With just a few weeks until Faith No More’s first new release in eighteen years, I have been listening to all things Mike Patton of late. That musical binge has brought me back to Patton’s first band, Mr. Bungle. Falling somewhere in the middle of their first self-titled release and their second Disco Volante, California brings all things avant garde while still being accessible to the masses. It has been said that not all Patton projects are for everyone and sometimes not even all the releases from the same collaborators, but California does an excellent job balancing the two. For those not familiar with Mr. Bungle, picture all musical genres fused with many lyrical stylings that sometimes border on obsessive and you have Mr. Bungle. Occassionally that represents not only an album, but sometimes a single song. California opens with “Sweet Charity,” an almost contemporary jazzy lounge number. Whistling and harmonies coupled with Patton’s singing drive this mellow number. There is even some fun guitar playing in the middle that almost sound luau themed. From the birds intro to the fading out of the music, this song takes you to a peaceful beach of relaxation. At least before the musical schizophrenia kicks in! “None Of Them Knew They Were Robots” is six minutes of musical diversity. Starting off fast, it quickly gives way to horns accentuating Patton’s voice. Each tempo change highlights a different instrument, the use of Patton’s voice is included in those instruments being utilized. Think the Beach Boys messed up on coke playing at high speeds. Sprinkle in some additional sound effects and the occasional lyric not in English, and you have a very unique musical experience. This is a song that begs to be heard multiple times just to attempt to hear every sound. One of the best songs found on the album, “Retrovertigo” opens with a nice acoustic guitar piece joined by keyboards. The music feels like it is slowly building toward something while Patton appears to be lyrically attacking society’s fixation on television. Then the keyboards tease you just a little more until everything is brought a musical climax for the final minute or so. Even the repeated verse starts to have more intensity and conviction to it. Then it is time for some alien abduction in “The Air-Conditioned Nightmare.” A very serious sounding opening quickly turns into a be-bopping retro cartoon number. The music reflects the insanity that being trapped, or abducted, might bring. It even follows the stages of grief. Once the heavy sounds of frustration have come to grips with the situation, acceptance sets in. When it sets in, the rhythm slows and the music almost turns sunny, but not before one more outburst. Then it returns to it’s peaceful acceptance asking “where’s my rainbow.” Next on the musical rollercoaster is “Ars Moriendi.” Castanets and accordions take you through a very fast paced number that even make the lyrics sung in English sound foreign. At times, the music builds to fast paced violin playing that sounds akin to a European nightmare. I even imagine this as the soundtrack to tripping out on ‘shrooms while traversing southern Europe. Then you come down quickly to hear a lovely du-wop song about betrayal and/or loss in “Pink Cigarette,” another favorite. While the music makes you want to snap your fingers and hum along, lyrically Patton is singing about killing himself. The piano pushes it’s way to the forefront of the sound-scape until death overtakes the character of the song. It abruptly ends wit the sound of flat lining. But fear not, the album doesn’t die there, in fact it goes another direction on “Golem II: The Bionic Vapor Boy.” Starting off with wind-up toy sound effects, this song has the sound of a group of guys who grew up in the Nintendo generation. Very eighties gaming sounding with it’s various sound effects. It is also has the first significant use of voice modification, unlike Disco Volante which seemed to be used on every song. And where is “Golem I,” you ask? Beats the shit out of me! “The Holy Filament” is the closest thing to an instrumental found on the release, even though there are some lyrics. Driven by a beautiful piano piece, the words seem to stretch across the music specifically to accentuate the sounds. It does have a musical score vibe to it, but in a Mr. Bungle sort of way of course. My favorite song on California, “Vanity Fair,” once again has that Jekyll and Hyde feel to it. The music takes the listener one way while the lyrics go another. Another fifties du-wop sound led by horns, this song and it’s harmonies beg the listener to snap along. More upbeat in tempo and rhythm than “Pink Cigarette,” the lyrics tell a tale about someone so lovely that it makes them want to “de-sex” themselves. In other words, it’s a song about becoming a eunuch! Only Mike Patton can sing that in a way that convinces you that it would the right thing to do. Rounding out the album is the song that more closely resembles their first release, “Goodbye Sober Day.” Very fast paced, it changes tempos almost every verse. At one point near the end of the song, it even turns into what could be construed as monks chanting. Then it picks right back up with nearly every instrument being played at their most intense of the entire album, especially the guitars. Then the cascade of noise finally comes to end, just like the band did sometime after the release of California. If you are looking for something a little left of center musically, or you are just needing to get a Mike Patton fix until the new Faith No More, this is the Mr. Bungle album you should start with.
The Cure -Wish
When most people think about listening to a Cure album, most usually gravitate toward the gloom and doom trilogy of Pornography, Disintegration, or Bloodflowers. While all three are tremendous albums and I would be hard pressed to choose a favorite, I find myself listening to their ’92 release Wish more than any other lately. Released a couple of years after Disintegration, Wish is just as dark but Robert Smith disguised all of it in catchy pop-esque melodies. I’m even of the opinion that lyrically it may be the darkest Cure album of them all. Opening appropriately enough with “Open,” an intense downward spiral lyrically about self loathing, the Cure hadn’t sounded this heavy since their early days. Easily one of my favorite tracks, it sets a mood far different from most of their releases. Just because Robert Smith is the king of sorrow doesn’t mean he can’t write one hell of a catchy pop song. Exhibit A is “High.” Very catchy hooks with some do-do-do’s thrown in, suddenly he is singing about someone else’s happiness and how that makes him feel. Wild Mood Swings was the release that followed Wish, but the name easily could have been representative of this album given the vast difference from song to song. “Apart” is sad, dreary, and depressing telling the story of a relationship at it’s end. The words are cold, but very relatable to anyone who has had a failed relationship in their life. The high school me could relate all to well! Similar in structure and pace, “From The Edge Of The Deep Green Sea,” has some of the same vibes found in “Open.” Self loathing has been replaced by addiction, but not the way you might think. The drug of choice for this song is a girl, giving into the addiction of her even knowing that a relapse is the wrong answer. The music is incredibly hypnotic with pulsating drums and a guitars that washes over you while Smith is professing “I wish I could just stop, I know another moment will break my heart.” Next comes “Wendy Time” with more do-da-do-ing, making this song about a prostitute sound absolutely pop. Very sing-along choruses break up the tale of the woman propositioning the distant and depressed stranger, “it doesn’t touch me at all.” Another solid radio friendly sounding song with a darker message in the words. If the Cure had an anthem song, “Doing The Unstuck” would be it. A mellow opening gives way to an upbeat rhythm about letting go of the blues and starting new. Claiming it is never too late, Smith sounds at his highest point of optimism ever! The music intensifies as his conviction grows, building to a great end. “Friday I’m In Love,” the biggest single from Wish, exhibits again just how good the poppy side of Smith can be. Infectious in it’s sound and lyrics, it has some of the same fun found in “Just Like Heaven” and “Let’s Go To Bed.” Piano driven with melancholy to spare, “Trust” returns to the great depression of a failing romance. With very few lyrics, it is very similar to “Untitled” with it’s winding rhythms and dreary sounds. Another single, “A Letter To Elise,” goes back to the longing and regret, think “High” without the catchy background singing. Possibly my least favorite on the whole album. It’s not a bad song, but very easily forgettable and not nearly as good as several of the b-sides from this recording session. Or it could be the anticipation for the next song, my favorite “Cut.” With it’s distorted drawn out intro, to the aggressive drumming and in your face guitars, “Cut” has an attitude and edge that few Cure songs have. With hatred replacing the feelings for a person that just stopped loving you, everything about this song keeps pushing you to the brink until “it’s all gone.” Continuing the mood changes, “To Wish Impossible Things” tones it back down to the melancholy with such longing that the viola almost produces tears of sorrow with every listen. Coming to grips with the reality of the situation, Smith makes the song both beautiful and tragic. Closing out this rollercoaster of emotion is a defiant song, “End.” More heavy drumming surrounded by deliberate guitars, “End” is about giving up and giving in. In it’s entirety, Wish feels like a concept album running from “Open” to “End” about all phases of a relationship gone bad. It will never be confused for one of great “trilogy” albums, but it just might be the best Cure album that you haven’t heard.
Black Flag -Slip It In
My musical guilty pleasure this week takes me back to the late eighties where a small town mid-western misfit was always in search of new music. There was no Google or Amazon to search through, so your options were very limited. If it wasn’t mainstream getting radio play, you usually found new music from a friend of a friend who probably had an older sibling. Then you had to hope the nearest record store, yes record store, even carried the band. That was my experience finding Black Flag. While all punk has it’s roots in Iggy and the Stooges, these SoCal punk gods paved their own way starting the American west punk sound and style. By the time I discovered them, front man Henry Rollins was off starting the Rollins Band and Black Flag was basically over. Most people swear by their first official release, Damaged, but for me it was all about 1984’s Slip It In. Take nothing away from Damaged, it is a great hard hitting album that deserves all the respect it commands. Maybe I’m more of a Rollins guy, since he did have more song writing influence on this one. Or maybe I like the slightly longer, for them at least, songs that highlight their different talents. Always one to fall for sexual innuendos, the opening “Slip It In” doesn’t do a very good job hiding it’s intentions. Raunchy guitars with heavy drums, the tempo pausing during the chorus really convey the anticipation of slipping it in. Follow that up with Rollins guttural screams mixed in with Suzanne Gardner’s words and moans, and you have the making of a great opener for any album. Whether I”m working out or running, “Black Coffee” is one of my motivating go to songs still to this day. Aggressive words, guitars fighting Rollins for the leading sound, if this song doesn’t work you up, better check yourself for a pulse. For some reason I imagine half the bar fights during the mid-eighties had this song playing in the background. “Wound Up” follows with more of the same intensity, but this time with a more poppy guitar rift. It’s also another great example of how the drumming complements Rollins unique vocal styling’s. If you listen close enough, you might even hear the sound that Green Day has ripped off a thousand times over from Black Flag. Darker vocals and a sound so repetitious that it almost drives the listener crazy, “Rat’s Eyes” brings out the foundation of sludge metal. This is one of the few songs that I can only listen to on occasion. The instrumental “Obliteration” fuses heavy chord progression sprinkled with jazz to highlight guitarist Greg Ginn’s both eclectic and eccentric style. It’s a nice breather before Rollins gets ready to hit the last few tracks hard and heavy. “The Bars” with it’s bass slapping opening, has Rollins singing about being trapped both metaphorical and literal. Again, Bill Stevenson’s drumming sets the tone that frames Rollin’s words. Throw in another crunching Ginn solo near the end, and you have classic Black Flag. The shortest track on Slip It In, and one that could easily be confused for an older track, “My Ghetto” gives way to the intense thrash metal sound found all over Damaged. This time, however, Rollins fast time lyrics work better and sound more in sync than their earlier albums when Rollins was still finding his way in the band. Closing out this near 40 minute punch in the face is “You’re Not Evil.” Jazz-esque guitars fused with a catchy progression, Rollins sings about thinking you are tougher than what you really are. The bridges between verses once again show Ginn’s diverse playing ability before Rollins comes back in to set the listener straight. Clocking in at seven minutes, everyone gets piece of the action on the album’s closer. Black Flag will always be considered pioneers to all things punk, spoken word, thrash, and sludge. So go ahead, take out a Black Flag album and slip it in. I’m betting you will be happy that you did!
Modest Mouse -Strangers To Ourselves
It’s been some eight years since Isaac Brock and company released We Were Dead Before the Ship Even Sank. So it goes without saying the anticipation for Strangers To Ourselves was very high. In no way does it disappoint. Whether you are a fan from their indie days in the nineties or “Float On” set you adrift to Modest Mouse, there is something for everyone. Kicking things off is “Strangers To Ourselves” with it’s very slow and moody rhythm highlighted by some beautiful string arrangements. The lyrics seem to narrate the tale of space travelers awaking form a long slumber, lucky to have forgotten the past so they can look to the future. Metaphor for the lengthy time between releases or the adventure the listener is about to take? Either way, it’s a great way to start off the album. The lead single, “Lampshades On Fire” picks up the mood very quickly. Very similar in the vein of “Float On,” this is the perfect song to let everyone know Modest Mouse is back and they brought some new tricks with them. Catchy sing along harmonies accompany the choruses, it’s easy to see why listeners are eating this song up. One of my favorites, “Shit In Your Cut” harkens back to The Lonesome Crowded West. Peppered with experimental sounds, Brock is at his storytelling best while the rhythm is very deliberately apologetic as the words. Then things get strange, even for Modest Mouse. “Pistol” utilizes some distorted vocals, a common theme at times on Strangers, and almost feels like a potshot aimed toward current hip-hop. The pistol needing unloaded is easily a euphemism for a dick. Musically, the song is fun and catchy with it’s heavy emphasis on bass, but the distorted vocals takes something away from the song. “Ansel” has a very Good News For People Who Love Bad News era sound. Deep philosophical lyrics “you can’t know well you won’t ever know, would you really want to know” get entangled with quasi-reggae percussion. It isn’t a standout track, but it’s one that is hard to forget. Another one of my favorites, “The Ground Walks, With Time In A Box” has hints of “Spitting Venom” with it’s length and beat. The lyrics are fast, but the music oscillates back and forth never letting the listener disengage from the song. I’ve probably listened to this song the most and every time I hear something new. “Coyotes” sounds like The Moon & Antarctica has been refreshed for the new millennium. The words paint humans as monsters, but the music is so beautiful it’s hard to believe the words ring true. Another solid piece, “Pups To Dust” keeps the same vibe as “Ansel” and “Coyotes;” enjoyable and peaceful. I would be shocked if “Sugar Boats” doesn’t wind up the biggest single with it’s nautical meets cabaret sounds and occasional horns. Think “Dashboard” meets “Float On” in a very fun sort of mash up. “Wicked Campaign” adds to the experimentation with it’s synth driven sound. The words sound political from the common man’s perspective, but with hints of dogmatic brainwashing. Juxtaposed with “Be Brave,” you have conformity against rebellion. “Be Brave” leaves the synth sound behind in favor of heavy guitars and chanting lyrics to lead the rebellion. “God Is An Indian And You’re An Asshole” completely changes the sound with it’s banjo-country-comical lyrics “God is an Indian and you’re an asshole get on your horse and ride” repeated over and over. Another album highlight, “The Tortoise And The Tourist” is Modest Mouse at it’s guitar driven best. Soft vocals with screaming vocals telling the story of ghosts and tortoises, you feel like this is the reaction of the space travelers from the opener realizing that they aren’t travelers but ghosts seeing the world anew. Playing those two tracks together feels like they were meant to be one song. Following that up is another great song in “The Best Room.” Mellow choruses with heavy verses, lots of tempo changes and more adventure telling lyrics. This is the kind of song you play to someone who has never heard Modest Mouse to show them what they are all about. Being the perfect story teller that Brock is, “Of Course We Know” closes out the album perfectly with it’s near lullaby sound chanting “lord lay down your only soul” before a piano solo fades out to end Strangers To Ourselves. While it took eight years to get this album, it was well worth the wait. And good news for people who like good news, the back of the album reads “The Golden Casket Vol 1,” indicating that this is hopefully only the beginning!
Red Hot Chili Peppers -One Hot Minute
Sometimes considered the bastard child of all Chili Peppers albums, 1995’s One Hot Minute deserves a lot more love than what it usually receives. This was the follow up to their career defining Blood Sugar Sex Magik release, sans guitarist John Frusciante. As the story goes, success changed Frusciante in ways that made it unable for him to stay in the Peppers. Around the same time Jane’s Addiction had broken up leaving guitarist Dave Navarro available. On the surface, this sounded like the perfect marriage of musicians. Long story short, it wasn’t. But that doesn’t mean that they didn’t produce some enjoyable music together. Falling back into a Chili Pepper groove, as I am apt to do, I found myself gravitating toward heavier Peppers. That is where One Hot Minute stands above the rest. Pepper albums have a tendency to highlight different members of the band. For One Hot Minute bassist Flea and drummer Chad Smith, not Will Ferrell, showcase just how in sync their craft is together. “Warped” opens the album hitting hard and fast, unlike any Pepper album before it. The sound feels a bit like Navarro playing a Jane’s Addiction song with a funkier bass line. Even Anthony Kiedis’s lyrics and vocals are darker, a common theme throughout. The outro takes you down easy after the intense merry go round with a very mellow rhythmic finish. Next up is one of my all time favorite Pepper songs; “Aeroplane.” This song shows all the potential these four musicians had if they would have been able to make it work consistently together. Beautiful lyrics, the bass and guitar playing off each other, and funky drums makes “Aeroplane” a must hear track for any casual music fan. One of the more disjoint songs, “Deep Kick” has a spoken opening telling the story of Kiedis and Flea’s youth that slowly melts into a crunching Navarro solo. Lyrically, the story continues behind the backdrop of Smith and Navarro absolutely turning out one of the Peppers’ heaviest stretches of music before the ending changes tempo and singers. Flea finishes the lyrics to their autobiographical musical adventure. The mostly acoustic “My Friends” provides some of the saddest lyrics Kiedis has offered tied to his drug lapse. While it received lots of radio play, it feels like an example of the four not quite meshing. “Coffee Shop” feels more punk than funk like a tribute to Iggy and the Stooges, ironically with a the chorus referencing Iggy Pop himself. Another Pepper first, “Pea” is written and performed by Flea as a “fuck you” to all the hateful people of the world, whose message still rings true today. Next comes one of the longest songs in the Peppers catalog, “One Big Mob.” Lyrically, it is all over the place but musically it feels very Navarro influenced. Lots of heavy to mellow tempo changes, this is one of the rare Pepper songs that fades out as opposed to ending. In fact, the B-side “Stretch” is the continuation of the song, together spanning nearly thirteen minutes. For the critics who said Navarro couldn’t play funk only need to listen to “Walkabout.” Easily the funkiest song to be found on the album, this is the first time you truly hear a similar sound to their previous releases. The death of Kurt Cobain in 1994 affected the entire musical world, “Tearjerker” was Kiedis’s way of expressing his grief. A very similar vibe to “My Friends,” except this time it works. After the musical love letter to Cobain, heavy sounding Peppers are back on “One Hot Minute.” Another lyrically strange song, Navarro, Flea, and Smith provide a sonic assault that keeps the listen disorientated with it’s out of time rhythms. Of all the songs Navarro wrote as a Pepper, “Falling Into Grace” sounds like it could have been on Jane’s Addiction’s Ritual De Lo Habitual with it’s Zen-like vibe, except you hear Anthony’s voice instead of Perry’s. Definitely a song that requires multiple listens to hear all the layers. If you take “Power Of Equality” and add Rage Against The Machine angst, you get “Shallow Be Thy Game,” another favorite of mine. Peppers with attitude, this song is another example of what did go right with Navarro in the band. Finishing this unique Pepper experience is another hard hitting number, “Transcending.” Starting mellow and very bass guitar driven, each verse adds heavier layers building slowly to an intense “in a loving stream” repeated finale. Is One Hot Minute the greatest Peppers album? No, but it isn’t the worst either. Many younger listeners know very little of this album due to the band not playing any of the songs live after Frusciante rejoined the band back in 1999. If you read my review of one of Frusciante’s albums, you know my love of all things John, especially in the Peppers. However, Navarro did bring a different flavor to the Peppers and if you can listen to it as a separate entity, there is plenty of enjoyable Pepper to be found with Dave Navarro on One Hot Minute.
Rob Zombie -Spookshow International Live
Rob Zombie, the busiest man in all industries, just released his second live album, Spookshow International Live. While working on finishing another new album due out later this year, a new film and touring, Zombie and company gives us a taste as to what his fans should be looking forward to in 2015. So what makes this live album better than Zombie Live? Having been surrounded by some extremely talented musicians in guitarist John 5, bassist Piggy D and drummer Ginger Fish, Rob Zombie has become less the individual and more the band. That connection is on full display with this release. Nineteen tracks ranging his entire career, there are some real highlights for Zombie fans. Kicking off the set with an intense version of “Teenage Nosferatu Pussy,” the stage is set for a rock horror classic. In recent years, Zombie has toned down the stage act a bit and focused more on the sound. This is most noticeable in the sound to some of his earlier solo work. “Superbeast,” “Meet The Creeper,” “Never Gonna Stop,” and “Dragula” sound refreshingly new with Fish keeping time and 5 bringing to life the sounds from the studio versions. “Demonoid Phenomenon” might be the pulse-pounding highlight of his earlier work on this set. The only downer for me was “Living Dead Girl.” This version sounded like it was missing something, like it was stripped down, but not in a good way. “Dead City Radio” sounds even better here than it does on Venomous Rat Regeneration Vendor, and it already sounded pretty damn good there. While I have never been a fan of the original, Zombie makes me care with his cover of “We’re An American Band.” Both White Zombie songs here, “More Human Than Human” and “Thunderkiss ’65,” sound like they are still fun to play live even though they are twenty some years old. Especially “Thunderkiss ’65.” Easily my favorite White Zombie song, this live version has the heart-pounding rush that makes you want to start the mosh pit along with a little extra right before the final verse. John 5 has a senses shattering shredding guitar solo, which sounds like one of his solo pieces, that the listener gets completely absorbed into. Then, just when you forgot that this all started with “Thunderkiss,” they go right back into it with a big finish. Perfectly execute and electric, this is how Zombie was meant to sound! They close out this intense show with “Ging Gang Gong De Do Gong De Laga Raga,” one of my favorites from Vendor. Overall, if you are a Rob Zombie, you probably already have it, but if you are looking for a great live album to get your heart racing, get Spookshow International Live!
John Frusciante -Shadows Collide With People
Almost everyone with access to music has heard of the Red Hot Chili Peppers, or at least heard one of their songs. But what most people don’t know is the genius behind much of their success has also released some of the most beautiful music that you haven’t heard. In addition to being an integral part of five of the Peppers most successful albums, he has released over a dozen solo albums during the past twenty years. Be warned, not all of those releases are accessible to everyone. His musical drive sometimes takes his music to places not every ear can venture, but with 2004’s Shadows Collide With People, Frusciante may have produced one of the greatest alternative albums not to achieve a mainstream audience. He, along with his eventual replacement in the Peppers, Josh Klinghoffer, and Peppers drummer Chad Smith recorded an emotionally charged album that leaves the listener both exhausted and wanting more at the end. “Carvel” opens things with a distorted intro that gives way to powerful rock song driven by the opening line “when I try to force it out never looking in only out.” John let’s the listener know nothing on the album will be forced. Around the four minute mark, another tempo change gives you a taste of the musical diversity of what is to come. Frusciante and Klinghoffer alternate vocals perfectly with one leading, the other echoing throughout “Ommision.” If you listen carefully, you can hear the backing vocals of the Peppers past and present on display in this song. Frusciante’s voice conveys emotion on “Regret,” but it is his guitar playing that makes you believe he really does regret his past. “Ricky” continues the emotional venting highlighted by beautiful acoustic arrangements. Even at the lyrics darkest, there is an overwhelming sense of hope found by songs’ end. Then the beat is cranked back up on “Second Walk.” For those familiar with John’s struggles early in his career, this song really feels like his rebirth and just how much he has come to grips with all he has been through. In fact, the whole album can be seen in that light, making it an even more powerful arcing release. “Every Person” is driven by synthesizers rather than guitar, putting John’s voice in a different atmosphere, both haunting and honest. “-00 Ghost 27” is one of three instrumentals along with “Failure 33 Object” and “23 Go In To End” with each having their own vibe sprinkled through out Shadows. None of them feel like filler, just pieces that help transition the flow of the albums entirety. “Wednesday’s Song” has touches of folk-esque guitars entangled with piano, while “This Cold” is driven by the bass with hints of early British Invasion influences. Perhaps the albums highlight, “Song To Sing When I’m Lonely,” continues the British Invasion influences mixing harmonies, acoustic guitars wrapped in electric guitar solos, all the while the drums are keeping time. “Time Goes Back” keeps that influence going while providing some of the strongest lyrics. “I saw the days I lost hiding behind tomorrow’s cost,” are words of someone who understands what addiction can take way. “In Relief” resembles the first few tracks with what seems like an instrumental opening turning into something else completely when the lyrics start. “Water” also follows this theme, both showcasing more of Frusciante’s musical influences. As the tempo starts to increase toward the end of “Water” and the guitar solo starts to pick up. At this point you are hoping for John to really let loose and that is exactly what “Cut-Out” does. An acoustic opening builds to heaviest song found on Shadows. Once again, his voice conveys the emotion and the guitar playing makes you a believer. Then most of the musical effects are stripped back down on “Chances,” with a very strong Beatles flavor. The album wraps with “The Slaughter” featuring Flea on bass, essentially making this a Chili Pepper song without Anthony Kiedis singing. Yet it sounds nothing like a Pepper song, and that shows just how talented Frusciante’s song writing is. A perfect mellow ending to the album with so much cathartic release, finishing with a beautiful acoustic solo. John Frusciante is no doubt a guitar god,with the way he can make an inanimate object emote so much feeling. But what you might not know is his musical genius extends well beyond his work with the Chili Peppers. Even if you are just a casual Pepper fan, this an album that you need to check out. You may find yourself on the doorsteps of a whole new musical experience.
Prince -Purple Rain
For Valentine’s Day weekend, I thought my musical musing should be a bit of musical perfection for all the lovers out there. When you want romance, you play Marvin Gaye. But when you want to get down and nasty, you put on Purple Rain. It’s as simple as that. Forget hearts, diamonds, and chocolate, all nine tracks, in order, without skipping, is the best aphrodisiac going today. His Royal Purpleness starts off the party that you hope never ends with “Let’s Go Crazy.” Arguably, the greatest living guitarist gives you a taste of his funky talents while the lyrics are an invitation to carpe diem! “Take Me With U” has Prince duet with Apollonia, their voices complementing each other in perfect harmony. On this song, the guitar takes a background role while the synths move the rhythm along. Along with “The Beautiful Ones,” both tracks slow down the mood with all kind of romantic grooves. As “The Beautiful Ones” begins to fade out with Prince screaming “I want you” over and over again, he is setting the tone for all kinds of sexy with the following tracks. “Computer Blue” brings the party back to life with guitars and synths sharing the spot light. Very few lyrics, the song almost puts you into a trance just before being hit in the face with the song that was single handedly responsible for explicit lyric stickers being placed on music releases-“Darling Nikki.” Basically the funkiest song about self gratification you are ever going to find anywhere. Starting off slow and seductive, soon the music starts to grind building to an abrupt end, fading out to some words played back words with the sound of rain falling. If that doesn’t get the rocks off, “When Doves Cry” fills the airwaves minus a bass line that forces the listener to fill the empty void with their own sounds. Tragic, beautiful, and seductive all rolled into one song. The beat sets the tone; it is your job to make your body follow it. The following two songs pull the reigns in a bit. Both still keep things rocking but “I Would Die 4 U” and “Baby I’m A Star” give you a chance to catch your breath before the eight minute ending opus “Purple Rain” brings you to orgasm and tears. Once again the music almost puts you into a trance-like state of euphoria while the lyrics are seeking some kind of forgiveness. But there is no forgiveness for the erotically charged guitar solo near the end. This is what the album was made for; take the listener on a series of emotion rides that they never forget, but want to experience over and over again. This Valentine’s Day take someone to bathe in the purple rain with!
Jane’s Addiction -Nothing’s Shocking
There are certain moments that people remember exactly where they were and what they were during for their entire life. Nothing’s Shocking is one of those moments for me. I remember looking through a friend of mine’s older brother’s CD collection years ago. I stumbled across this crazy cover of Siamese twins with their heads on fire. Thirteen year old me couldn’t resist, I had to hear the band that came up with that cover! From the intro-esque “Up The Beach” down to the last howling note from singer Perry Farrell on “Pigs In Zen,” this album made me want to burn every hair metal cassette I had. My musical world had just changed. In fact, many claim alt-rock and grunge killed hair metal in the nineties, but the first warning shots can be heard on this 1988 classic. After “Up The Beach” introduces you to the backbone of Eric Avery and Stephen Perkins, “Ocean Size” gives the listener a taste of Dave Navarro’s guitar genius and Perry Farrell’s twisted vocals. Heavy riffs and deep Zen-like lyrics, you know this isn’t your average album. “Had A Dad” is just as hard hitting with its deity questioning verbose. As good as the first two tracks are, they can’t prepare you for the total mind fuck that is “Ted, Just Admit It…”. A dark sex is violent descent into the mind of serial killer Ted Bundy, which was also sampled in the Natural Born Killers film. This song has all the pieces of perfection. From its slow intro all the way to the pulsating “sex is violent” outtro, it is easily my favorite track. Seven minutes later, you find yourself blissfully “Standing In The Shower…Thinking” happily trying to wash off the filth from the previous track. Next up the mellow love letter to summer, “Summertime Rolls.” Beautifully melodic, it sounds nothing like anything else on the album, yet you know it fits right in all the same. Then “Mountain Song” comes crashing back into your speakers with the fury of a punch in the teeth, one of the highlights during a live show. “Idiots Rule” takes you down a jazzy riot with horns adding to the musical landscape. Before you know it you are off to the kettle drums of their most famous song, “Jane Says.” Ironically, it wasn’t a big hit until years later, showing just how far ahead of the curve Jane’s was. Follow that up with a short humorous club closer, “Thank You Boys” and you are down to the final track. “Pigs In Zen” is a wild four plus minute ride where all four members get to shine. Farrell’s lyrics are always a little out there while being thought provoking and Navarro is now consider to be a guitar god, this album shows exactly why. There will simply never be another album like Nothing’s Shocking.
Faith No More -Angel Dust
Despite the fact that I was unable to procure tickets to their new tour after selling out in less than three minutes, I still can’t stop enjoying arguably their most complete release. After The Real Thing put them on the map, 1992’s Angel Dust set the standard for what every other “alternative” band would use as a template for the next twenty plus years. This would be the first and only release where the original four members worked with vocalist Mike Patton as equal collaborators, since Jim Martin would leave the band before recording the next album. If I were to put together a list of albums you need to hear before you die (a blog for another day), Angel Dust would most certainly be on it. The record label wanted The Real Thing Vol 2 but what they got was a misunderstood masterpiece years ahead of its time. “Land of Sunshine” kicks things off as an info-mercial for the mentally unstable. Following up the opener is “Caffeine”, rumored to be the result of Patton writing while intentionally sleep depriving himself. One of the heaviest tracks,this song needs to be played loud to get the full effect of the deranged lyrics. The lead single “Midlife Crisis” wasn’t well received by radio, but today you can hear hundreds of rip-offs playing on the radio now. Next up FNM does one of the things it does best, totally fuck with the listener. After the opening three songs have you worked up into a frenzy they throw in a redneck song that is almost waltz worthy about an abusive, neglective father in “RV.” Using a bit of Henry Rollins-esque spoken lyric, you don’t know if you should laugh at the lyrics or feel bad about the truth of them. The musical parade continues with “Smaller and Smaller,” utilizing lots of tempo changes, Native American chants, and screams behind a backdrop of keyboardist Roddy Bottom. Then we get “Everything’s Ruined” with a “Falling To Pieces” vibe that probably should have released as a single. With catchy lyrics and a dance-able groove, you almost forget you are in the midst of a rock album. The mood changes quickly with “Malpractice,” possibly the hardest track on the album about the perspective of a fetus being aborted. In the middle of the dark decent, they sample a beautiful symphony piece by Kronos Quartet, then they bring you right back down with a haunting finish. The next song, “Kindergarten,” has a longing for nostalgic youth, but when juxtaposed with “Malpractice,” it takes on a much deeper feel. Two songs about missed opportunities, but from much farther places. Then the mood gets lightened by a happy song about giving head, “Be Aggressive.” With a cheerleader chorus, this song is so wrong that it is right. After that song has ejaculated, we get a different moral boost. “A Small Victory” is a more grounded piece about perseverance highlight Martin’s guitar work. The next two track feel joined at the hip with “Crack Hitler” and “Jizzlobber”. Dark, intense, and heavy, both paint pictures of addiction. Not drug addition, though. Mostly fame and self abuse, especially “Jizzlobber.” “I hide the dirty minutes under my dirty mattress and now they are making me itch” Patton screams mercilessly. Every sceam-o vocalist was born during the first listening of this song. So how do you end this eclectic masterpiece? With an extending instrumental cover of “Midnight Cowboy,” of course. Later versions of the album would be released with the cover of the Commodores hit “Easy.” Famously the band would perform “Easy” following one of their heavier songs just to throw the audience off balance. The cover is performed beautifully, while tongue planted firmly in cheek! If you are a person that enjoys any artist labeled alternative, you owe it to yourself to give Angel Dust a listen. Chances are, you are going to find something familiar. After all this is the album by the band that forced the media to create the term alternative. Now if only I can hide the dirty minutes that I wait in anticipation of their new release later this year.
Bart's Music Musings 