Bauhaus "Burning from the Inside"

 

Bauhaus "Burning from the Inside" 9/10

Tonight we are going to dim the lights, put on some caked eyeliner, put on some torn fishnets, pour a large glass of red wine, and find our inner goth.  Sometimes acrimony leads to creative peaks, and Bauhaus certainly stand as a testament to that notion.  This was their final album from their original run.  It blends creativity and genre defying/defining notions to their brand of post punk.

This record is, in ways, the sounds of a band breaking up.  Vocalist Peter Murphy had become ill during the sessions, but also had began to seem disinterested in the band.  Many of the sessions were carried on as a 3 piece, with Peter later overdubbing the vocals.  This became familiar territory a few years down the road, as Daniel Ash, Kevin Haskins, and David J went on as a 3 piece known as Love and Rockets.  Peter Murphy went on to have a moderately successful career as a solo artist.

The influence of Bauhaus cannot be overstated.  There were dark punk bands, bands that celebrated horror, theatrics, shock, etc. that all came before them.  But their ability to blend punk sensibility, dark aesthetics, atmospheric bass and guitar work, minimalist style percussion, and Peter's irresistible Bowie-like croon created the foundation for an entire scene of music.  Bauhaus are still regarded as being a sort of "Beatles" of goth rock. 

Their albums were all solid works.  From their more rock oriented debut and follow up, to the experimental madhouse that was "The Sky's Gone Out."  "Burning from the Inside" blends together their ability to write within the framework of rock, but also play with their more experimental side.  We get theatrical ballads, reggae, acoustic stomps, acid soaked fever dreams, and even a bit of hope.  This record is a journey, and paints a picture of things that were to come from both the vocalist and the band.  This is easily their best effort, because it is both listenable and challenging. 

1) "She's in Parties"

This psychedelic, reggae driven song is a great leadoff track.  Daniel Ash's brilliant soaring guitars allow David J's steady bassline to take over as the lead instrument on the track.  Daniel's guitar is interesting, and it plays totally in service to the song.  The song itself feels like a story about the golden age of Hollywood, full of mystery, glamour, and a dark underbelly of drugs, drinking, and suicide.  Dark, brooding, and romantic.  All of the cornerstones of a Bauhaus single.

2) "Antonin Artaud"

After a long dub fadeout, we find ourselves in the halls of madness.  This song tells the story of an artist gone mad.  The lyrics have one of the best carefully crafted puns in the catalog (for a band that was dead serious about their image, they always added humor to a song or two per album).  "Young man had a gun to the head of a God, let's stick this holy cow" cracks me up every time I hear it.  The music gets more and more frantic, and the delay/tape loop/overdub at the end helps add to the anxiety that the song is trying to convey.

3) "Wasp/King Volcano"

"Wasp" is a short interlude that songs kind of like a kid learning a scale on a keyboard, so I have never really understood why it is a "song," but I'm sure it has something to do with publishing and royalties.  Anyways, from there we get the slow burn that is "King Volcano."  This song sounds like an ancient chant used to summon a god.  The steady drumming and acoustic guitar work keep building and building as the song feels like it gets bigger. 

4) "Who Killed Mr. Moonlight?"

This song is a dark narrative.  It feels like a story from Victorian England, as we are trying to solve a mystery and observing the banalities of life.  David J seems to be telling the story here, and he is never shy about writing cinematic pieces.  A few years back he did a similar style sendup to Bauhaus' signature song "Bela Lugosi's Dead."  Peter's response as he takes the other half of the lead vocal adds to the drama of the song.  

5) "Slice of Life"

Daniel Ash's debut as the lead vocalist.  This is a slow burn, that feel like it is burning with frustration.  Daniel's near-whisper in the pre-chorus feels like it is seething with anger.  It then blows up with more anger as he and Peter shout the chorus.

6) "Honeymoon Croon"

Peter Murphy singing about a good time?  This is about as close as it gets.  He tells the story of a drunken night hitting the pubs.  

7) "Kingdom's Coming"

This track feels like a setup; a track to whet our appetite for what is about to come.  It has the feel a prophecy of a dark trip that lies ahead.  Sure enough, one certainly does...

8) "Burning from the Inside"

This big long jam feels like a bad trip that cannot be shaken.  The simple guitar riff is just full of darkness and dread.  The lyrics paint the picture of an acid trip that is getting darker and more intense.  Slowly, more instruments come in, but the droning guitar line keeps up throughout the whole song.  It quits just before the dread hangs around for too long.

9) "Hope"

This is one of those self-aware closing tracks.  I always think it is a great move when a band knows that it is likely putting out their final album, and they want to end strong with a goodbye note.  Sort of akin to The Beatles giving us "The End" to close out "Abby Road."  Anyways, we get an uncharacteristically optimistic goodbye message from Bauhaus here.  After all of the bleakness and darkness of the album, we get this message: "Your mornings will be brighter, break the line, tear up the rules, make the most of a million times no."  A great send off to say "cheer up guys, all is well in the end."

Bauhaus never toured behind this album, as the band was beginning to crumble during the sessions.  The handsome Peter Murphy was interested in pursuing his career as a spokesmodel as well as a solo artist.  Daniel Ash and Kevin Haskins were busy making dance music from outer space in their Tones on Tail project.  Murmurs of a reunion happened a few years later, but Peter Murphy failed to attend the rehearsals.  The band decided to carryon as a three piece and made records as Love and Rockets until Bauhaus reunited in 1998.     

James Gang "Rides Again"

 
James Gang "Rides Again" 9/10

A monster power trio makes a monster sophomore album.  This classic is a masterpiece of both single-minded discipline, freeform rock, and acoustic rock n roll jams.  This album does everything right, and has left this Cleveland trio as the best band Joe Walsh was in.  

The term "power trio" gets tossed around a lot for any 3 piece band.  Some 3 piece bands sound like thin nonsense.  Some bands, however, figure out how to maximize the output of each of their duties to create a giant wall of sound.  Power trios can be the absolute most impressive bands to see live, simply to see 3 people create so much sound.  James Gang was an amazing live band in their own right, but they still managed to capture that rough, off-the-cuff sound on tape as well.  There are some overdubs and studio trickery on this LP, but for the most part it really is the sound of 3 guys making music in a room together.

This was the first James Gang record to feature Dale Peters on bass guitar.  He was in indispensable missing piece to the formula that makes James Gang absolutely unforgettable.  Original bassist Tom Kriss was a capable player, but the band just really reached its full magic with Dale.  

James Gang's legend still hangs around today, despite the long and storied career of Joe Walsh.  His solo work hit many creative peaks and borrowed from many of the inspired impulses of James Gang.  He was also in The Eagles, where his creativity was often overshadowed by the easy listening tendencies of the band's compositions.  James Gang would go on after Joe Walsh left the group following its 3rd album, but they never captured lightening in a bottle twice, and this record stands as a testament to what they were capable of.

1) "Funk #49"

The more spirited sequel to the "Funk #48" cut from their debut effort, "Yer Album."  This song, with its wailing biker-rock guitar intro, mid song percussion jam, instantly catchy riff, and walking bassline has been a staple of classic rock radio for 50+ years.  It is easy to see why; it is a lesson in rock n roll swagger, with lyrics lambasting late night parties, debauchery, and good times.  

2) "Asshtonpark"

This jam picks up where "Funk #49" leaves off.  Sort of an extended outro to the song.  It makes good use of the trippy delay effect, as the band just has fun playing off of one another.

3) "Woman"

This is really the only "okay" song on an album full of gems.  It is a basic love song, with a deep bass line.  It feels like it was written to be an AM radio single to move albums, but it is very phoned in.  Not really an expression of all that James Gang was capable of doing.

4) "The Bomber: A) Closet Queen B) Bolero C) Cast Your Fate to the Wind"

This is a monster of a track.  This is one of those numbers where the producer probably just started to roll the tape, and let the band play.  It starts with a proto-metal riff and some tongue in cheek lyrics, and delves into a long jam, including an incorporation of an interpretation of music from the ballet, Bolero.  Coming out of the jam, the main riff starts, and Joe Walsh kicks back into his fun story.  The way the guitar rings out at the end feels like a statement of the power of a long chord in rock n roll.  It just has a beautiful ring that will leave you in awe.

5) "Tend My Garden"

Side 2 is the softer side of James Gang, and we get some more acoustic, introspective ballads.  This is where the record really starts to become Joe's.  A slow organ fade in as well as a volume pedal controlled guitar pulls the song.  The distorted Hammond organ plays the lead to this easy ballad.  The refrain adds some heavy notes, but the songs stays on its midtempo track.  The piano solo in the middle is unexpected but absolutely beautiful.

6) "Garden Gate"

This is a short acoustic blues ditty.  Joe Walsh occasionally likes to throws these tracks around, and they are always fun.  This one feels like an intimate story; I can imagine Joe Walsh pulling out an acoustic guitar and diving into this on a foggy morning on a porch somewhere over a smoke and a cup of coffee.

7) "There I Go Again"

A gentle riff pulls us into this easy going track.  The back half of this album really starts to sound like what an Eagles album would sound like if The Eagles were good (sorry, not sorry).  Great country rock anthem, singing of a happy Spring day.

8) "Thanks" 

*Almost* a sequel to "Garden Gate," a little less stripped, but the same hopeful vibe.  Another acoustic blues rock song.  This track feels like a great send up to the softer side of James Gang.

9) "Ash The Rain and I"

This song could stand as a sort of statement piece of Joe Walsh and his writing, if he didn't have such a deep and storied catalog.  it sits deep on a classic album, but serves as a fantastic closer to a gem of a record.  The layered guitarwork feels like traditional folk made for the rock crowd, the a phenomenal string section tastefully tagged onto the end.  Dale Peters' double duty on bass and acoustic guitar show his versatility.  The song gently fades out, and shows us the many dimensions of what was a three piece hard rock group.


Joe Walsh would go on after a few tours and another album to become a successful artist.  He often cited the pressure of being half of the sound of the band, as well as the main creative driving force as being too much pressure in James Gang as his reasons for leaving.  Which is kind of weird to do, and then go on to be a solo artist.  But, the legacy of James Gang is undeniable in hard rock and heavy metal.  As is the legacy of Joe himself.  The band could never *really* find a guitarist and/or singer that could make lightening strike twice.  Everything Joe Walsh touched seemed to turn to gold.  We do have this record to stand as a testament and stamp in time to a band that was only around for a few short years, but have outlasted their impact.

Alien Weaponry "Tu"

 
Alien Weaponry "Tu" 9/10

Time to switch gears a bit here on this blog, and not only go international, but give some love to the home genre of my youth, thrash metal.  Alien Weaponry came around in 2018 and delivered what was one of the most ambitious, creative, and timeless records of the year, of any genre.  This masterpiece sounds like it came out of the Brazilian (re: Sepultura) thrash metal scene of the 80s, but it is a bunch of young upstarts from New Zealand.  

The brothers De Jong make up 2\3 of the three piece.  Henry on drums and Lewis on guitar and vocals.  Friend Ethan Trembath takes up the bass.  The De Jong brothers are Maori descendants, and use a lot of the space on this album to feature the Maori language, folk tales, and instruments.  Half of the songs are in English and half are in Maori.  From what I understand, they have even inspired fans to do traditional Maori war dances in their mosh pits, and that sounds about as metal as it gets to me.

Their sound is impressive and unique, and doubly so for the fact that the band members were only 18 years old when this album came out.  Their combination of tribal music and metal blends seamlessly, and as I said above probably has a close cousin in style to the music of Sepultura.  

I have yet to experience them live, but from all accounts they blow it out of the water.  It was fun to follow them a bit on social media as they did their first tour of the states supporting Ministry; they looked like kids in a candy store who had finally realized their rock n roll dream.  This record puts the pedal to the floor and never lets up.

1) "Whaikorero"

This track sets the stage for what this album is going to be about.  It tells the story in Maori of Queen Vicotria's troops coming to surpress the Maori people.  The great-great grandfather of the the De Jong brothers was among the warriors

2) "Ru Ana Te Whenua"

The intro guitar riff just punches through.  As heavy as heavy gets, as they begin to tell the story of the native people of New Zealand and their stand against the British colonizers.  Full of war cries, big drums, and pounding riffs.  Plus a breakdown that every metal core band of the mid-2000s would have killed to put to tape. 

3) "Holding My Breath"

A little break here from the tales of the native stand against the British interlopers, we get more of a teenage lament about anger and frustration.  We also get our first song in English.  This one feels like a song also from thrashers of the 80s and 90s; speaking to the audience.  Ethan's quick walking bassline sets the stage, as Henry kicks in and matches him with some great triplets on the bass drum.

4) "Raupatu"

This riff could have been pulled from a Megadeth record, Anthrax, etc.  And it would be one of those sort of "greatest hits" of those bands.  Just a perfect exercise in palm muting and walking the scale.  Awesome guitar work.  This one tells the tale of the legendary King Tawhiao and his stand for his people's land.  The drums tie it together and make it sound like an old tribal dance.

5) "Kai Tangata"

This was the first Alien Weaponry track I heard.  From the minute it came on my stereo until it ended, my jaw was on the floor.  From the onerous opening horn, to the ringing guitar riff, they tease that this song is going to explode.  It absolutely builds until the bomb goes off.  This song is a mosh pit anthem if I have ever heard one.  A story hinting at tribalistic cannibalism and war.  The riff just won't quit.  The Maori language sounds so angry and stiff, it just drives the song into unforgettable territory.

6) "Rage - It Takes Over Again"

We get our second song in English from the set.  The interesting thing here, to me, is that the English lyric songs are sort of basic in subject matter.  The Maori songs tell old stories and give us interesting stories.  Whereas, this song is just kinda fodder for the "angry young metalhead" stuff.  Not a bad track, and Ethan's bass work in the breakdown is cool, but not the strongest number from the set.

7) "Whispers"

A Bilingual fuck you to conservative arguments in favor of colonization.   The intro features a man arguing that due to the fact that the Maori were cannibals with rudimentary technology,  that they somehow deserved to have their land stolen.  A story very similar to our own in the States, as the New Zealand government continued to break treaties and break peace with the indigenous peoples.  The music on this takes a back seat to the lyrics, which riff between two languages.

8) "PC Bro"

An onerous bass-driven track warning us all of the trappings of social media.  The atmospheric guitar work helps set the stage for the brutal riff that pops up.  Henry plays the crash cymbal like he is trying to break it in half, and it just pops.  Nice use of a drop bass effect to rattle the walls as well.

9) "Urutaa"

The song has a piano intro that would *almost* be just as welcome in place on a pop song as on a metal record.  This is the first song that really feels a bit phoned in from the set; not bad to reach filler for the first time 9 tracks deep.  

10) "Nobody Here"

Another cautionary tale about the internet.   The theme here also is the fake persona that we put on in our curated digital lives.  As this album is a juxtaposition of the colonizers versus the colonized, and indeed the De Jong brothers are also descendants of both the Maori and the English, these songs seem to speak of the necessity of the technology but it's pitfalls as well.  This song shows us that neither the creator nor the user of technology may be prepared for the unintended consequences. Also, as technology was ultimately the demise of the Maori at the hands of the British, maybe we we all too are sacrificing ourselves to tech giants.

11) "Te Ara"

A song about the journey by canoe from the mainland of New Zealand to its northern island of Maui.  The composition is based on a traditional song celebrating a good journey.  

*bonus 7" with the proper record (just in case you needed more)

A) "The Things That You Know"

A standard rock riff pops this one off.  The song not only sits on a 45, it feels like it was built to be a single.  It sounds like a metal band trying to make something that may appeal beyond the borders of thrash metal fandom.  It works pretty well, taking a lot of what Alien Weaponry are good at and distilling it down for a wider audience.  

B) "Hypocrite"

The classic case of the B side being more interesting than the A side.  The slow burn jam in the front of this song is just full of raw power, with the gang chant chorus.  This is a cool song, made to rev up a crowded venue.

Alien Weaponry has released a slew of singles and a few EPs, but "Tu" so far stands as their lone album.  I cannot wait to see what these young guys come up with in the future.  They are already fantastic story tellers and own the big meaty riffs.  I'd you are a fan of old school thrash, this record belongs on your shelf to celebrate the new guard.

Nirvana "In Utero"

 

Nirvana "In Utero" 8/10

Today would have been Kurt Cobain's 54th birthday,  so I figured it would be a good day to evaluate what was perhaps the most polarizing (and also the final) Nirvana studio effort.

Nirvana was arguably the biggest band of the past 30 years; hitting a cultural reset switch with waves still reach rock music to this day.  Originally formed in Seattle by Kurt and Chris Novoselic, they built a cult following through releases on the famous Subpop label, as well as through relentless touring.

Signing on to Geffin records in 1991, mostly seen as a regional write off for the company, Nirvana went into the stratosphere.   Dave Grohl joined and filled the drummers throne as a permanent member, adding power behind the kit and melodic backing vocals.  Butch Vig had produced their major label debut, "Nevermind" and the lead off single, "Smells Like Teen Spirit" became a cultural event.  

Being donned the "spokesperson" of Gen X weighed heavily on the shy and insecure Kurt.  A guy who had probably never really believed he would achieve more than some moderate success was now an international celebrity.  

"In Utero" was in a lot of ways, a "fuck you" record.  To juxtapose the polished production of "Nevermind," Kurt brought on Chicago punk icon Steve Albina to produce.  Kurt wanted a loud, raw, harrowing record.  The label let the sessions stand, but cleaned the record up a bit in post production.   The version we are going to celebrate is the 2013 mix, also known as the original Steve Albini mix.  This cut is a double 45 RPM LP for extra fidelity, and it sounds absolutely amazing.  This is the album as the band had intended.

The songs are angry, raw, autobiographical,  and meant to touch a nerve.  Some fans were turned off by this more challenging record, but most fans stood by the dirtier sound of the record, and the strength of the songs themselves. 

1) "Serve the Servants"

This one sets the tone for the whole record.  First line is a callout; "teenage angst has paid off well, now I'm bored and old" (he was 26).  Hard to tell if the servants he is serving are his legions of rabid fans, or expectant labels, but this feedback filled anthem seems to be Kurt telling everyone he is only going to play for himself.

2) "Scentless Apprentice"

Big drums pull us in for this one.  Dave is just pounding away, to a one chord riff laden with more feedback.  This is a dirty punk anthem that would have easily found a space on Nirvana's grungy debut, "Bleach."  It is hard to tell the difference between the lead guitar lines, and the feedback, and it is 100% intentional.

3) "Heart-Shaped Box"

This song seems to play out the torrid and toxic love affair of Kurt and Courtney.  It feels like a heroin-nod induced lover's quarrel.  This was the biggest single on the album, and is one of Nirvana's signature songs.  It is full of Melvins-like sludge and down tuning, but crafted to be palatable enough for rock radio.

4) "Rape Me"

Another callout to the record industry.  As the pressures of runaway success were mounting, and as Kurt became a cultural icon, his mental health deteriorated.  He felt as though he could never get away from the cameras, or the controversies surrounding his band, his marriage, his parenthood, and his career.  This song is a sort of variation on the riff from "Teen Spirit," perverted to turn into an anti-rape anthem; both against the heinous act as well as against how Kurt felt he was being treated.

5) "Frances Farmer Will Have Her Revenge on Seattle"

Frances Farmer was an actress from Seattle who had unfairly been institutionalized.  Kurt felt many of the same pressures in the public eye that Frances (whom he named his daughter for) and identified with her tragedy.  This song is an ode to her, as well as an acknowledgement of the trappings of fame.  This song certainly also continues Kurt's infatuation with the loud-quiet-loud dynamic that he borrowed from The Pixies.  Nothing is more 90s style melancholy than a chorus that says "I miss the comfort in being sad."

6) "Dumb"

This song feels like an anthem about numbness, and a classic story of ignorance being bliss.  Maybe happiness really is just not knowing, and tucking yourself away.  It has been said that the greatest folly of mankind is his inability to sit quietly in a room by himself.  This slow acoustic number also gives a nice break from the brute force of the album openers.

7) "Very Ape"

Kurt Cobain was never afraid to borrow (and acknowledge) from his favorite artists.  This quick send-up feels like it was lifted from an early Husker Du record.  Indeed, all 3 members of Nirvana had name dropped The Huskers as their inspiration for being their own punk power trio.  The Husker Du Wall of Sound is all over this record, but the Husker ferocity paints this track. 

8) "Milk It"

This off-the-cuff sounding slow build keeps going until it goes off like a bomb.  Sort of the drama found in Fugazi's signature song "Waiting Room."  The crackling guitar builds and builds with the bass and drums peppering the sound behind it, until it just absolutely explodes in the chorus.  Cool deep track, and it sounds like something that was probably written and recorded in about 20 minutes after a late night session.

9) "Pennyroyal Tea"

This song sounds like suicidal depression put to tape.  Pennyroyal Tea is a drug that was used to induce miscarriage prior to abortion procedures.  The themes of pregnancy and birth obviously flow throughout this record.  This song sounds like a long, sad, tired sigh.  Maybe Kurt was juxtaposing postpartum depression with his own bipolar struggles?  This song was released as a single a week or two before Kurt's suicide, and was pulled from the shelves for obvious reasons.  It still stands as probably the darkest number on the album.

10) "Radio Friendly Unit Shifter"

Probably the weakest song in the set.  It is okay, but it is mostly a vehicle to play with feedback.  Kurt certainly knew how to layer a song with melodic feedback, but this feels more like a deep and forgettable cut from a Sonic Youth record.

11) "tourette's"

A 3 chord punk send up of some dirty words.  Once again borrowing from the Husker Du playbook, but making it their own.  Almost a sequel to the garage band scream, "Territorial Pissings," from "Nevermind."

12) "All Apologies"

This song stands as Kurt's farewell to his fans.  At the time, the song sounded dark and depressed.  In retrospect, he was saying "goodbye" and "I'm sorry."  A heartbreaking anthem musing over his own demise.  It fades out as it builds into a sort of universal chant.  Kurt was in trouble, and he was on a collision course with depression, addiction, and the pressures of success.  He ultimately lost his battle with his demons and mental illness.

The final Nirvana record gives us a preview of what the band could have become.  Dave Grohl was probably always going to find his way into his own project, being a writer, front man, and multi-instrumentalist in his own right.  Kurt showed us he could write convincing grungy ballads along with punk-explosive send ups.  Tragically, this record stands as his last stamp at writing and creating, as he took his own life in April of 1994, just a few months after the release of "In Utero."

Black Sabbath "Black Sabbath"

 

Black Sabbath "Black Sabbath" 8/10

Today is the birthday of the great Tony Iommi, so I decided we would drop the stylus on the debut Sabbath record.  It was said once by Peter Steele of Type O Negative that there were no more great metal riffs to write, because Tony already wrote them all.  If you go through the original catalog of the classic Sabbath lineup (as well as with Dio) it is easy to see how Pete reached that conclusion.  Tony Iommi's gift seems to be turning simple power chords into larger-than-life, downtuned walls of sound.

When Geezer Butler, Ozzy Osbourne, Bill Ward, and Tony Iommi first got to together, their aim was to start a heavy blues band.  They played some deep and heavy blues numbers, and called themselves Earth.  But, it did seem like there was something more that they had to offer.  Tony's guitar always sounded thick due to playing with thimbles on two of his fingers; the results of severing part of the fingers in an industrial accident.  That coupled with charismatic madman, Ozzy Osbourne, on vocals, caused the band to shift focus and find their sound.

Tony Iommi tuned down his guitar to accommodate for his digital handicap, playing blues riffs a little bit slower, lower, and more droning.  Growing up in the backdrop of the World War II rubble of Birmingham, their outlook shared little with the Summer of Love/hippy culture coming out of London or San Francisco.  Bassist Geezer Butler became the chief lyricist and began writing about darker themes; war, religion, the occult, demonology, etc.  Ozzy would come up with soaring vocal melodies, while Drummer Bill Ward and Geezer Butler's bass stayed true to their jazz and blues influences, creating a colorful pocket for Tony's big, droning riffs.

In 1970, Black Sabbath released two records, the more famous "Paranoid," full of familiar FM radio rock hits, and this record, the debut.  Both albums are fantastic, and while "Paranoid" shows how Sabbath cracked the code to mainstream success, the self-titled record showed the band playing loose, and hinted at the horror-scape blues sound that they were crafting.

1) "Black Sabbath"

Here we get that ubiquitous song, the song that is not only the title track, but the name of the band.  If you are going to name a song for your band, it better deliver.  And this one does.  From the onerous chimes of church bells and the pattering sound of rain, the opening sets a cinematic scape full of gothic horror dread.  Once the guitar riff blows up, Tony Iommi hits you with the "devil's note."  The devil's note is what is called a tri-tone; it is where the 5th note in the scale is played one note flat to create melodic, yet atonal tension.  It is masterfully done here, as the riff sound huge, but is really just two chords.  The story of the song sounds like an incubus or the unholy one himself desiccating an innocent woman. 

2) "The Wizzard"

This is the only song Ozzy Osbourne played a harmonica on in the Black Sabbath Catalog.  We get a metal song, played through a jazz time signature.  Still big and bluesy, but the rhythm harkens back to a staccato jazz track.  It is a story about a drug dealer, "spreading his magic," a welcome person at any indulgent Sabbath session.

3) "Wasp/Behind the Wall of Sleep"

Here we start to get the big riffing and interplay between Geezer and Tony Iommi.  Call and response that just flies out of the speakers between the bass and guitar.  It has that "live" in the studio sound, and was probably cut in 1 or 2 takes, capturing the essence of Sabbath as a band.  The double tracked vocals add a cool trippy effect that soars above the track.

4) "Bassically/NIB"

As Wall of Sleep fades out, we fade into one of the coolest bass guitar solos put to wax.  Geezer starts riffing an absolute funk bassline before funk was a thing, using the wah wah pedal as never before.  All before kicking into his fuzzbox to carry the iconic riff.  Ozzy plays a charming prince of darkness, beckoning the listner to sell his/her soul.  The crafty bass guitar, harrowing vocals, and big guitar show us why every part of Sabbath works.

5) "Wicked World"

This one plays out as if it were crafted to be a single.  It has some of the jazzy elements typical of a big Sabbath jam, but finds its way into an easy 4/4 chord progression.  It manages to tell a story of despair and ignorance in the allotment suited for a 45.  In fact, it was released as a single.  Not the strongest single in the Sabbath catalog, but it does manage to showcase what the band is about in a radio-friendly format.

6) "A Bit of Finger/Sleeping Village/Warning"

Here, we go straight from single territory to the essence of a Sabbath show.  The last side of the album basically plays out like a big medley/jam.   The song comes in with a mouth harp, and a little folk acoustic picking, quickly folded into a big jam.  The band just keeps the song going, and even as it feels like it may fall apart, the genius rhythm section of Geezer Butler and Bill Ward keep it all glued together.  As the song plays out, it finally climaxes into the Sabbath cover of "Warning," telling the tale of a scorned lover, who saw all of the red flags coming, but couldn't help himself anyways.  Sabbath ending the record on a tragedy after beginning the record in Satan's lair is a fantastic bookend. 

The debut Sabbath record isn't the "best" record in their catalog, but it shows all of the moving parts of the band, and is a strong play through and through.  It showed the best of  what Black Sabbath was about, their sound before they found a way to sometimes become self-indulgent.  Spin this one and wish Tony Iommi a happy birthday today!
 

 

Bash and Pop "Friday Night is Killing Me"

 

Bash and Pop "Friday Night is Killing Me"  9/10

Alright, I promise I will take a trip out of Minneapolis on our rock n roll map for the next post, but indulge me for this one.  Today's post is the fantastic solo-ish debut of Tommy Stinson, better known as his "band" Bash and Pop.  Bash and Pop is/was Tommy and whoever else was in the room.  For the debut effort, it is mostly Tommy doing the one man band thing, with some help from Chris Foley on the drums.  Chris and Tommy had previously worked together as Chris had served as the touring drummer in The Replacements on their farewell tour in 1991.

Tommy Stinson was born into rock n roll.  After getting into a bit of teenage delinquency, his older brother, Bob (original guitarist of The Replacements) gave him a bass to keep his idle hands busy.  Fearing Tommy was going down the same path that he had, Bob wanted to give Tommy a constructive hobby.  Tommy naturally took to the bass guitar.  He was only 13 when The Replacements had released their debut, and by the age of 16, his mother had granted the band manager legal guardianship so Tommy could drop out of high school and tour.  

When The Replacements broke up on stage on July 4th, 1991, Tommy had done a decade of living the life of a rock no roll heathen, and he was only 24 years old with nowhere to go.  Being in a band had been his whole life, and here he was, still remarkably young, with a lifetime of experience, but no formal education and no marketable skills beyond musicianship.

Having served as a loyal lieutenant to Paul Westerberg in The Replacements, Tommy learned a few things about songcraft himself.  He was never going to breakout as a songwriter in the group, and most of his efforts were tragically overlooked and/or found themselves on the cutting room floor.  Paul Westerberg is arguably the most prolific Gen X songwriter, but that didn't necessarily mean that Tommy's writing was without merit itself.

Luckily, we don't have to wonder about Tommy's own capabilities as a songwriter, as he released this amazing collection of songs.  We get a booze-soaked, early 90s college rock send up; a record that sounds equal parts Faces and Rolling Stones as it does Sugar and Soul Asylum.  Tommy takes the mike, the guitar (sometimes all of the guitar tracks), and the bass, to show us he is a songwriter to be reckoned with himself.  The real shame is that the loose conglomeration that formed Bash and Pop couldn't be held together to make more than this single record.  Tepid promotion from the label destined this release for the cutout bin almost immediately upon release.  It is too bad, because a lot of us missed one of the most fun, most earnest, most grimy rock n roll records of the 90s.

1) "Never Aim to Please"

This song *could* have been a Replacements song.  In fact, it sounds like it is full of Westerberg-ian double entendre and word play.  You can see Tommy either picked up, or outright inspired much of the cleverness of Replacements' lyrics.  The band plays loose like a dive bar band, in a room full of stale smoke and cheap beer.  It is hard to tell if this song is a "band" effort, or a little bit of studio magic, but it just feels fun.  Very autobiographical as Tommy tells us "I never aim to please, couldn't shoot strait if I wanted" and "Shoot at nothin' is all I ever do"

2) "Hang Ups"

This roots rocker sounds straight out of The Faces catalog.  Tommy manages to convincingly mimic the rollicking playing of Ron Wood, while also having a voice that is sort of a thin sounding Rod Stewart.  The slide guitar work keeps the blues-rock vibe going too.

3) "Loose Ends"

A love scorned song here.  The big riff ties together the blues soaked leads.  Tommy, a man who was 25 at the time, is wearing his years like an elder statesman of rock n roll already.  Some of these songs feel like they are simultaneously dealing with a romantic break as well as the end of what was a band that never quite lived up to its promise.

4) "One More Time"

This is the first one that sounds "contemporary."  Contemporary, meaning, a product of the time.  The Replacements were one of the forefathers of the alternative rock boom of the 1990s, tragically falling apart before they saw the scene that they crafted full reach its success.  It is interesting that Tommy decided to look back a bit to craft this record as many of the songs harken back to classic rock, but this sounds like a 90s send up.

5) "Tickled to Tears"

Another punch drunk sing-a-long.  Even the 70s style production permeates this song as the guitars are panned to a hard left and right stereo speaker placement.  Benmont Trench (yeah, that one from Tommy Petty and the Heartbreakers) adds some organ work here too.  

6) "Nothing"

We reach our first ballad of the lot here.  Tommy really began to find his sort of niche here as a solo artist.  His most recent ventures have been scaled back shows, playing music that lends itself well to a rock album as it does an intimate endeavor at a record store, in front of a campfire, etc.  This song still plays strong in his sets.  The atmospheric guitar work adds just the right sentimental touch to the song.

7) "Fast and Hard"

This is an explosive gem, allowing Tommy to scream his lungs out.  It is a banger with a little piss and vinegar behind it.  It kind of feels like a lover's quarrel played out on record. 

8) "Friday Night (Is Killing Me)"

This is the first truly great song that Tommy wrote.  Not that it took us this long to get to a good track, but rather he wrote this during the sessions for the final Replacements album, likely seeing the writing on the wall for the band and wanting to work his way through songwriting himself.  The song oozes with the charming heartbreak and disappointment of Replacements songs before it.  By the end, you feel just as heartbroken, disappointed, and jaded as Tommy does.  The bittersweet chord progression drives the feel of the whole song.  With a little bit of support from the label, this song, could have found its way to FM rock infamy.  The song isn't just "big" it is downright cinematic.  

9) "He Means It"

Another song straight up riffing on all of the good parts of Faces.  A dirty blues rock riff drives this number.  Not exactly a filler track, but not up there with the highlights of this fantastic collection.

10) "Tiny Pieces"

We get to a fast moving ballad here.  Tommy feels like he is telling another comfortable love story to a mystery woman.  The song reeks of the maturity of a writer in his late 30s, but what we actually get is a very young man, wise beyond his years.  The country rock influence permeates the track, but in an authentic way.  Maybe this is a nod to his fanboys in The Jayhawks.

11) "First Step"

This song plays like a send up of "Cats in the Cradle."  A story about growing up, and the heartbreak of leaving home.  For someone who basically left home at 13 to be in a rock band, this is a convincing story about growing up in the suburbs in the Midwest.  This serves as an excellent bookend to the collection.  It ended up serving as the bookend to the short-lived original Bash and Pop as well.  The biggest regret as a listener is hearing the potential of a band that never really was.

Following the cold reception of Bash and Pop, Tommy went on to form another group whose work was mostly shelved, the band Perfect.  After Perfect disbanded, Tommy left the music business for a bit, working a stint as a telemarketer in LA.  A call from friend and session drummer Josh Freese landed Tommy a successful audition as bass player for a group you may have heard of, called Guns n Roses.  Tommy went on to play bass for Guns n Roses up until The Replacements got back together in the mid 2010s.  

After the second disbanding of The Replacements, Tommy did another Bash and Pop record (also on the dossier for this blog) and had been touring with his friend Chip, playing songs from his entire catalog.  On a personal level, on the last tour to come through town, I spent the evening trading stories and memories with Tommy (for real).  I can say, as far as rock stars go, Tommy is the real deal.  Down to Earth, fun, insightful, and full of tales of fatherhood, success, failure, debauchery, and growing up with a guitar in your hand.

Slim Dunlap "The Old New Me/Times Like This"

 

Slim Dunlap "The Old New Me/Times Like This" 8/10

Since mother nature is once again seeing fit to dump perhaps another foot of snow on us here tonight, I am going to stay put sonically in Minneapolis again.  Tonight's spin is the 2015 RSD edition (and first vinyl press) of Slim Dunlap's 2 solo albums.  The quite and "mature" Replacement came out of the shadows and gave us a great collection of roots rock oriented songs.  These albums were released separately and a few years apart during the CD era, but work as a double album, as they are sonically linked.  

Slim Dunlap was the lead guitar player for The Replacements in their late period.  After the band fired original lead guitarist Bob Stinson for his erratic behavior and a substance abuse problem that overshadowed the alcoholism pervasive in the whole band, The Replacements went on to record their 5th album, "Pleased to Meet Me" at the legendary Ardent Studios in Memphis as a trio.  After returning to Minneapolis, The Replacements realized that they were going to need another guitarist to tour.

The record label was looking to make stars out of the upstarts, and was pressuring them to find a young and hot guitarist to fill out the group.  In true Replacements fashion, they instead landed on Bob "Slim" Dunlap (the "Slim" moniker was given to Dunlap by Replacements front man, Paul Westerberg). He was 8 years older than the rest of the band, already a family man, but a steady hand on the guitar.  Slim was supposedly reluctant to join the band, agreeing to a drinking contest with Paul Westerberg to see who could hold their liquor more.  If Slim outdrank Paul, he was out.  If Paul outdrank Slim, he was the new axe man.  As the story goes, Slim blacked out and woke to a handwritten note from Paul telling him when and where band practice would be that day.

Slim's guitar work as a Replacement is sort of overlooked as the later albums in the bands catalog are less celebrated releases.  "Don't Tell a Soul" is full of great songs, but is mired by slick late 80s production, not necessarily befitting to a no-BS, plug in and play rock band.  Still, his leads texture many of the songs and leave them sounding memorable.  Same goes for the final Replacements album "All Shook Down."  Mostly a solo effort by Paul Westerberg, all of the band members stop by on various tracks, with a few songs being made up of the proper band.

As with a lot of classic albums and artists, Slim's work has received a much needed, second look in recent years.  The Replacements' "Dead Man's Pop" boxed set gave us the "Don't Tell a Soul" album as the band intended.  The original mix of the record isn't over produced with fake reverb, bad compressors, unnecessary keyboards, too many bad guitar tracks.  Instead, we get to see the record sound more as it was originally conceptualized.  Same goes for the fantastic live set from the era, the triple LP, "Inconcerated."  Slim's lead playing blisters through the set, and shows really that he was a capable and fantastic rock guitarist.

Following the breakup of The Replacements, each member went on to become a solo artist on their own right.  Paul Westerberg was the obvious choice as a breakout solo artist; being the chief and much celebrated writer of most of the band's material.  Tommy Stinson, the loyal lieutenant, went on to put out his own fantastic collection of songs with his band Bash and Pop.  Drummer Chris Mars put out some solo material, performing as a one man band.  The last Replacement to drop a solo record was Slim, but it was worth the wait.

Upon release, Slim's two albums were unceremoniously doomed to the cutout bin at whatever record stores pick the efforts up.  Smack dab in the middle of the early 90s alternative rock revolution, Slim's records were rootsy throwbacks, having much more in common with Keith Richards and the Xpensive Winos than the punk and alternative of his pervious band.  Slim unfortunately suffered a debilitating stroke in 2012, which sparked not only a reunion of The Replacements, but an industry wide effort to raise funds for Slim's healthcare.  This led to a star-studded cast releasing 45s, covering Slim's solo songs.  This reignited interest in Slim's music, and led to this repress of his albums.

These songs were well worth their weight upon release, but were criminally overlooked.  The real shame is that it took tragedy for the industry, as well as the fans to discover or rediscover this great collection.  Slim is paralyzed in half of his body due to his stroke, and will unfortunately never make a record again.  But we do at least have these albums to evaluate and enjoy.

"The Old New Me"

1) "Rockin Here Tonight"

A nice bluesy slow burner sets the tone for the Slim Dunlap sound.  It sounds straight out of a smoke filled studio from the mid to late 70s.  A time when the record labels would put house money on pretty much anybody with a talented group of friends and a few ideas.  Very reminiscent of Ron Wood and Keith Richard's solo endeavors.

2) "Just for the Hell of It"

A sort of rockabilly jam about stirring up trouble.  It doesn't sound like a Replacements song, but it does feel a little autobiographical, chronicling the legendary debauchery of the band.  You can hear a bit of Paul Westerberg's helping hand in this song (Westie makes a few even handed appearances on the record).  

3) "Ins't It?"

This sounds like a sort of lounge act-ish jam.  Very lounge singer swinging rhythm as Slim laments.  The big reverb out of the tube amps from Slim's sewn together guitar oozes the sound of a well crafted dive bar band.

4) "Partners in Crime"

Slim's first ode to his lovely wife Chrissie.  It just sounds like a wonderful song about reaching middle age together.  An absolutely beautiful ode to a very understanding wife.    The song feels like an invitation to Slim and Chrissie's life and just oozes authenticity and mature love.  It is the sound of a couple that can finish each other's sentences and still surprise one another.

5) "Taken on the Chin"

As the title implies, a song about licking your wounds after a set back.  A beautiful harp plays, complimenting an acoustic guitar, and pleasant keys creating an atmosphere.  As you dig deeper and deeper into this collection, Slim's unique ability to authentically write heart bearing and soul exposing anthems and ballads balanced with his ability to rock out are second to none.  This is a slow ballad, and it just makes you feel his pain.  This song is almost reminiscent of some late period Bruce Springsteen.

6) "From the Git Go"

Harkening back to maybe some Willie Nelson, we get this countrified blues number.  Slim is certainly drawing from Willie through his vocal delivery.  This one is a fun plea about someone who is jumping from bed to bed.

7) "Busted Up"

This was my first exposure to Slim's solo stuff.  After his stroke, the first band to release a 45 in his honor doing his songs was his beloved Replacements.  Paul and Tommy came together and did a nice send up of this one.  The original has insatiable rockabilly rhythm, and a lead guitar that sounds like it is playing a harp part (or maybe I've got that backwards).  Either way, a fun song, a bit out of time. 

8) "Ain't Exactly Good"

A very Keef-esque riff.  Another song reminiscent of the Xpensive Winos.  The trials and tribulations of leading a rock n roll band laid all to bare.  Slim's dirty playing just jumps out of the speakers.

9) "The King and Queen"

Another ode to his wife back home.  These songs are bittersweet, as they paint a picture of a cool couple that I think everyone at the bar once to sit down with.  They *still* probably are that couple, but Slim's health limits his ability to keep up these days.  Still, this one paints the picture of a faithful rock n roll wife having a blast as her husband takes the stage.

10) "The Ballad of the Opening Band"

Anyone who has been in a band, and didn't quite make it can relate to this song.  A celebration of the "also rans" the "stage warmers" and the band that goes on right as the doors open.  It feels a bit autobiographical both with the almost-famous legend of the The Replacements, as well as its aftermath where Slim was back to more humble digs.  This one may leave a little lump in your throat.

11) "Love Lost"

This is a great atmospheric jam.  A great surf guitar lead over a slow and steady rhythm section.  Really a great way for Slim to show his understated playing.

"Times Like This"

1) "Not Yet/Ain't No Fair (In a Rock n' Roll Love Affair)"

A rock number to kick off the second disc of Slim's originals.  The album doesn't feel or sound different from the first one, but the sound isn't stale either, so it works.  Here, we get two songs glued together.  When we turn the corner, we get.... a little studio trickery?  Well, not trickery, but we get some double tracked vocals, as opposed to the sort of off-the-cuff and fast and loose production of Slim's other stuff.

2) "Girlfiend"

Another rocker, full of a bit of punk strumming and appeal.  Once again, those double tracked vocals.  As I stated, this album doesn't sound or feel different from the debut, but there is a touch more studio magic happening, with a few overdubs added in.  The lead work feels a bit more contemporary for the time as well.

3) "Hate This Town"

We get another country send-up here.  One of the absolute assets of all of The Replacements is their ability to write to the Midwest experience.  Here we get a story about a man revisiting where he was from, dreaming of what could have been a more simple and fulfilling life.

4) "Little Shiva's Song"

An alt-rock jam, harkening back to the punk ethos of The Replacements.  This is probably the first song in the collection that I could take or leave.  It's not a bad track, but it just feels a little phoned in.

5) "Jungle Out There"

This is a bizarre experiment track.  Veering into weirdness, it plays with the roots rock structure of most of Slim's stuff.  This one is another track that maybe would have been best left to the cutting room floor. 

6) "Cozy"

We find ourselves back to what makes Slim exceptional.  This song real feels like another ode to a happily married life.  The feeling of a house built into a loving home, where a stable couple can go, breath a sigh of relief, and relax.  This is a great song about nesting in.  Helped by Slim's great guitar work and nice touches from a Hammond organ.

7) "Cooler Then"

Another song that could be straight off of a Keith Richards solo album.  The clean sound of the bass and drums transposed against the loose guitar playing, and Marlboro soaked lead vocal part.  We get a man looking back on when he was a rock star, who has comfortably settled into being a family man.

8) "Chrome Lipstick"

Acoustic blues forms our backdrop.  Slim tells us a story about a classic femme fatale here.  A lady that is going to haunt your memories after she floats past you. 

9) "Nowhere's Near"

A great song about the frustrations of the music industry and the fleeting nature of fame.  Very autobiographical and soul bearing song.  All of The Replacements really seem to really be able to articulate what it feels like to be from fly over country, just a few miles away from nowhere.

10) "Radio Hook World Hit"

This was my *other* first exposure to Slim's solo stuff.  This was Chris Mars' contribution to The Replacement's "Songs for Slim" 45 after his stroke.   An ironic send up to the frustrations of trying to write a single.  A man who likely knew his time to be a rock star had eclipsed, it feels very tongue in cheek.

11) "Times Like This"

A beautiful closing track/title track.  This is the final song we get from the guitar and voice of Slim, and though perhaps and unexpected farewell (at least on disc, as Slim continued to tour and play shows), it is the perfect end cap to this collection.  Slim's refrain "it's times like this that we learn what we really miss" is quite fitting.  Even the staunchest of Replacements fans likely missed Slim's solo efforts when they first dropped.  These songs stand up, and their timelessness really helps them stand up even more now than they perhaps did upon their release.

So there we have it; on review and we covered Slim's solo output on record.  Slim was a sideman to The Replacements, and likely didn't do much writing while in the band.  But this collection shows that he was a capable writer in his own right, with songs worthy of a listen to not only hard partisans for midwest rock, but anyone who enjoys roots rock, blues, country, and authentic writing.  Who knows, maybe medicine will catch up, help fix Slim up, and we will see him for a third act.  Until then, we have this fantastic body of work to celebrate his life and legacy by.