Album Review: Willie Nelson - The Troublemaker (1976)

I never envisioned Willie Nelson singing gospel - I thought that kind of thing was Johnny Cash's forte, given his theological convictions and his (perhaps) more cover-happy proclivities.  Johnny almost always did gospel well, in fact, he usually did covers well as a whole.  Bob Dylan's crack at gospel wasn't too bad, either.  To start with, anyway.  But I was definitely surprised to hear Willie do it, and do it remarkably well to boot.  The Troublemaker from 1976 is astonishingly good, with plenty of faster tempos to see me through to the end of the album, as well as some more tempered and carefully crafted ballads to fill in the gaps.  But they're not 'fillers' in the derogatory sense of the term.  Whilst my preference is for a faster song, I find myself happily indulging in songs like, "In the Garden."  But of course my favorites here are of that "On the Road Again" upbeat tempo variety - "Uncloudy Day", "When The Road is Called Up Yonder", "Will the Circle be Unbroken" and the best song here, "Shall We Gather", I song I know best from John Ford western films such as The Searchers and My Darling Clementine.  This record exemplifies Willie at his best, and yet at the same time, out of his element.  And the end result is nothing short of brilliant!  A-

Album Review: Paul Simon - Graceland (1986)

This particular album seems to be one of those records that everybody who knows a thing or ten about popular music will tell you is the cat's ass.  Well, almost everybody.  I'm sure somebody out there think it's vile, overrated, or uninspiring.  I for one ain't one of those people.  I'm one of the multitude of music lovers who think it's the cat's ass.  It really is, regardless of how seemingly cliche and predictable it has become to be giving it any sort of appraisal.  Having appreciated to varying degrees the dulcet acoustic folk-isms of Simon & Garfunkel, I'm not surprised that this album is as good as it is.  Very very good, in fact.  Paul Simon is without a doubt a musical genius and a creative force to be reckoned with, and nor does he need Art Garfunkel to show people he could pen songs as gracefully and as thoughtful as the likes of Leonard Cohen and Bob Dylan.  But Art Garfunkel made Simon & Garfunkel just as Simon did, and I'm grateful for both.  But with Graceland, I'm likewise glad he went out on his own as well.  Making what was then a controversial decision to travel to South Africa to record the album, the end result was an amicable consolidation of indigenous South African genres as well as the staple rock and pop varieties of the eighties.  Audacious and radical, Graceland is unexpected in its brilliance, and predictable in the competence and greatness of its authors.  "Boy In The Bubble", "Graceland", "Diamonds on the Soles of Her Shoes", "Crazy Love, Vol. II", "Under African Skies" and "Homeless" are what you should be playing first.  If you don't own a copy of this album, buy it.  But at least put listening to it on your bucket list.  A+

Album Review: Whitesnake - Whitesnake/1987 (1987)

It's amazing how one's perceptions of certain albums can potentially change over the years.  Of course, there will always be albums that will never get better.  But on occasion, revisiting what you once considered a dud can come back and bite you in the ass.  When I first heard Whitesnake's eponymous album from 1987 (in some markets, this album is known as 1987) there were the two power ballads, "Here I Go Again" and "Is This Love", which I loved and still love, and then there was the rest of the album, which at the time I thought, "meh, not my thing."  But in a rare change of heart, in hindsight I was mistaken.  Listening to it again I'm thinking, "this is actually a bloody good album."  Its classic hard rock/heavy metal sensibilities have quickly grown on me considerably since the last 10-12 years or so since I last heard the album.  If you loved the two aforementioned power ballads, and you usually don't listen to hard rock or heavy metal, then this album is definitely not for you.  Some of the other songs have of course grown on me - "Give Me All Your Love", "You're Gonna Break My Heart Again", "Bad Boys", and "Straight For The Heart" are great examples to start with.  I'm really glad I chose to review this album.  And I am definitely regretting my initial perceptions of this great album.  But that was 10-12 years ago, of course.  A-

Album Review: Metallica - Hardwired...to Self Destruct (2016)

What a fantastic return to form Metallica's new album is.  This is easily the best studio album they've done since 1991's Metallica album.  And James' voice is in the best shape that it's been since Garage, Inc.  That is saying something.  Their previous album, Death Magnetic, was undoubtedly a marked improvement over the forgettable St. Anger.  But despite the massive improvements, there were still problems with it.  Hardwired...to Self Destruct is phenomenally good.  It has done well in ironing out the minor shortcomings of its predecessor.  It's phenomenally long as well, and that may prove to be an issue for some.  But here, every song, and I mean EVERY song has something great about it.  Indeed, the hardest part about listening to this album is picking the best songs.  The standard edition of the album contains a total of twelve songs, with an additional 14 on the additional deluxe edition disc, including a improved version of the previously released "Lords of Summer."  "Spit Out the Bone" is my personal favorite here, followed by "Hardwired", "Dream No More", "Atlas Rising" and "Confusion."  But I love the rest of the album as well.  If you love Metallica, buy it!  Now!  It's good enough to make the perpetually flaccid positively tumescent.  And in the immortal words of Master Yoda, "phenomenally good, this album is!"  A

Album Review: ZZ Top - El Loco (1981)

I loved 1983's Eliminator and 1985's Afterburner. 1990's Recycler is pretty damn good too.  And 1992's Greatest Hits has some interesting (but still inferior) remixed versions of the likes of "Legs" and "La Grange."  Some of their 1990s and 2000s stuff is good too.  But going back a bit before Eliminator really had the band breaking out onto the scene in the 1980s and you'll stumble across 1981's El Loco.  Eccentric, but not dull, and even better on a second play through, you'll instantly recognize it as the precursor to their 1983 classic - it's here where the synths creep in.  And whilst my initial assessment ranked only side one as being brilliant, the second playthrough confirms my mistake.  Side two isn't as good as side one, but it's good enough to warrant neglecting the skip buttons.  Two classic tracks are here "Tube Snake Boogie" and "Pearl Necklace."  In addition to these, "I Wanna Drive You Home", "Ten Foot Pole", "Party on the Patio" and "Don't Tease Me" are the one's that float my boat the most.  "Groovy Little Hippie Pad" is definitely worth checking out too.  El Loco?  More like Brilliante!  A-

Album Review: White Zombie - Astrocreep: 2000 Songs of Love, Destruction and Other Synthetic Delusions of the Electric Head (1995)

For a guy who once owned a Rob Zombie shirt, and is an unabashed fan of his music, I should be listening to a lot more of it these days than what I do now.  I must come clean in saying that I haven't been listening to his stuff for a long, long time now, and frankly that just won't do.  After watching Beavis & Butt-head Do America last night, I decided that I have been living under a rock.  Living under a rock and listening to everything BUT Rob Zombie or White Zombie.  Or anything else regarding industrial metal (that reminds me, I MUST write a review of Sehnsucht by Rammstein!) for that matter.  Well, I've made amends by checking out Astrocreep: 2000 Songs of Love, Destruction and Other Synthetic Delusions of the Electric Head from 1995.  I haven't heard the album in its entirety before, but having recently done so, I am going to say that it is pretty much everything I've come to expect from White Zombie.  Realizing that there is more to the band than songs such as "More Human Than Human" and "Super Charger Heaven", I'm soon reveling in "Electric Head, Part 1 (The Agony" and "Electric Head, Part 2 (The Ecstasy).  And I'm quite attached to "Real Solution #9" and "Grease Paint and Monkey Brains" too.  "Blur The Technicolor" and "Blood, Milk and Sky" I tend to play the least.  Discovering new music is always a joy, but rediscovering something you once loved and forgot is just as satisfying too.  And for some reason, I can't help but think of Frank Zappa when I listen to it again.  A-

Album Review: Heart - Heart (1985)

I'm so pleased I went out of my way today to listen to Heart's eponymous album from 1985.  After taking the liberty of skimming over the review ratings for the album on its Wikipedia page, and of course having listened to the album from start to finish, I've concluded that this album is much better than what some people have said about it.  From my perspective at least, the band's stuff from the 1970s (i.e. "Barracuda") is good, but not as good as their 1980s material, and this record is at the very pinnacle of what I consider to be their 80s prime. "These Dreams" is the number one pick on this album, and it's usually the first track I listen to on their Essential Heart album.  "What About Love?"  "Never", "If Looks Could Kill" and "Nothin' At All" are also on the Essential Heart compilation, although "Never" and "Nothin' At All" have been remixed somewhat, and for the better.  But the original versions here can't be discounted either.  My favorite track outside of "These Dreams" is "All Eyes", and it gets better every time I play it.  Screw what other reviews say about this album, I like it, and I like it a lot, to my surprise.  And when it comes to music, I love surprises.  A-

Album Review: Queen - A Night At The Opera (1975)

I've been itching to review a Queen album for a while now, and I've always cherished the three Greatest Hits albums that they've released since 1992. And now, I've finally got around to listening to what is supposed to be one of their better albums, A Night At The Opera from 1975.  And I have to say that I'm a tad disappointed with it.  There are some noteworthy and interesting songs on it, such as "Lazing on a Sunday Afternoon", "'39", staples such as "You're My Best Friend" and obviously "Bohemian Rhapsody."  But on the whole it feels tedious and drawn out, which for me reproduces the feeling of being at an Opera very well (hence the title), and perhaps I should've known better by the title.  But of course, this album is not trying to sound like "Keep Yourself Alive" or "Stone Cold Crazy", and slow tempos aren't my forte.  But why "I'm in Love With my Car" reminds me of Pink Floyd I will never fully understand.  I myself would steer well clear of "The Prophet Song" and "Love of my Life" - too tedious for my liking.  I do find myself going back to the wonderful Brian May-led "'39" and "Seaside Rendezvous", though.  That's the Queen I know and like.  B

Album Review: Yngwie Malmsteen - Eclipse (1990)

Given heavy metal's image amongst much of the mainstream populace as being unsophisticated, uncouth neanderthal drivel, many will be surprised, if not shocked, to learn of the existence of a particular sub-genre called neoclassical metal.  Among various circles, the very notion of a metal-classical music synthesis seems absurd, if not unheard of.  And that would be understandable.  But it is important to note that heavy metal is a diverse, technical and complicated style of music worthy of appraisal far beyond socially mediated, (and very unfair) preconceptions of metal fans as being trashy knuckleheads.  People need to give it a chance - hell, as a traditionally synth-pop, new-wave loving 80s kids, I did.  And I have absolutely no regrets whatsoever.  Swedish faster-than-light guitar guru Yngwie Malmsteen demonstrates aptly just how classical music and heavy metal aren't necessary diametrically opposed to the point of complete incompatibility.  Take his 1990 album Eclipse - not the best metal album I've heard, but I love uber-fast shredding, and this record has it in spades.  The solos are a bit lengthy and drag on for a bit, but nonetheless they are impressive in their speed and precision and of course, their classical homages.  And coupled with a competent vocalist, Malmsteen successfully transforms mainstream heavy metal into a more focused art form.  "Making Love", "Judas" and "Eclipse" are great starting points, and everyone who has owned his "best of" albums will know them.  But my shredding favorite on this album is 'Demon Driver."  And don't forget to give "Motherless Child" a go as well.  Not bad, I must say.  Not bad at all.  B

Album Review: Meat Loaf - Bat Out of Hell (1977)

Gee, they weren't kidding when they said Meat Loaf's Bat Out of Hell was a great classic album.  And likewise, it's little wonder it has sold like hot cakes.  Plenty of hit songs on this album - "Bat Out of Hell", "Two Out of Three Ain't Bad", "Paradise By the Dashboard Light", "You Took the Words Right Out of My Mouth (Hot Summer Night)" are all well known, but throw in "All Revved Up With No Place to Go" and "For Crying Out Loud" and you've got a brilliant, sometimes maligned, but nonetheless praiseworthy record whose sales figures are frankly well justified.  Meat Loaf and Jim Steinman together made some cracking music, as its 1993 successor Bat Out of Hell II: Back Into Hell will also testify to.  I personally prefer the heavy metal-esque/hard rock oompf factor of B.O.O.H. II, but in truth this breakthrough album is no less pleasant on the ears.  Nothing to complain about here!  A

Album Review: ABBA - Gold: Greatest Hits (1992)

"Greatest Hits" and "Best Of" compilations are by default good, or very good, albums.  Very rarely, however, are they teetering on the edge of flawlessness.  Sometimes, they're all you need from a band or artist, either because they contain every good song on offer, or they contain all of the essential hits.  The phenomenally successful Gold: Greatest Hits by ABBA is of the former.  Well, sort of.  "Fernando" I don't like and have never liked, and thus would rather see the likes of "Super Trouper" or "Honey, Honey" on here instead. But everything else that is brilliant is on here, 17 classic gems from Bjorn, Benny, Agnetha and Anni-Frid ("Rock Me" isn't too hot either, in my opinion).  Bookended by "Dancing Queen" and "Waterloo", and featuring every big hit from "Knowing Me, Knowing You" to "S.O.S", you'll never go wrong buying this record, what with 30 million or so albums being sold to date.  In short, Bjorn and Benny are pop songwriting geniuses, and this record serves to verify that fact.  A+

Album Review: Rod Stewart - Tonight I'm Yours (1981)

Tonight I'm Yours, Rod Stewart's album from 1981 flies in the face of everything I've expected from Rod Stewart.  Most songs of his that I know of (I'm no expert on his music, but  I know enough to say that he makes great music) tend to be of a slower, more mellow tempo (with the exception of "Young Turks", which comes from this particular album), and despite my preference for a fast song, I'm highly amicable toward all of them.  This album changes all of that (not my amiability, of course!), introducing a number of fast-paced tracks, three of which are "just the bee's knees", including the better known "Young Turks", which I rank as one of Rod's best.  "Tonight, I'm Yours" is a fantastic little number, and "Tora, Tora, Tora" is just as quick too.  All three of those songs together form a quintessential trinity that make for priority listening if you are looking for choice cuts to listen to first before actually delving into the rest of the album.  And of course, not every song is a musical speedball.  Some are actually cover versions - "How Long" by Paul Carrack and "Just Like a Woman" by Bob Dylan for example.  To sum it up briefly, the album sounds motivated, and of course, good.  Check it out some time.  B+

Michael Jackson - Thriller (1982)

Michael Jackson danced like a one-legged sparrow having a fit on an electric fence.  But that's a very good thing.  Fast, spontaneous, improvized and electrifying, Jackson is one of history's greatest entertainers for a reason.  And at the peak of his career, prior to the kiddy-fiddling accusations and his general decline into even deeper eccentricity and obscurity, he was the best in the business.  The world hadn't seen a pop star like him.  Even when his more eccentric proclivities became more and more public, in death he was remembered for the megastar he really was.  And that's how he should be remembered, really.  His breakthrough album, Thriller, sold countless millions of records and is still the best selling album in all history.  I personally grew up on his Bad material, and I personally prefer that album myself to this one.  But there's good songs here aplenty too, as you should expect from the best-selling album in history.  "Billie Jean", "Beat It", "Thriller."  Those are the staple classics here.  But "Human Nature" and "Pretty Young Thing" are good enough to be played more than ten times as well.  Not my favorite Jacko album, but still a very good album nonetheless.  A-

Album Review: Black Sabbath - Paranoid (1970)

I love Black Sabbath more than I let on, even to myself.  After all, they practically pioneered the heavy metal genre, and of course, without them Ozzy Osbourne wouldn't have the successful solo career that he has enjoyed, and certainly not the mainstream television celebrity status without them.  They took blues music and made it considerably less blue and more angry and motivated.  And of course, more enjoyable and palatable.  Their second album from 1970, Paranoid, is without a doubt their magnum opus and contains some of their more iconic tracks, from "War Pigs" to the trippy "Planet Caravan", and of course, the famous, "Iron Man."  "Paranoid" is the best known track from this record, but despite being a great song it certainly isn't the greatest. I would reserve that honor for either "War Pigs" or "Electric Funeral."  And I love the novelty of such tracks such as "Iron Man" "Planet Caravan" and the drumming masterpiece, "Rat Salad."  Everybody who loves heavy metal owes a debt of gratitude to this band, and to this album.  I for one, am sure as hell grateful.  A-

Album Review: Judas Priest - British Steel (1980)

OK, enough with the A grade ratings you might say.  Enough with all the metal reviews, you may ask.  But I'm going to get this off my chest while the iron is still hot.  And yes, that is is a pun.  Sort of.  Let's face it - I LOOOVE heavy metal music.  Some say it's uncouth and unsophisticated.  Others say it's the work of the devil.  But ignorance, contrary to popular belief, is seldom bliss.  So many albums prove this to be the case - Ace of Spades by Motorhead, Master of Puppets by Metallica, - Reign in Blood by Slayer, The Number of the Beast by Iron Maiden.  The list goes on.  And on.  And on.  But it is a genre that is misunderstood by those who seldom listen to it, and often fully unappreciated by those who do.  But it has put out some corking works -  British Steel by Judas Priest is an example of this.  Initially it wasn't metal enough for me.  But now I appreciate it for the magnum opus that it actually is.  Hell, even Beavis and Butt-head can appreciate the finer aspects of "Breaking the Law."  And I can see why.  I can also see why "Living After Midnight" is so respected.  But my favorites after the former are "Rapid Fire", "Metal Gods", followed by "United."  This album commands respect.  I hope it commands yours.  A-

Album Review: Derek and the Dominos - Layla and Other Assorted Love Songs (1970)

Eric Clapton is one of the better known guitarists among casual music listeners out there.  Along with his famous solo career, he has been part of a number of different bands, such as the Yardbirds and in particular, Cream.  But his best work was never found in any of those - if you want to hear Eric Clapton at his finest, forget his solo work, forget his work with Cream.  Instead, pick yourself up a copy (or check it out on Spotify or some other music streaming service) of his 1970 magnum opus, Layla and Other Assorted Love Songs by Derek and the Dominos.  "Tears in Heaven", "Lay Down Sally" and "Wonderful Tonight" can all be put on the back-burner while you appreciate the brilliance of this initially neglected, but wonderfully made record.  Critics love it.  Fans love it (and even more people loved it when they finally figured out that it was Clapton's band).  I love it.  I longed for a chance to write up on this album, and now I have that chance.  The funny thing about this album is that it goes against a number of things that I look for in a great album - consistent tempo, relative brevity are two examples of what I prefer in a good album.  But this album flies in the face of these and still sounds like a million dollars.  This album takes its time - many of the fourteen songs here run longer than 5 minutes.  But I can appreciate that, because this album is truly a labor of love.  It feels as if has been crafted, not made or merely recorded.  It was destined to be a masterpiece, come hell or high water.  And it is.  Every songs sound like Clapton is playing with passion, and he is.  My favorite here is a neat rendition of Hendrix's "Little Wing", followed by "Bell Bottom Blues", "Layla" and the very bluesy, "Key to the Highway."  In fact the only track I would willingly skip here is the final track, "Thorn Tree in the Garden."  Otherwise, it's bloody excellent.  A+

Album Review: Anthrax - Spreading The Disease (1985)

I'm very impatient when it comes to listening to music.  I'm far more partial to a fast tempo song, rather than something that is mellow, patient and drawn out.  Thrash metal quickly became a generic favorite of mine as a result of its innate proclivity to move quickly and aggressively.  And the big four of the genre - Metallica, Megadeth, Slayer and of course, Anthrax, all lead the way in providing music lovers with that faster-than-light, string thrashing madness that we've come to expect from them.  And they all do it very well.  Metallica and Megadeth are perhaps the most famous of the four.  In fact, without either band, thrash metal probably wouldn't have ever existed.  But the (slightly) lesser known East Coast band Anthrax has made some pretty kick ass records of its own.  My favorite, which I am writing about here, is Spreading The Disease, from 1985.  Fast and angry, as thrash should be, but melodic and utterly pleasurable, and at times climatic and tempered, this album, for me at the very least, is greater than the better received Among The Living from 1987 (but that's still a great album too, I should add).  Why?  "S.S.C./Stand or Fall", "Medusa", "Gung-ho" and "Armed and Dangerous", that's why.  They're some of my favorite Anthrax songs, and they're all concentrated on this album.  But then there's "A.I.R." and "Madhouse" to contend with as well, so you really can't go wrong with this record.  Metal thrashing brilliant! A

Album Review: Neil Young & Crazy Horse - Rust Never Sleeps (1979)

I rarely listen to live albums, or live music for that matter.  For me, I almost always favor the original studio recording over other versions of the same song.  This isn't always the case, however - Chris Rea is well known for re-recording some of his songs, and every version is distinct enough to warrant its own merit, although  I will always prefer the Dancing With Strangers version of "Let's Dance" over the 1988 redo, although the '88 re-recording of "Candles" is better than the original.  But I still take great pleasure in listening to either version.  But of course, I digress.  Live albums have never really resonated with me for a number of reasons.  But one particular "live" album is the exception to this rule.  Rust Never Sleeps by Neil Young & Crazy Horse is a fantastic album all around, not just in its capacity as a live album.  First half is a collection of delightful acoustic tracks, whereas side two is full of distorted electric numbers, all of which are good, although in my case the distortion takes some getting used to.  But I did eventually get used to it, and I can fully appreciate the record in its entirety.  Sensational songwriting (as is to be expected from Neil Young) makes this album great, rather than its novelty live/studio hybrid values.  Listen to "Pocahontas", "Sail Away", "My, My, Hey Hey (Out of The Blue) and you'll soon find the repeat button to be your best friend.  And the fun continues on the electric side of things, with "Welfare Mothers" and "Powerfinger" being the picks of the bunch on that front.  A great album for good reasons.  A+

Album Review: Pink Floyd - The Wall (1979)

Waters-era Pink Floyd comes across as being negative, pessimistic and angry at times.  When Juxtaposed alongside the band's 1987 album A Momentary Lapse of Reason, this quickly becomes obvious.  And the latter album is boldly refreshing and brilliant because of it.  But even when things get overly negative or dark, the Floyd is still not a band to be messed with.  The famous concept album from 1979, The Wall, is a testament to this.  Its rock opera, concept-orientated theme channels this negativity and turns it into a palatable artwork.  It is brilliant from start to finish.  It is the very definition of art.  And it is neither overrated nor underrated - it's legacy is well deserved, and makes for essential listening for anyone who loves their classic rock.  It's at times euphoric, manic, and psychotic, angry, confused.  But in spite of all this, it's a joy to listen to every time.  Oh, and funny too - as Roger Water famously says at the end of "Another Brick Wall Part II", "if ya don't eat your meat, you can't have any pudding!"  Damn straight.  And there's that legendary David Gilmour guitar solo on "Comfortably Numb."  "Run Like Hell", "Mother" and "Young Lust" are other favorites.  But don't follow what I like best, listen to it from start to finish and find out what you love about it for yourself.  A-

Album Review: Bruce Springsteen - Born in the USA (1984)

A few albums come to mind when I'm asked what's the most flawless album you've stumbled across, and the competition for the best can indeed be a very tight race.  But for me there is invariably one that comes out on top every time - Born in the USA by Bruce Springsteen.  I can never get bored of this record, I shall forever savor this record, and I will be buried with this record.  I would even argue that I love this album more than life itself, but that would be too easy, given that for me right now Monty Python's claim that "life's a piece of shit" would make for an excellent tattoo design choice.  But then again, I listen to this album and realize, albeit for a fleeting moment, that there are sporadic moments of bliss and carelessness to be had, facilitated of course, by impeccable musicological gems such as this.  This record is a three-month vacation encased in polycarbonate plastic and vaporized aluminum, one that you'll never get tired of revisiting each time the aforementioned shit hits the fan.  Many of Bruce's greats are found on this album - "Born in the USA", "Dancing in the Dark", "I'm On Fire", "Glory Days" and "My Hometown" are the ones you may know best.  But then there's the rest - "Cover Me", "Working On The Highway", "No Surrender" and another four delightful ditties awaiting your discovery.  And they're ALL bloody good.  A+