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.
Wednesday, December 12, 2007
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.
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