfair as it was, the band still rocked the joint, and it's a shame that the crowd who stayed didn't have anywhere near the energy the band did. As to those who left, apparently they didn't know what they were missing.
True, it was a jazz-oriented audience and Satriani was not yet as famous as he would later become, but there was some awe-inspiring musicianship on that stage, not only from Satch but from bassist Stu Hamm as well. While Jonathan Mover isn't the greatest drummer I've ever seen, he kept pace with those two throughout the 58-minute set and like Hamm, got the stage to himself for a few minutes to show off his soloing skills.
Speaking of midnight, the song "Midnight" really stood out from this show, just as it does on the album. On the DVD, you get to actually see Satriani recreate the majestic beauty of the baroque-styled instrumental. Skill-wise, it's a challenging song to pull off either in studio or live, and Satch does his two-handed finger-tapping work on stage with ease at this late hour, creating lovely and tense, minor-keyed melodies with two-to-four fingers (using both hands) at a time! It's the type of song that truly is best appreciated live.
In all, Surfing With The Alien: Legacy Edition is highly recommended to all Joe Satriani fans — even if you have the original CD (or cassette tape, remember them?). Besides a remarkable improvement in the sound of the original album, getting to see him and his band live in concert early in his solo career is rare, and is what makes the total package truly valuable and worth the purchase price.
Say It Ain't So, Roger!
This was published on Blogcritics in December. An UPDATE is at the end of the article.
UPDATE: A couple of Mondays ago, Clemens officially filed a defamation suit against Brian McNamee. But that's not going to be enough to clear his name, as he (along with other Yankees including Chuck Knoblauch and Andy Pettitte) are scheduled to testify under oath to Congress on February 13.
News reports on ESPN.com and elsewhere have claimed that Roger's representatives were warned by McNamee's reps as far back as 2004 that when MLB began stricter steroid testing that Roger may be in trouble for doing steroids.
Before this development, I was willing to at least hold out hope that Clemens was in the right and McNamee, for whatever reason, was in the wrong. But now, a situation may be developing where McNamee, who also has to testify on Feb 13, is willing to be a Greg Anderson and go to jail for Clemens - like Anderson did for Barry Bonds - instead of sticking with his story he told to Mitchell investigators. Will McNamee go to Congress and actually take back most or everything he said about Clemens and lose his freedom in order to protect The Rocket's legacy, even if what he told George Mitchell was the truth? That would be fucked up, I know.
The equally important question is, will Clemens lie under oath or will HE change his mind and tell Congress not only what he did from 1998-2001, but also what, if any illegal substances he took in 2004 or any other year? All I have to say is, Barry Bonds=perjury. Will Clemens be foolish enough to possibly suffer that same fate? Only if he refuses to tell the truth about his past and if the feds can prove he lied to them and if McNamee's claims remain credible or are never solidly refuted.
Like many in the baseball world, I was visibly and emotionally shocked to learn that the once immortal Roger Clemens had steroids injected into his behind and had done other illegal performance-enhancing drugs for at least three years (1998, 2000, 2001).
Maybe I shouldn't have been, since his name was among many others floated around in association with the Jason Grimsley affidavit last year. But then again, Grimsley claimed that affidavit was not accurate and denied volunteering the names of other illegal drug users. Thus, other than David Segui, no other alleged cheaters ever came forward or were confirmed as such, so I didn't put much stock in the Grimsley affidavit.
But when you have Roger Clemens' former trainer, Brian McNamee telling former Senator George Mitchell, some heavily detailed information about when and where he helped inject his high profile client with steroids and human growth hormone (HGH), you take those statements seriously. After all, like other witnesses in the 400+ page report, McNamee gave his testimony to Mitchell in front of agents from the FBI and IRS and knows he could get himself into legal troubles if he gave false information to them.
So, how did Roger Clemens respond to McNamee's allegations? First, he sent his lawyer Rusty Hardin to issue a flat denial on his behalf just hours after the report became public last Thursday afternoon. Tuesday, a whole five days after the report came out, we get another statement, this time through his agent Randy Hendricks, which said in part: "I want to state clearly and without qualification: I did not take steroids, human growth hormone or any other banned substances at any time in my baseball career or, in fact, my entire life."
That might sound plausible at first, but here's the catch: HGH and steroids weren't banned from baseball when he allegedly took them, from 1998-2001. In fact, it took years for baseball to catch up with federal law in banning steroids, which were finally outlawed in MLB in 2002, followed by HGH in 2005.
If he was telling the truth, Clemens would have said he never took, without qualification any performance-enhancing drugs his entire career. But he can't do that, nor will he come out and deny these charges outright in person (instead of handing off statements through agents and lawyers) or under oath because doing so could risk becoming another Marion Jones.
Another fact worth noting is that on page 175 of the Mitchell Report, it says that even after 2001 when McNamee was dismissed by the Yankees, Clemens "remained a source of income for McNamee up to and including 2007." In fairness, we don't know what exactly Clemens kept paying him for, but the fact remains that in MLB, only he and Andy Pettitte were "loyal" to McNamee after he left the Yankees, according to the Mitchell Report.
If Roger Clemens is really innocent, he should be preparing to sue McNamee, Kirk Radomski (who supplied McNamee with some of the illegal drugs Clemens used) and perhaps Mitchell himself for defamation of character, libel and slander. But common sense tells you he's not innocent in this matter, especially when his close friend Andy Pettitte admitted last Saturday that he too got HGH from McNamee (but allegedly used it for just one two-day period).
I'm sure this won't be the last we hear from the Rocket, who is now no longer a shoe-in for the Hall of Fame. Like Barry Bonds, he cheated in the latter part of his career, but the "Integrity," "Character" and "Sportsmanship" qualifications for the Hall make no such distinctions. And if in the next five years the facts that Brian McNamee and others gave to Mitchell are not successfully refuted by Clemens via a lawsuit, the Rocket's legacy will be forever tainted and like the recently indicted Bonds, should be kept out of Cooperstown.
News reports on ESPN.com and elsewhere have claimed that Roger's representatives were warned by McNamee's reps as far back as 2004 that when MLB began stricter steroid testing that Roger may be in trouble for doing steroids.
Before this development, I was willing to at least hold out hope that Clemens was in the right and McNamee, for whatever reason, was in the wrong. But now, a situation may be developing where McNamee, who also has to testify on Feb 13, is willing to be a Greg Anderson and go to jail for Clemens - like Anderson did for Barry Bonds - instead of sticking with his story he told to Mitchell investigators. Will McNamee go to Congress and actually take back most or everything he said about Clemens and lose his freedom in order to protect The Rocket's legacy, even if what he told George Mitchell was the truth? That would be fucked up, I know.
The equally important question is, will Clemens lie under oath or will HE change his mind and tell Congress not only what he did from 1998-2001, but also what, if any illegal substances he took in 2004 or any other year? All I have to say is, Barry Bonds=perjury. Will Clemens be foolish enough to possibly suffer that same fate? Only if he refuses to tell the truth about his past and if the feds can prove he lied to them and if McNamee's claims remain credible or are never solidly refuted.
Music Review: As Tall As Lions - Into The Flood EP
This was published last month on Blogcritics, but I'm re-posting it here because it came out near the end of 2007 when no one cares about new music and thus needs more attention!
Long Island, New York has turned out a steady diet of hardcore and punk bands over the years, so when the British-influenced indie rock quartet As Tall As Lions came on the scene a few years ago, people paid attention. The LI natives released their debut album Lafcadio in 2004 and (self-titled) ATAL sophomore disc in 2006, to the raves of bloggers everywhere, including those at Stereogum, who labeled them a Band To Watch last year.
As Tall As Lions has toured with the likes of Sparta, Acceptance, Coheed & Cambria, June and Copeland. And fans have been so into their live show that the band tried to get their label Triple Crown/East West to release a live DVD this year. That didn't happen, but on November 27, the label did release their brand new EP Into The Flood, which is available on various digital formats, including iTunes, Amazon.com, and Rhapsody.
First song "505" starts out quietly but soon morphs into a cello-led, beautifully sad soft rocker not unlike early Death Cab For Cutie or Coldplay's "Trouble." However, where the more famous latter track is dreary in its mood, As Tall As Lions's "505" is more bittersweet chamber pop. And as you'll hear on this and other tracks on the EP, including its ambitious epic title track, singer Daniel Nigro's vocal range is considerably higher than Chris Martin's trademark falsetto.
The rest of this EP follows a similar path to the first two tracks and is worth checking out, but is not quite as memorable as the first two tracks. Nonetheless, "Blacked Out" retains a bit of that Coldplay flair mixed with a Jeff Buckley influence, even if the music isn't adventurous like the late crooner's best known material.
In all, Into The Flood is a largely satisfying appetizer for fans eagerly awaiting the release of As Tall As Lions's third album, due out next year. The EP is available now, so download all five tracks at Amazon.com or the band's Myspace page.
Long Island, New York has turned out a steady diet of hardcore and punk bands over the years, so when the British-influenced indie rock quartet As Tall As Lions came on the scene a few years ago, people paid attention. The LI natives released their debut album Lafcadio in 2004 and (self-titled) ATAL sophomore disc in 2006, to the raves of bloggers everywhere, including those at Stereogum, who labeled them a Band To Watch last year.
As Tall As Lions has toured with the likes of Sparta, Acceptance, Coheed & Cambria, June and Copeland. And fans have been so into their live show that the band tried to get their label Triple Crown/East West to release a live DVD this year. That didn't happen, but on November 27, the label did release their brand new EP Into The Flood, which is available on various digital formats, including iTunes, Amazon.com, and Rhapsody.
First song "505" starts out quietly but soon morphs into a cello-led, beautifully sad soft rocker not unlike early Death Cab For Cutie or Coldplay's "Trouble." However, where the more famous latter track is dreary in its mood, As Tall As Lions's "505" is more bittersweet chamber pop. And as you'll hear on this and other tracks on the EP, including its ambitious epic title track, singer Daniel Nigro's vocal range is considerably higher than Chris Martin's trademark falsetto.
The rest of this EP follows a similar path to the first two tracks and is worth checking out, but is not quite as memorable as the first two tracks. Nonetheless, "Blacked Out" retains a bit of that Coldplay flair mixed with a Jeff Buckley influence, even if the music isn't adventurous like the late crooner's best known material.
In all, Into The Flood is a largely satisfying appetizer for fans eagerly awaiting the release of As Tall As Lions's third album, due out next year. The EP is available now, so download all five tracks at Amazon.com or the band's Myspace page.
Wednesday, December 12, 2007
Tejada Traded To Astros
A day before the Mitchell report comes out, Baltimore finally gets rid off their unhappy slugger Miguel Tejada and trades him to the Houston Astros for five little known players. Hmm. Is it just a coincidence? Or do the Orioles want to start the 2008 season with a clean slate, knowing that some of their players will inevitably be named in former Senate Majority Leader George Mitchell's long-awaited "Steroids" Report, which is due out Thursday?
True, a current Oriole may still be in the report, including Jay Gibbons, but the disclosure of his name wouldn't carry the weight of disappointment or outrage the way a star player's name like Tejada's would.
But this Orioles-Astros trade seems rushed and at the moment, unproductive for Baltimore as they got no big name players in return: "...outfielder Luke Scott, pitchers Matt Albers, Troy Patton and Dennis Sarfate, and third baseman Michael Costanzo." Do any of these names sound familiar to you? Me neither. Luke Scott is the only somewhat recognizable name since he played in 132 games last year. But in 2007, his third season, his numbers and production thus far in his career makes him comparable to a young Coco Crisp, who is also on the trading block. And even if some of these other players develop rather quickly into everyday major league players, you have to wonder why both teams made this trade in this manner at this time.
The Minnesota Twins have been busy trying to trade their unhappy franchise pitcher Johan Santana for major league-ready talent from teams such as the Red Sox, Mets and perhaps that other New York team for weeks now. That's a smart goal and business move; you lose a franchise player like Santana and then try to get potential franchise centerfielders like Jacoby Ellsbury or veterans like Coco Crisp and a young lefty such as Jon Lester - all of whom contributed to a World Series championship two months ago - in return.
But for Baltimore's president of baseball operations Andy MacPhail to accept a bunch of mostly unproven talent while trading away Tejada just doesn't sound like a smart business move and that he got the most value for him that he possibly could. True, Tejada is 31-years-old now and his numbers are down from his incredible 2004 season where he knocked in 150 runners and was injured for the first time in his career in 2007, thereby possibly weakening his trade value.
Call it pure speculation, but maybe there was something else to this trade. Tejada's numbers have been in steady decline since 2005, which is around the time when MLB got tougher on steroid/illegal drug penalties. Remember, both illegal drug users Rafael Palmeiro (in 2005) and Jason Grimsley (in 2006) accused or named Miguel Tejada as basically being one of them, even though Tejada's name was later absolved of any blame for Palmeiro's failed steroid test. So don't be surprised if Miguel Tejada's name turns up in Mitchell's report tomorrow. And don't be surprised if Baltimore then gets accused of hurrying him out of town before any possible outcry of "get the cheater out of here" could start around town.
Even if he isn't one of the 60-80 current or former MLB players that turn up in the Mitchell report, this kind of trade is still questionable. Why would the Astros, who finished 2007 with a lousy record (73-89) be so willing to give up 5 young players to Baltimore if they were really that good? My feeling is, they got the better end of the deal and was more than willing to take one of the better shortstops in the game - even if his numbers have declined - and hand Baltimore 5 mid-to-upper level prospects and barely seasoned players. Call MacPhail a sucker, a desperate front office guy...or if I turn out to be wrong and these prospects turn to gold, a freaking genius.
True, a current Oriole may still be in the report, including Jay Gibbons, but the disclosure of his name wouldn't carry the weight of disappointment or outrage the way a star player's name like Tejada's would.
But this Orioles-Astros trade seems rushed and at the moment, unproductive for Baltimore as they got no big name players in return: "...outfielder Luke Scott, pitchers Matt Albers, Troy Patton and Dennis Sarfate, and third baseman Michael Costanzo." Do any of these names sound familiar to you? Me neither. Luke Scott is the only somewhat recognizable name since he played in 132 games last year. But in 2007, his third season, his numbers and production thus far in his career makes him comparable to a young Coco Crisp, who is also on the trading block. And even if some of these other players develop rather quickly into everyday major league players, you have to wonder why both teams made this trade in this manner at this time.
The Minnesota Twins have been busy trying to trade their unhappy franchise pitcher Johan Santana for major league-ready talent from teams such as the Red Sox, Mets and perhaps that other New York team for weeks now. That's a smart goal and business move; you lose a franchise player like Santana and then try to get potential franchise centerfielders like Jacoby Ellsbury or veterans like Coco Crisp and a young lefty such as Jon Lester - all of whom contributed to a World Series championship two months ago - in return.
But for Baltimore's president of baseball operations Andy MacPhail to accept a bunch of mostly unproven talent while trading away Tejada just doesn't sound like a smart business move and that he got the most value for him that he possibly could. True, Tejada is 31-years-old now and his numbers are down from his incredible 2004 season where he knocked in 150 runners and was injured for the first time in his career in 2007, thereby possibly weakening his trade value.
Call it pure speculation, but maybe there was something else to this trade. Tejada's numbers have been in steady decline since 2005, which is around the time when MLB got tougher on steroid/illegal drug penalties. Remember, both illegal drug users Rafael Palmeiro (in 2005) and Jason Grimsley (in 2006) accused or named Miguel Tejada as basically being one of them, even though Tejada's name was later absolved of any blame for Palmeiro's failed steroid test. So don't be surprised if Miguel Tejada's name turns up in Mitchell's report tomorrow. And don't be surprised if Baltimore then gets accused of hurrying him out of town before any possible outcry of "get the cheater out of here" could start around town.
Even if he isn't one of the 60-80 current or former MLB players that turn up in the Mitchell report, this kind of trade is still questionable. Why would the Astros, who finished 2007 with a lousy record (73-89) be so willing to give up 5 young players to Baltimore if they were really that good? My feeling is, they got the better end of the deal and was more than willing to take one of the better shortstops in the game - even if his numbers have declined - and hand Baltimore 5 mid-to-upper level prospects and barely seasoned players. Call MacPhail a sucker, a desperate front office guy...or if I turn out to be wrong and these prospects turn to gold, a freaking genius.
Wednesday, December 05, 2007
Music Review: Dub Trio - Cool Out And Coexist
New York-based instrumental metal and dub band Dub Trio have captured all the strengths of their sophisticated sound with the release of their third - and first live - album, Cool Out And Coexist (ROIR Records).
This highly respected and in-demand three-man band is made up of DP Holmes on guitar/keys, Stu Brooks on bass/keys, and Joe Tomino on the skins/percussion. Since they came on the scene in 2004 with their debut full-length Exploring The Dangers Of, Dub Trio has shared the stage or recorded with some of the biggest pop and hip-hop stars in the world. Such big names include The Fugees, 50 Cent, Mos Def, Mobb Deep, Bo Rice and Soulive.
But that's not all. Over the last year or so, they opened for hard rock heavyweights Clutch, Bad Brains during CBGB's closing week, Skindred, and more recently for fellow New York metal band Helmet. The trio also shared the stage with The Wailers, Meat Beat Manifesto, Yellowman, Cat Empire, and Prefuse 73 in recent years. In 2006, they recorded the song "Not Alone" with Mike Patton (Faith No More) for their sophomore record New Heavy and Patton's own Peeping Tom project.
So how did an instrumental group that is still pretty much under the radar get to play with such a diverse group of big name artists in a short period of time? Luck, connections and word of mouth all sound like plausible explanations. However, what you really have to do is experience their live show - I did in March - and you'll get a true sense of just how buzzworthy these guys are.
Recorded February 19th and 20th, 2007 at the Union Pool in Brooklyn, NY, COAC has the sound quality of a studio album - audience applause is kept to a minimum volume - but captures all the action and intensity of a DT live show.
For a three-man band, Dub Trio's sound is massive. Holmes's crunchy, sometimes noisy guitars and digitally delayed roots reggae riddims are out of this world; Brooks's bass lines are deep and heavy as f*ck and Tomino's drumming is a dynamic mix of explosive metal insanity and trippy, effects-laden percussion. In other words, it's dub-tastic.
Dub Trio's work is so versatile that it has been compared to the likes of Bad Brains, Helmet, Sly & Robbie, and King Tubby (the late dub master who is also credited as one of the pioneers of the "remix"). It's a palette drawn from familiar genres many of you grew up with. Mixing everything from metal, jazz, noise, punk, dub, roots reggae and electronica, DT is the United Nations of underground music, only it doesn't need to be reformed or strengthened as a body. The band is in fine form, as is.
The title track, with its rapid-fire drum attack starts like your typical modern day metal ditty, but then everything changes in an instant, with Brooks's bass taking over the lead melody for the dub section, followed by ambient-sounding guitar work by Holmes. The epic, six-minute collage then ends with some serious thrash metal (just the way you imagined it).
"One Man Tag Crew" is a furious mishmash of dub and Bad Brains-ish punk - call it "dunk" (ok, maybe not). Elsewhere, for spacious tracks like "Casting Out The Nines," picture Sigur Ros with a dub rhythm section.
"Drive By Dub" is one of the most pure dub/reggae tracks on the record, and it is also the quietest, with a somber melodica solo midway through, courtesy of drummer Joe Tomino. Of course, coming right after the considerably rowdier "Jack Bauer," the track's contrast is apparent and at the more than halfway point of the disc, considered a breather, a chill tune.
If you're still wondering how much of it is hard rock and how much is dub, it is more rock than dub. However, the blending of different styles of music, the unpredictability of how and when Dub Trio jumps from one genre to the other and back again is an exciting, mind-blowing listening experience.
Overall, Cool Out And Coexist is hands down one of the coolest albums of 2007 and should make any true music lover's year-end list. If you think you've found and listened to all the good music there is in 2007, think again. This live CD might just be the most exciting 47 minutes you've heard in a long while. It is highly recommended.
For more info on Dub Trio, go to ROIR-USA.com, Spectrummusic.net or their Myspace page.
Note: Cross-posted today at Blogcritics.org
This highly respected and in-demand three-man band is made up of DP Holmes on guitar/keys, Stu Brooks on bass/keys, and Joe Tomino on the skins/percussion. Since they came on the scene in 2004 with their debut full-length Exploring The Dangers Of, Dub Trio has shared the stage or recorded with some of the biggest pop and hip-hop stars in the world. Such big names include The Fugees, 50 Cent, Mos Def, Mobb Deep, Bo Rice and Soulive.
But that's not all. Over the last year or so, they opened for hard rock heavyweights Clutch, Bad Brains during CBGB's closing week, Skindred, and more recently for fellow New York metal band Helmet. The trio also shared the stage with The Wailers, Meat Beat Manifesto, Yellowman, Cat Empire, and Prefuse 73 in recent years. In 2006, they recorded the song "Not Alone" with Mike Patton (Faith No More) for their sophomore record New Heavy and Patton's own Peeping Tom project.
So how did an instrumental group that is still pretty much under the radar get to play with such a diverse group of big name artists in a short period of time? Luck, connections and word of mouth all sound like plausible explanations. However, what you really have to do is experience their live show - I did in March - and you'll get a true sense of just how buzzworthy these guys are.
Recorded February 19th and 20th, 2007 at the Union Pool in Brooklyn, NY, COAC has the sound quality of a studio album - audience applause is kept to a minimum volume - but captures all the action and intensity of a DT live show.
For a three-man band, Dub Trio's sound is massive. Holmes's crunchy, sometimes noisy guitars and digitally delayed roots reggae riddims are out of this world; Brooks's bass lines are deep and heavy as f*ck and Tomino's drumming is a dynamic mix of explosive metal insanity and trippy, effects-laden percussion. In other words, it's dub-tastic.
Dub Trio's work is so versatile that it has been compared to the likes of Bad Brains, Helmet, Sly & Robbie, and King Tubby (the late dub master who is also credited as one of the pioneers of the "remix"). It's a palette drawn from familiar genres many of you grew up with. Mixing everything from metal, jazz, noise, punk, dub, roots reggae and electronica, DT is the United Nations of underground music, only it doesn't need to be reformed or strengthened as a body. The band is in fine form, as is.
The title track, with its rapid-fire drum attack starts like your typical modern day metal ditty, but then everything changes in an instant, with Brooks's bass taking over the lead melody for the dub section, followed by ambient-sounding guitar work by Holmes. The epic, six-minute collage then ends with some serious thrash metal (just the way you imagined it).
"One Man Tag Crew" is a furious mishmash of dub and Bad Brains-ish punk - call it "dunk" (ok, maybe not). Elsewhere, for spacious tracks like "Casting Out The Nines," picture Sigur Ros with a dub rhythm section.
"Drive By Dub" is one of the most pure dub/reggae tracks on the record, and it is also the quietest, with a somber melodica solo midway through, courtesy of drummer Joe Tomino. Of course, coming right after the considerably rowdier "Jack Bauer," the track's contrast is apparent and at the more than halfway point of the disc, considered a breather, a chill tune.
If you're still wondering how much of it is hard rock and how much is dub, it is more rock than dub. However, the blending of different styles of music, the unpredictability of how and when Dub Trio jumps from one genre to the other and back again is an exciting, mind-blowing listening experience.
Overall, Cool Out And Coexist is hands down one of the coolest albums of 2007 and should make any true music lover's year-end list. If you think you've found and listened to all the good music there is in 2007, think again. This live CD might just be the most exciting 47 minutes you've heard in a long while. It is highly recommended.
For more info on Dub Trio, go to ROIR-USA.com, Spectrummusic.net or their Myspace page.
Note: Cross-posted today at Blogcritics.org
Music CD/DVD Review: R.E.M. - Live
Note: First published on Blogcritics.org 12/1/07
R.E.M.'s Live (Warner Bros.) is no ordinary concert release. The band has made a concerted effort to reach out to its fan base, as it re-launched the R.E.M. Dublin website as part two of its promotion of the live compilation, which is based on two shows taped from Dublin in 2005. This version lets you watch song clips, a live trailer of the DVD portion, see band photos, and click on a link to an archived original version of the site, where you can watch R.E.M.'s five-night "working rehearsals" at Olympia Theatre and read reviews or blog about them yourself.
The Athens, Georgia-based group is still in Dublin as we speak, putting the finishing touches on what will be their 14th studio album when it's released next year.
As for the release itself, if you just put your blinders on and listen to the music, it is pretty great, especially for a band that's been around for over twenty-five years and was recently inducted into the Rock and Roll Hall of Fame. But where there are strengths, there are also weakness.
First, the complaints: I can understand R.E.M.'s effort to make the three-disc compilation (which hit stores in mid-October) both affordable and worth every dollar. The band chose to combine highlights from its February 26, 2005 and February 27, 2005 shows from the Point Depot in Dublin into one release. However, having one of those audio discs containing only five songs is dumbfounding.
Why not split the twenty-two tracks into two eleven-track discs? Or better yet, why not make the most of the second CD by including at least one version of every song played at the two Dublin shows? Songs played but missing from this compilation include "Seven Chinese Brothers," "These Days," and "Electrolite." Most fans wouldn't have a problem with those songs being included here, unless the live versions of those and other missing tracks were so bad that the band didn't want anybody to hear them ever again.
That issue aside, the sound and production of both discs is of the highest caliber. If you didn't know or care to know any better, this sequence of twenty-two songs sounds and feels like a full show, and you might as well enjoy it as such, since R.E.M. was in top and spirited form in Ireland.
A pleasantly surprising and steady rocker from the Monster disc, "I Took Your Name" started the R.E.M. Live experience off on the right foot. "So Fast, So Numb," a rather obscure track from New Adventures in Hi-Fi soon followed. Elsewhere in the set, the audience dug Peter Buck's note-for-note perfect rendition of favorites like "Losing My Religion" and clapped in rhythm for "Drive," during which Stipe added "Bushwhacked" to the lyrics. [Don't act surprised, given Stipe's past political preferences.]
As far as band energy and dynamics are concerned, the guitars were nice and loud when warranted (ex. "Orange Crush," "One I Love") and the strings/keys were warm and cuddly when needed (ex. "Everybody Hurts," "Losing My Religion").
Bassist Mike Mills, a true pro who almost always sings in tune - as opposed to the occasional off-key yelps by Stipe - shined on several cuts and even sported a cowboy hat to sing lead vocals on the beloved early '80s fav "(Don't Go Back To) Rockville". Daniel Ryan of The Thrills made a guest appearance on guitar/back-up vocals for that performance, while Stipe took a rare turn on back-up vocals as well.
Back to the DVD side of things, the blurry visuals that came in and out of focus on "Boy In The Well" - a song from 2004's Around The Sun CD - were very cool, particularly during the melodic solo by supporting musician Ken Stringfellow (Posies, Big Star, Lagwagon). The many multiple screens at the venue that focused on each band member and their instrument were another plus - musicians (such as myself) no doubt appreciated that. The DVD viewer however, doesn't see enough of these sustained instrumental frames or close-ups; there are far more shots of Stipe and his stage antics by comparison.
Speaking of camera work, the frequent and rapid changes in visual effects and colors, as well as the unsteadiness of some of the shots can be a distraction and amounts to overproduction by video director Blue Leach (whose credits also include Depeche Mode). This DVD is supposed to be about the band first and foremost after all, not about displaying all the cutting edge visual effects one can muster into one production.
I'm not saying that was Leach's intention here, but at times it felt like there were 100 different digital video flashes per minute and that his cameras had A.D.D. The whole point of videotaping is to capture the action wherever it is, right? At several points, the focus seemed based more on imagery than on the action on stage.
Back to the pluses of the show: the Mills-lead "Cuyahoga" still rules in all its jangle rock glory, and "What's The Frequency, Kenneth," though missing Buck's signature tremolo effect otherwise features a much better guitar solo than on record. And for those wondering about new material from R.E.M., one brand new, albeit short song made it onto the release, "I'm Gonna DJ." Stipe's it's-the-end-of-the-world-themed lyrics are kind of corny, but the song rocks.
My verdict: Though the band has had a few other DVD releases over the years (see Amazon list below), Live is R.E.M.'s first ever CD/DVD live concert combo, and though it has its flaws, you won't regret buying it. When the music is this good, any complaints about production, packaging, or track exclusions seems minor by comparison.
The only advice I have for you regarding this release is that if your eyes start to hurt or get annoyed by all the visual craziness, just look away for brief moments at a time until the cameras return to steadier, more visually sane angles. Don't let these distractions ruin your overall enjoyment of the work of this legendary rock band. If all you care about is the music, you'll get your moneys worth.
The Live trailer can be seen on You Tube.
Better yet, watch "I Took Your Name" and "Bad Day" in full before you purchase the CD/DVD.
For more info on R.E.M., visit their main website.
R.E.M.'s Live (Warner Bros.) is no ordinary concert release. The band has made a concerted effort to reach out to its fan base, as it re-launched the R.E.M. Dublin website as part two of its promotion of the live compilation, which is based on two shows taped from Dublin in 2005. This version lets you watch song clips, a live trailer of the DVD portion, see band photos, and click on a link to an archived original version of the site, where you can watch R.E.M.'s five-night "working rehearsals" at Olympia Theatre and read reviews or blog about them yourself.
The Athens, Georgia-based group is still in Dublin as we speak, putting the finishing touches on what will be their 14th studio album when it's released next year.
As for the release itself, if you just put your blinders on and listen to the music, it is pretty great, especially for a band that's been around for over twenty-five years and was recently inducted into the Rock and Roll Hall of Fame. But where there are strengths, there are also weakness.
First, the complaints: I can understand R.E.M.'s effort to make the three-disc compilation (which hit stores in mid-October) both affordable and worth every dollar. The band chose to combine highlights from its February 26, 2005 and February 27, 2005 shows from the Point Depot in Dublin into one release. However, having one of those audio discs containing only five songs is dumbfounding.
Why not split the twenty-two tracks into two eleven-track discs? Or better yet, why not make the most of the second CD by including at least one version of every song played at the two Dublin shows? Songs played but missing from this compilation include "Seven Chinese Brothers," "These Days," and "Electrolite." Most fans wouldn't have a problem with those songs being included here, unless the live versions of those and other missing tracks were so bad that the band didn't want anybody to hear them ever again.
That issue aside, the sound and production of both discs is of the highest caliber. If you didn't know or care to know any better, this sequence of twenty-two songs sounds and feels like a full show, and you might as well enjoy it as such, since R.E.M. was in top and spirited form in Ireland.
A pleasantly surprising and steady rocker from the Monster disc, "I Took Your Name" started the R.E.M. Live experience off on the right foot. "So Fast, So Numb," a rather obscure track from New Adventures in Hi-Fi soon followed. Elsewhere in the set, the audience dug Peter Buck's note-for-note perfect rendition of favorites like "Losing My Religion" and clapped in rhythm for "Drive," during which Stipe added "Bushwhacked" to the lyrics. [Don't act surprised, given Stipe's past political preferences.]
As far as band energy and dynamics are concerned, the guitars were nice and loud when warranted (ex. "Orange Crush," "One I Love") and the strings/keys were warm and cuddly when needed (ex. "Everybody Hurts," "Losing My Religion").
Bassist Mike Mills, a true pro who almost always sings in tune - as opposed to the occasional off-key yelps by Stipe - shined on several cuts and even sported a cowboy hat to sing lead vocals on the beloved early '80s fav "(Don't Go Back To) Rockville". Daniel Ryan of The Thrills made a guest appearance on guitar/back-up vocals for that performance, while Stipe took a rare turn on back-up vocals as well.
Back to the DVD side of things, the blurry visuals that came in and out of focus on "Boy In The Well" - a song from 2004's Around The Sun CD - were very cool, particularly during the melodic solo by supporting musician Ken Stringfellow (Posies, Big Star, Lagwagon). The many multiple screens at the venue that focused on each band member and their instrument were another plus - musicians (such as myself) no doubt appreciated that. The DVD viewer however, doesn't see enough of these sustained instrumental frames or close-ups; there are far more shots of Stipe and his stage antics by comparison.
Speaking of camera work, the frequent and rapid changes in visual effects and colors, as well as the unsteadiness of some of the shots can be a distraction and amounts to overproduction by video director Blue Leach (whose credits also include Depeche Mode). This DVD is supposed to be about the band first and foremost after all, not about displaying all the cutting edge visual effects one can muster into one production.
I'm not saying that was Leach's intention here, but at times it felt like there were 100 different digital video flashes per minute and that his cameras had A.D.D. The whole point of videotaping is to capture the action wherever it is, right? At several points, the focus seemed based more on imagery than on the action on stage.
Back to the pluses of the show: the Mills-lead "Cuyahoga" still rules in all its jangle rock glory, and "What's The Frequency, Kenneth," though missing Buck's signature tremolo effect otherwise features a much better guitar solo than on record. And for those wondering about new material from R.E.M., one brand new, albeit short song made it onto the release, "I'm Gonna DJ." Stipe's it's-the-end-of-the-world-themed lyrics are kind of corny, but the song rocks.
My verdict: Though the band has had a few other DVD releases over the years (see Amazon list below), Live is R.E.M.'s first ever CD/DVD live concert combo, and though it has its flaws, you won't regret buying it. When the music is this good, any complaints about production, packaging, or track exclusions seems minor by comparison.
The only advice I have for you regarding this release is that if your eyes start to hurt or get annoyed by all the visual craziness, just look away for brief moments at a time until the cameras return to steadier, more visually sane angles. Don't let these distractions ruin your overall enjoyment of the work of this legendary rock band. If all you care about is the music, you'll get your moneys worth.
The Live trailer can be seen on You Tube.
Better yet, watch "I Took Your Name" and "Bad Day" in full before you purchase the CD/DVD.
For more info on R.E.M., visit their main website.
Tuesday, November 27, 2007
Music DVD Review: Pearl Jam - Immagine In Cornice: Picture In A Frame
Note: First posted on Blogcritics Magazine's web site 11-25-07
Pearl Jam may never again be that omnipresent, chart-topping band of rebellious rockers of the early 1990s. But they don't have to be mainstream rock superstars in order to produce some great music and embark on one memorable tour after another (every other year, on average). Pearl Jam have built a loyal fan base the world over, and whatever you think of their records post-Vitalogy, this band has always been an exciting and even legendary must-see live act.
Tours from earlier in this decade have been well chronicled on audio bootlegs and on a couple DVDs (see Amazon list below), so it was only a matter of time for Pearl Jam to pick out some highlights of their more recent 2005/2006 tours to sell their fans. First came the Live at the Gorge 05/06 audio box set, and now comes Immagine In Cornice, a concert film/documentary directed by the renowned filmmaker Danny Clinch (Dave Matthews, Bruce Springsteen's Devils & Dust).
Based on the band's five shows and weeklong stay in Italy in September of 2006, Clinch and his crew of cameramen give fans an intimate look at what the band does on-and-off stage, in the towns of Milan, Bologna, Pistoia, Torino and Verona.
As far as performances go, Pearl Jam was in peak form for most of these song selections; they had five shows worth to choose from for this film, after all. Fan favorite "State of Love and Trust" rocked at a faster and more furious pace than on the Singles soundtrack. "Evenflow" got the extended treatment; McCready's solos channeled Stevie Ray Vaughan, and Matt Cameron showed off his drum solo skills to the delight of the crowd in Torino.
Whether playing in an obscure town like Pistoia, the Forum in the beautiful city of Milan, or weathering the rain in Verona, Pearl Jam played for packed stadiums that had both home and international flavor; fans from as far away as Finland and Israel traveled to experience these shows. But it didn't matter where the audience came from or how new or old Pearl Jam's songs were; cameras caught fans passionately moving or jumping to and singing the words to everything from "Better Man" and "Comatose" to "State of Love and Trust" and "Alive."
Eddie Vedder literally took his stage antics to new heights at Duomo Square in Pistoia, as he climbed one of the poles on the side of the stage and sang from the platform during the popular show closer "Rockin' In The Free World." On the near mosh pit-worthy "Blood," one of the less popular, but killer tracks from the Vs. disc, Vedder began the song by spitting out some whiskey he just drank, while he and the band gave everything they had to finish out this less than perfectly executed live version.
Another smart move was the inclusion on this DVD of Eddie Vedder joining opening act My Morning Jacket - a top notch live rock band in their own right - in Torino for an excellent, exhilarating cover of The Who's "A Quick One (While He's Away)."
Perhaps just as valuable as the performance footage is some of the off-stage moments Clinch caught on film. Lead guitarist Mike McCready is full of stories, explaining the origins (and admitted obsession) with tattoos on his arms. After a brief shot of him talking to fans and signing autographs in the light of day outside his Verona hotel, McCready recalled how he used to be like these rock star chasers; he claimed that around 1982 he hid under The Scorpions limo until he spotted and received their singer's autograph. Mike McCready: a guitar virtuoso and man of the people.
Here's some other highlights:
* Eddie working on an 8-track recording of the Tom Waits song "Picture In A Frame" after a soundcheck. The song is also later performed near the end of the DVD by his likeness as background music.
* Pearl Jam organist Kenneth "Boom" Gaspar's emotion-filled performance of a song of his on a vintage church organ in Pistoia, a small Italian town known mainly for organs.
* A short clip of a couple Italian acoustic guitarists playing "Porch" on a sidewalk for the locals.
* The short appearance of Eddie Vedder's little girl Olivia, riding aboard the tour bus with her dad as they say goodbye to "Milano" and take in its beautiful scenery. Vedder's well-rehearsed attempts at addressing his audiences in Italian aren't bad either.
My only minor complaint is that although this film strikes a mostly satisfying balance between the old and the new, there is only one song from Vs. on it, and there could have been a few more full songs included from these five shows overall. For example, late in the film, Eddie and the boys are shown backstage at the Arena di Verona crossing out and ultimately deciding what to play for an encore: "Blood" and "Indifference" were among the chosen, but only "Blood" was shown.
In all, Pearl Jam's Immagine In Cornice DVD is a real treat, and though it was released two months ago, any serious PJ fan must add it to their collection this Christmas if he/she does not already have it. Though it doesn't have everything you would want, this film offers more than just another concert; it gives fans some valuable insight on the touring lives of this band, which is still one of the best live American rock bands around.
Note: Although the track list linked here looks complete, it only represents songs played in full or with live video footage. There are some other songs that Pearl Jam either toyed with offstage, during soundcheck or played as background music to more Clinch footage, including "Immortality," "Love Boat Captain," a short Vedder/McCready acoustic run through of "Lukin" and the aforementioned Tom Waits cover "Picture In A Frame."
Pearl Jam may never again be that omnipresent, chart-topping band of rebellious rockers of the early 1990s. But they don't have to be mainstream rock superstars in order to produce some great music and embark on one memorable tour after another (every other year, on average). Pearl Jam have built a loyal fan base the world over, and whatever you think of their records post-Vitalogy, this band has always been an exciting and even legendary must-see live act.
Tours from earlier in this decade have been well chronicled on audio bootlegs and on a couple DVDs (see Amazon list below), so it was only a matter of time for Pearl Jam to pick out some highlights of their more recent 2005/2006 tours to sell their fans. First came the Live at the Gorge 05/06 audio box set, and now comes Immagine In Cornice, a concert film/documentary directed by the renowned filmmaker Danny Clinch (Dave Matthews, Bruce Springsteen's Devils & Dust).
Based on the band's five shows and weeklong stay in Italy in September of 2006, Clinch and his crew of cameramen give fans an intimate look at what the band does on-and-off stage, in the towns of Milan, Bologna, Pistoia, Torino and Verona.
As far as performances go, Pearl Jam was in peak form for most of these song selections; they had five shows worth to choose from for this film, after all. Fan favorite "State of Love and Trust" rocked at a faster and more furious pace than on the Singles soundtrack. "Evenflow" got the extended treatment; McCready's solos channeled Stevie Ray Vaughan, and Matt Cameron showed off his drum solo skills to the delight of the crowd in Torino.
Whether playing in an obscure town like Pistoia, the Forum in the beautiful city of Milan, or weathering the rain in Verona, Pearl Jam played for packed stadiums that had both home and international flavor; fans from as far away as Finland and Israel traveled to experience these shows. But it didn't matter where the audience came from or how new or old Pearl Jam's songs were; cameras caught fans passionately moving or jumping to and singing the words to everything from "Better Man" and "Comatose" to "State of Love and Trust" and "Alive."
Eddie Vedder literally took his stage antics to new heights at Duomo Square in Pistoia, as he climbed one of the poles on the side of the stage and sang from the platform during the popular show closer "Rockin' In The Free World." On the near mosh pit-worthy "Blood," one of the less popular, but killer tracks from the Vs. disc, Vedder began the song by spitting out some whiskey he just drank, while he and the band gave everything they had to finish out this less than perfectly executed live version.
Another smart move was the inclusion on this DVD of Eddie Vedder joining opening act My Morning Jacket - a top notch live rock band in their own right - in Torino for an excellent, exhilarating cover of The Who's "A Quick One (While He's Away)."
Perhaps just as valuable as the performance footage is some of the off-stage moments Clinch caught on film. Lead guitarist Mike McCready is full of stories, explaining the origins (and admitted obsession) with tattoos on his arms. After a brief shot of him talking to fans and signing autographs in the light of day outside his Verona hotel, McCready recalled how he used to be like these rock star chasers; he claimed that around 1982 he hid under The Scorpions limo until he spotted and received their singer's autograph. Mike McCready: a guitar virtuoso and man of the people.
Here's some other highlights:
* Eddie working on an 8-track recording of the Tom Waits song "Picture In A Frame" after a soundcheck. The song is also later performed near the end of the DVD by his likeness as background music.
* Pearl Jam organist Kenneth "Boom" Gaspar's emotion-filled performance of a song of his on a vintage church organ in Pistoia, a small Italian town known mainly for organs.
* A short clip of a couple Italian acoustic guitarists playing "Porch" on a sidewalk for the locals.
* The short appearance of Eddie Vedder's little girl Olivia, riding aboard the tour bus with her dad as they say goodbye to "Milano" and take in its beautiful scenery. Vedder's well-rehearsed attempts at addressing his audiences in Italian aren't bad either.
My only minor complaint is that although this film strikes a mostly satisfying balance between the old and the new, there is only one song from Vs. on it, and there could have been a few more full songs included from these five shows overall. For example, late in the film, Eddie and the boys are shown backstage at the Arena di Verona crossing out and ultimately deciding what to play for an encore: "Blood" and "Indifference" were among the chosen, but only "Blood" was shown.
In all, Pearl Jam's Immagine In Cornice DVD is a real treat, and though it was released two months ago, any serious PJ fan must add it to their collection this Christmas if he/she does not already have it. Though it doesn't have everything you would want, this film offers more than just another concert; it gives fans some valuable insight on the touring lives of this band, which is still one of the best live American rock bands around.
Note: Although the track list linked here looks complete, it only represents songs played in full or with live video footage. There are some other songs that Pearl Jam either toyed with offstage, during soundcheck or played as background music to more Clinch footage, including "Immortality," "Love Boat Captain," a short Vedder/McCready acoustic run through of "Lukin" and the aforementioned Tom Waits cover "Picture In A Frame."
Music Review: Via Audio - Say Something
Note: First published on Blogcritics Magazine's web site 11-16-07
This New York-based indie pop quartet met at Berklee College of Music in 2003, recorded a self-titled EP in 2004, and three long years later got signed to SideCho Records. Add to this the fact that Chris Walla of Death Cab For Cutie is a big fan of the band and that Jim Eno of Spoon produced their highly anticipated debut full-length Say Something (SideCho) and you've got a promising album the indie rock world will surely take notice of.
First song "Developing Active People" has slight delay tactics on guitar that could easily pass for Chris Walla's work with Death Cab (hence the unsurprising fact he's a VA fan). The bass guitar lines and inclusion of trumpets/horns on "Harder On Me" have the aura of recent Broken Social Scene. However, unlike that Canadian supergroup, this group of four doesn't need double digits worth of band members to put many layers of sound into their craft.
"Presents" is perhaps the catchiest one of them all, with its cutesy and infectious male/female vocals, short, electric guitar and keyboard spurts, a constant acoustic guitar melody, all performed over a constant, fast beat that rests only for a mere five seconds.
The slow, heavy, and crunchy chords of "Hazmat" recall Weezer, and the quieter understated melodies that end it are reminiscent of Pavement. The oscillating and tension-filled "Enunciation" shows off both the band and guitarist/singer Jessica Martins' versatility, going from quiet-loud-quiet vocals with relative ease over passive and kinetic minor (and uglier-sounding) melodies.
On my personal favorite "We Can Be Good," Martins sings, "If we try/I know that we can be good." Well, on just 11 tracks spanning 40 minutes, Via Audio, despite their apparent humbleness, proved they are very good at what they do. They went to a top music school after all, so they'd better be "good" at the very least!
What they've done with Say Something is make a very - for the most part - pumped up and listenable indie pop record for those with short attention spans. It's got some versatility, catchy tunes and impressive musicianship.
What more could you want? A perfect album, you say. There may be a couple of down moments on the record, but the fast pace and consistency of Say Something as a whole obscure any faults. It's an excellent debut, and fans of Death Cab For Cutie, Stars, or Magic Numbers will dig this without a doubt.
For more info on Via Audio and to buy their music or watch live performances, go to their Myspace page.
This New York-based indie pop quartet met at Berklee College of Music in 2003, recorded a self-titled EP in 2004, and three long years later got signed to SideCho Records. Add to this the fact that Chris Walla of Death Cab For Cutie is a big fan of the band and that Jim Eno of Spoon produced their highly anticipated debut full-length Say Something (SideCho) and you've got a promising album the indie rock world will surely take notice of.
First song "Developing Active People" has slight delay tactics on guitar that could easily pass for Chris Walla's work with Death Cab (hence the unsurprising fact he's a VA fan). The bass guitar lines and inclusion of trumpets/horns on "Harder On Me" have the aura of recent Broken Social Scene. However, unlike that Canadian supergroup, this group of four doesn't need double digits worth of band members to put many layers of sound into their craft.
"Presents" is perhaps the catchiest one of them all, with its cutesy and infectious male/female vocals, short, electric guitar and keyboard spurts, a constant acoustic guitar melody, all performed over a constant, fast beat that rests only for a mere five seconds.
The slow, heavy, and crunchy chords of "Hazmat" recall Weezer, and the quieter understated melodies that end it are reminiscent of Pavement. The oscillating and tension-filled "Enunciation" shows off both the band and guitarist/singer Jessica Martins' versatility, going from quiet-loud-quiet vocals with relative ease over passive and kinetic minor (and uglier-sounding) melodies.
On my personal favorite "We Can Be Good," Martins sings, "If we try/I know that we can be good." Well, on just 11 tracks spanning 40 minutes, Via Audio, despite their apparent humbleness, proved they are very good at what they do. They went to a top music school after all, so they'd better be "good" at the very least!
What they've done with Say Something is make a very - for the most part - pumped up and listenable indie pop record for those with short attention spans. It's got some versatility, catchy tunes and impressive musicianship.
What more could you want? A perfect album, you say. There may be a couple of down moments on the record, but the fast pace and consistency of Say Something as a whole obscure any faults. It's an excellent debut, and fans of Death Cab For Cutie, Stars, or Magic Numbers will dig this without a doubt.
For more info on Via Audio and to buy their music or watch live performances, go to their Myspace page.
Music Review: Thursday - Kill The House Lights DVD and CD
NOTE: Yeah, I've been getting lazy about cross-posting my Blogcritics articles here; this one was published on 10/30/07.
Often labeled as one of the progenitors of the current "emo" movement, Thursday has survived "nu metal," the garage rock revival, and whatever other trends that ruled the day in their ten years of existence.
Their sound has always been hard to pinpoint, however. Some critics may call them emo or "screamo," others (like All Music Guide) describe their music as "soul-baring post hardcore." Like one-time peers At The Drive-In, they created an exciting and genre-defying type of punk-inspired rock the kids still love to this day. They have taken elements of punk, metal, and post-punk and blended them into four albums worth of rock, starting with 2000's Waiting and most recently with 2006's A City By The Light Divided.
The Kill The House Lights DVD has a career-spanning documentary that takes them through their early days in the late 1990s to the present. The crown jewel of the disc is a forty-five minute live concert from their hometown of New Brunswick, NJ in 2006.
It features fan favorites and other songs from most of their albums, including "Understanding In A Car Crash" and "Paris In Flames," both from 2001's groundbreaking Full Collapse CD, as well as newer songs like the intensely personal and religious-themed "Sugar In The Sacrament." Just watch singer Geoff Rickly work the crowd and join them as they sing out, "This is all we've ever known of God/Fight with me let me touch you now."
Watching this show, you will see why Thursday has gotten headlining slots on multiple Warped Tours over the years; their live show rallies fans to give out almost as much energy to the band as they give to them.
The audio portion of this release features twelve tracks, including about five new songs, the first of which should please older fans: "Ladies and Gentlemen: My Brother The Failure" is intense, hardcore, and sounds like it would have been a natural fit on one of the early albums.
Other tracks include a live version of "Signals Over The Air" - from the same 2006 Holiday show featured on the DVD - and a few demos, the oldest of which is "Wind Up," a song culled from Thursday's first four-song demo in 1998.
Overall, Kill The Houselights, which comes out in stores this week (Victory Records), is very highly recommended for anyone and everyone who got into Thursday's music over the years. There aren't many punk rock bands like them around, and though others have taken elements of their sound and diluted the post-hardcore genre, they give it respectability and a bit of originality too.
It may be Tuesday, but Thursday sounds good any day of the week.
For more info on the band, visit their myspace page or the band's All Music Guide entry.
Often labeled as one of the progenitors of the current "emo" movement, Thursday has survived "nu metal," the garage rock revival, and whatever other trends that ruled the day in their ten years of existence.
Their sound has always been hard to pinpoint, however. Some critics may call them emo or "screamo," others (like All Music Guide) describe their music as "soul-baring post hardcore." Like one-time peers At The Drive-In, they created an exciting and genre-defying type of punk-inspired rock the kids still love to this day. They have taken elements of punk, metal, and post-punk and blended them into four albums worth of rock, starting with 2000's Waiting and most recently with 2006's A City By The Light Divided.
The Kill The House Lights DVD has a career-spanning documentary that takes them through their early days in the late 1990s to the present. The crown jewel of the disc is a forty-five minute live concert from their hometown of New Brunswick, NJ in 2006.
It features fan favorites and other songs from most of their albums, including "Understanding In A Car Crash" and "Paris In Flames," both from 2001's groundbreaking Full Collapse CD, as well as newer songs like the intensely personal and religious-themed "Sugar In The Sacrament." Just watch singer Geoff Rickly work the crowd and join them as they sing out, "This is all we've ever known of God/Fight with me let me touch you now."
Watching this show, you will see why Thursday has gotten headlining slots on multiple Warped Tours over the years; their live show rallies fans to give out almost as much energy to the band as they give to them.
The audio portion of this release features twelve tracks, including about five new songs, the first of which should please older fans: "Ladies and Gentlemen: My Brother The Failure" is intense, hardcore, and sounds like it would have been a natural fit on one of the early albums.
Other tracks include a live version of "Signals Over The Air" - from the same 2006 Holiday show featured on the DVD - and a few demos, the oldest of which is "Wind Up," a song culled from Thursday's first four-song demo in 1998.
Overall, Kill The Houselights, which comes out in stores this week (Victory Records), is very highly recommended for anyone and everyone who got into Thursday's music over the years. There aren't many punk rock bands like them around, and though others have taken elements of their sound and diluted the post-hardcore genre, they give it respectability and a bit of originality too.
It may be Tuesday, but Thursday sounds good any day of the week.
For more info on the band, visit their myspace page or the band's All Music Guide entry.
Music Review: Prong - Power Of The Damager
Note: Originally published on Blogcritics 11/7/07
In the early and mid-'90s, Prong's unique blend of super-heavy industrial and thrash metal was ahead of its time and clearly influenced what was then the looming "nu metal" movement. At the time, I was a teenager who looked forward to every killer episode of MTV's Headbanger's Ball every Saturday night, which along with WAAF radio in my hometown of Boston is how I discovered Prong.
Its time in the spotlight of heavy metal was all to brief however, as albums after 1994's Cleansing never took off or delivered singles as strong and popular as "Beg to Differ" or "Snap Your Fingers, Snap Your Neck," the latter of which is without a doubt Prong's most well-known song.
This is not to say that other albums like Rude Awakening or Prove You Wrong were duds; they just never made a splash beyond the underground metal community the way 1990's Beg To Differ and Cleansing did. And that's a shame because like Machine Head, Biohazard, Helmet and a few others, Prong added a new and exciting chapter to heavy metal that has gone largely unappreciated over time.
With the release of its newest album Power Of The Damager (13th Planet Records) last month however, this should change. It is clearly Prong's loudest, brutally heavy and consistent record since Cleansing; traces of earlier records like Beg To Differ are present as well.
The only significant difference between Cleansing and Power is the industrial noises are no longer a part of Prong's sound. This new record is all super heavy power, speed and thrash metal. And if you have none of these CDs in your metal collection, I suggest buying them all together. They're that good.
With drummer Aaron Rossi's aggressive - he frequently employs double kick drum pedals - and at times groovy rhythms setting the pace and band leader/guitarist Tommy Victor and bassist Monte Pittman's respective instruments tuned down to C and occasionally D, Power picks up where Cleansing left off. The staccato riffs, start-stop rhythms and Victor's snarl and growl are all still present, from album opener "Looking For Them" to "Worst of It" and on down the track list. "No Justice" is especially angry and reflects the times we live in; it also features machine-gun fast riffs and wild screams from Victor.
Elsewhere, "Spirit Guide" starts out semi-spacey and throws a couple of dramatic change-ups in tempo, but doesn't let up for long. It, like several other songs features a squealing, frantic guitar solo. Make no mistake about it, this album is ferocious to the very end. Last track "Changing Ending Troubling Times" sees Rossi and Pittman having no trouble at all keeping up with Victor's speed metal riffs.
In all, Power Of The Damager produced what their 2003 comeback record Scorpio Rising did not: truly inspired metal. Even Ministry's Al Jourgensen thinks this is their best CD "ever." Prong fans can debate that but in the meantime, be sure to add this one to your top metal albums of 2007.
To listen to a few more songs from this album, visit Prong's myspace page and for additional info on the band, click here.
In the early and mid-'90s, Prong's unique blend of super-heavy industrial and thrash metal was ahead of its time and clearly influenced what was then the looming "nu metal" movement. At the time, I was a teenager who looked forward to every killer episode of MTV's Headbanger's Ball every Saturday night, which along with WAAF radio in my hometown of Boston is how I discovered Prong.
Its time in the spotlight of heavy metal was all to brief however, as albums after 1994's Cleansing never took off or delivered singles as strong and popular as "Beg to Differ" or "Snap Your Fingers, Snap Your Neck," the latter of which is without a doubt Prong's most well-known song.
This is not to say that other albums like Rude Awakening or Prove You Wrong were duds; they just never made a splash beyond the underground metal community the way 1990's Beg To Differ and Cleansing did. And that's a shame because like Machine Head, Biohazard, Helmet and a few others, Prong added a new and exciting chapter to heavy metal that has gone largely unappreciated over time.
With the release of its newest album Power Of The Damager (13th Planet Records) last month however, this should change. It is clearly Prong's loudest, brutally heavy and consistent record since Cleansing; traces of earlier records like Beg To Differ are present as well.
The only significant difference between Cleansing and Power is the industrial noises are no longer a part of Prong's sound. This new record is all super heavy power, speed and thrash metal. And if you have none of these CDs in your metal collection, I suggest buying them all together. They're that good.
With drummer Aaron Rossi's aggressive - he frequently employs double kick drum pedals - and at times groovy rhythms setting the pace and band leader/guitarist Tommy Victor and bassist Monte Pittman's respective instruments tuned down to C and occasionally D, Power picks up where Cleansing left off. The staccato riffs, start-stop rhythms and Victor's snarl and growl are all still present, from album opener "Looking For Them" to "Worst of It" and on down the track list. "No Justice" is especially angry and reflects the times we live in; it also features machine-gun fast riffs and wild screams from Victor.
Elsewhere, "Spirit Guide" starts out semi-spacey and throws a couple of dramatic change-ups in tempo, but doesn't let up for long. It, like several other songs features a squealing, frantic guitar solo. Make no mistake about it, this album is ferocious to the very end. Last track "Changing Ending Troubling Times" sees Rossi and Pittman having no trouble at all keeping up with Victor's speed metal riffs.
In all, Power Of The Damager produced what their 2003 comeback record Scorpio Rising did not: truly inspired metal. Even Ministry's Al Jourgensen thinks this is their best CD "ever." Prong fans can debate that but in the meantime, be sure to add this one to your top metal albums of 2007.
To listen to a few more songs from this album, visit Prong's myspace page and for additional info on the band, click here.
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