Ever since the “unforeseen” success of their headlining single “Misery Business” from their album “Riot!”. Is Paramore here to remind us the “good old days” of punk rock and getting famous the old fashion way?
By: Vanessa Uy
Ever since their MTV debut via the single “Misery Business” aired on our local MTV affiliate, I thought that our local MTV Asia affiliate had mistakenly aired a circa 1989 power pop / punk video of a talented young band. I thought good bands like Paramore only exists15 to 20 years ago. Maybe I’m listening to 24 bit 192 KHz sampled Punk Rock reissues for far too long. Now that almost all of the under 25 “punk rockers” already knew them (I just turned 11 and I only discovered Paramore back in August 2007), here’s a much needed refresher course for the uninitiated. Named after a friend of the band mother’s maiden name Paramore is a Pop Punk (Power Pop?) band which hails from Franklin, Tennessee. Also after finding out that Paramore means “secret lover”, the band chose it. The band’s vocalist and primary center of attention is Haley Williams. Their current line-up by this time of writing includes lead guitarist Josh Farro and his brother Zac Farro on drums and bassist Jeremy Davis. Since today’s MTV – based music is primarily a visual medium the other members of Paramore can only be appreciated by ear because of the band’s “hot” vocalist.
Paramore was already busy “paying their dues” in the touring circuit since 2005. By April 2005, the band already signed to a record label. Then Paramore released their debut “All We Know Is Falling” in July 24, 2005 reaching #30 on Billboard’s Heatseekers Chart. Later in that year, Paramore was featured on the Shira Girl Stage of the 2005 Warped Tour. In 2006, Paramore released an EP titled “The Summer Tick”. Their first night on the Main Stage was at their hometown show of Nashville. Paramore’s first US headlining tour began on August 2, 2006 to a sold-out audience with support from This Providence. With this under their belts, Paramore was voted “Best New Band” by the readers’ poll of “Kerrang!” magazine.
By the start of 2007, Paramore was named by NME (is this the same NME circa-1980?) as one of ten bands to watch out for in the magazine’s “New Noise 2007” feature (the band Girlschool used to be on that list back in 1980!). In addition to this accolade, the band played an acoustic set for the grand opening of a “Warped Tour” exhibit at the Rock n’ Roll Hall of Fame that opened in January. The dress worn by Paramore’s vocalist Haley Williams for the “Emergency” music video was also put into the exhibit (Queer Eye alert!). And by the recording and release of “Riot!” around June 2007, Paramore already mastered the ropes of studio and live- gigs. By December 7, 2007 CNN ran a news feature about next years Grammy nominees lists Paramore as one of the Best New Artists.
To me, it seems like new bands that seek fame and recognition via the old fashion way i.e. “paying their dues” on the touring circuit and in the studio seems to scare the hell out of MTV’s current incarnation – or is this just endemic in MTV’s ASEAN franchise? Aspiring bands should be exposed to young and gifted talents like the band Paramore in order to end this endemic batch of major label crap (and surprisingly young “talent”) that only current “Media Pirates” seem to cherish because they can earn money from it.
Showing posts with label Music Reviews. Show all posts
Showing posts with label Music Reviews. Show all posts
Friday, December 21, 2007
Friday, November 9, 2007
Remembering Lucky Dube
A singer / performer with enough clout to temporarily stop on – going civil conflicts, the world and Reggae fans now mourn the passing of Lucky Dube.
By: Vanessa Uy
When the Reggae star Lucky Dube was shot in front of his children on October 18, 2007 after an attempted carjacking, the ongoing epidemic of violent crime in South Africa gained worldwide attention. This incident even casts doubts on South African government’s ability to keep peace and order on the coming 2010 World Cup. Despite meeting an untimely end, Lucky Dube lived a life that’s way more interesting than his death.
With a music career that spans 25 years, Lucky Dube has recorded 20 albums. He sang in Africaan, Zulu and English. Strangely though, he is more famous overseas than in his homeland of South Africa. During the 1980’s Apartheid-era South Africa, Lucky Dube used his music to inspire Black South Africans for a non- violent struggle against Apartheid rule.
Lucky Dube’s finest hour came during the 1990’s when his fame had earned him enough clout to temporarily suspend on-going battles in African conflict zones like Liberia and the Democratic Republic of Congo. In June 1999, Lucky Dube performed one of his famed 3-hour long shows in Monrovia, Liberia where the said show allowed a cessation of hostilities between the warring factions. The warring factions are willing to temporarily suspend their fighting just to attend a Lucky Dube concert. These fighters really are dedicated fans. Lucky Dube is also big in the US. He frequently played venues in Miami, Florida and in Atlanta, Georgia.
Despite being regarded as the current “gold standard” when it comes to Reggae music, and Lucky’s fans swear that he’s the spiritual heir of the Reggae legend Bob Marley. Lucky Dube’s allegiance to the Rastafarian faith was more academic than spiritual because in interviews he says he doesn’t use marijuana / cannabis. To the uninitiated, the spiritual side of the Rastafarian faith revolves around Emperor Haile Selassie of Ethiopia (the one deposed from power on September 12, 1974) and the Emperors lineage to King Solomon and the Queen of Sheba plus the “Lion of Judah” references.
Ever since releasing his debut album “Rastas Never Die”, Lucky Dube has indeed come a long way. When he played in the Live 8 Concert in Johannesburg, South Africa, Lucky Dube indeed took Reggae music back to Africa – the music’s spiritual homeland. I just hope that his latest album “Soul Taker” won’t be used by Lucky Dube’s fans as an epitaph of his music career but rather a celebration of his artistry and his quest for a better world. The official Lucky Dube Website is at www.luckydubemusic.com .
By: Vanessa Uy
When the Reggae star Lucky Dube was shot in front of his children on October 18, 2007 after an attempted carjacking, the ongoing epidemic of violent crime in South Africa gained worldwide attention. This incident even casts doubts on South African government’s ability to keep peace and order on the coming 2010 World Cup. Despite meeting an untimely end, Lucky Dube lived a life that’s way more interesting than his death.
With a music career that spans 25 years, Lucky Dube has recorded 20 albums. He sang in Africaan, Zulu and English. Strangely though, he is more famous overseas than in his homeland of South Africa. During the 1980’s Apartheid-era South Africa, Lucky Dube used his music to inspire Black South Africans for a non- violent struggle against Apartheid rule.
Lucky Dube’s finest hour came during the 1990’s when his fame had earned him enough clout to temporarily suspend on-going battles in African conflict zones like Liberia and the Democratic Republic of Congo. In June 1999, Lucky Dube performed one of his famed 3-hour long shows in Monrovia, Liberia where the said show allowed a cessation of hostilities between the warring factions. The warring factions are willing to temporarily suspend their fighting just to attend a Lucky Dube concert. These fighters really are dedicated fans. Lucky Dube is also big in the US. He frequently played venues in Miami, Florida and in Atlanta, Georgia.
Despite being regarded as the current “gold standard” when it comes to Reggae music, and Lucky’s fans swear that he’s the spiritual heir of the Reggae legend Bob Marley. Lucky Dube’s allegiance to the Rastafarian faith was more academic than spiritual because in interviews he says he doesn’t use marijuana / cannabis. To the uninitiated, the spiritual side of the Rastafarian faith revolves around Emperor Haile Selassie of Ethiopia (the one deposed from power on September 12, 1974) and the Emperors lineage to King Solomon and the Queen of Sheba plus the “Lion of Judah” references.
Ever since releasing his debut album “Rastas Never Die”, Lucky Dube has indeed come a long way. When he played in the Live 8 Concert in Johannesburg, South Africa, Lucky Dube indeed took Reggae music back to Africa – the music’s spiritual homeland. I just hope that his latest album “Soul Taker” won’t be used by Lucky Dube’s fans as an epitaph of his music career but rather a celebration of his artistry and his quest for a better world. The official Lucky Dube Website is at www.luckydubemusic.com .
Saturday, September 29, 2007
Avril Lavigne: The Best Damn Thing Ever?
Did Avril Lavigne inadvertently create an “Edsel” when she set out to write the songs on her third album?
By: Vanessa Uy
The title of this blog would have been “Ten Questions About Avril Lavigne That the Press and Her Fans Were Afraid to Ask”. Those “ten questions” could still crop up as we go along, but first lets take an in-depth view of Avril Lavigne’s third album.
“The Best Damn Thing” (RCA88697 03174-2) is Avril Lavigne’s third and latest release. Also RCA records released her two previous albums – “Let Go” and “Under My Skin” – which I paid full price (I also own a number of rare 7” vinyl of Avril Lavigne’s singles). Luckily I acquired “Best Damn Thing” for free since I won the CD from a local FM radio contest.
Compared to her two previous albums, me – and anyone I knew whose musical tastes more or less mirrors my own – were disappointed by Avril Lavigne’s “Best Damn Thing”. Was it the headline single “Girlfriend”? The answer is a big juicy yes for the reasons not just from the song being overplayed by the local FM stations or the local mall’s P.A. system. To us – especially me – “Girlfriend” has the hallmarks of being a mere “product”, no more or less inspired than a half-decent NBA or NFL halftime show or Britney Spears showing her privates. After the second to third time I heard the song “Girlfriend”, I had a “Road to Damascus Epiphany” on the true meaning of the term bubblegum-pop. Despite the happy “disposition, the “apparently” catchy hooks and lively beats fails to save “Girlfriend” from having the holistic integrity of Avril Lavigne’s “sadder” songs.
All of this made me wonder if the artistic quality / merit of Avril Lavigne’s performance demos being sent to RCA back in 2001 or 2002 sounds like her “Best Damn Thing” album. The A & R executives (talent scouts) of RCA would seriously reconsider about signing Avril Lavigne up – to the point of not signing her up.
The saving grace of this album is the torch song (?) “Pieces of My Heart”. But still I wonder if this song’s beauty is the result of Avril Lavigne’s excellent songcraft or the song’s music video - which is in heavy MTV rotation this past few months since the American “Credit Crunch.”
The way I see it, Avril Lavigne – for reasons that still elude me – has sacrificed her artistic integrity in exchange for more money. I mean she’s quite busy since Memorial Day pandering to the Anglo-Saxon Protestant / Evangelical community of America by implying that she’s a viable, kid-safe replacement for Michael Jackson. The way she talks about “God” in her MTV interviews could “Anglo-Saxonify” Jesus Christ to the point of looking like Conan O’Brien.
I mean if Avril Lavigne was around during that crucial period in 1988–1989. Where the Parents Music Resource Center (PMRC), which was headed by Tipper Gore - wife of Al “An Inconvenient Truth” Gore. Was then reaching out to the teens of America at that time to help them fulfil their core mission of making the REAGANISM of Jerry Falwell’s Moral Majority a way of life to a whole generation of American teenagers. To me back then, Avril Lavigne would have no choice other than to become a herald of Jerry Falwell and the Moral Majority’s “Imperial Ambitions” because her “musical” competitions in the pop charts circa 1989 are very weak, which primarily makes Avril very rich. The mediocrity of Milli Vanilli alone would make Avril Lavigne a wholesome, child friendly substitute to Axl Rose. Avril Lavigne would single handedly save PMRC -if only this hypothetical situation can be made real. Except that 99% of her fans don’t even know what PMRC is or if they even care about the time when the game show host Howie Mandel of “Deal or No Deal” was still in “St. Elsewhere”. This makes a good book / novel don’t you think?
But in Avril Lavigne’s defense, living in the “Stepford Wives-ville” that we call Anglo-Saxon America (Sen. John Edward’s “Other America”) had probably made her extremely unhappy. Empty materialism can be such a drag. The way I see it, Avril probably needs the millions of dollars in revenue that her “talent” provides, just to achieve the same levels of happiness experienced by pastoral folk like the Kalahari “Bushmen” of Sub-Saharan Africa. If Avril Lavigne does something similar to what The Beatles did with the Maharishi Mahesh Yogi back in 1967 maybe by incorporating Sufi or Druse mysticism into her lifestyle. Will this do wonders to her “creative process” without sacrificing the millions of dollars that she earns? I think –at the present Bush / Neo Conservative administration - its way too risky to her preferred charity organization: War Child. Will Avril Lavigne’s artistic appeal be lost amidst the millions of dollars in royalties? Praise Goddess for my way overplayed Paramore “promotional” DVD.
By: Vanessa Uy
The title of this blog would have been “Ten Questions About Avril Lavigne That the Press and Her Fans Were Afraid to Ask”. Those “ten questions” could still crop up as we go along, but first lets take an in-depth view of Avril Lavigne’s third album.
“The Best Damn Thing” (RCA88697 03174-2) is Avril Lavigne’s third and latest release. Also RCA records released her two previous albums – “Let Go” and “Under My Skin” – which I paid full price (I also own a number of rare 7” vinyl of Avril Lavigne’s singles). Luckily I acquired “Best Damn Thing” for free since I won the CD from a local FM radio contest.
Compared to her two previous albums, me – and anyone I knew whose musical tastes more or less mirrors my own – were disappointed by Avril Lavigne’s “Best Damn Thing”. Was it the headline single “Girlfriend”? The answer is a big juicy yes for the reasons not just from the song being overplayed by the local FM stations or the local mall’s P.A. system. To us – especially me – “Girlfriend” has the hallmarks of being a mere “product”, no more or less inspired than a half-decent NBA or NFL halftime show or Britney Spears showing her privates. After the second to third time I heard the song “Girlfriend”, I had a “Road to Damascus Epiphany” on the true meaning of the term bubblegum-pop. Despite the happy “disposition, the “apparently” catchy hooks and lively beats fails to save “Girlfriend” from having the holistic integrity of Avril Lavigne’s “sadder” songs.
All of this made me wonder if the artistic quality / merit of Avril Lavigne’s performance demos being sent to RCA back in 2001 or 2002 sounds like her “Best Damn Thing” album. The A & R executives (talent scouts) of RCA would seriously reconsider about signing Avril Lavigne up – to the point of not signing her up.
The saving grace of this album is the torch song (?) “Pieces of My Heart”. But still I wonder if this song’s beauty is the result of Avril Lavigne’s excellent songcraft or the song’s music video - which is in heavy MTV rotation this past few months since the American “Credit Crunch.”
The way I see it, Avril Lavigne – for reasons that still elude me – has sacrificed her artistic integrity in exchange for more money. I mean she’s quite busy since Memorial Day pandering to the Anglo-Saxon Protestant / Evangelical community of America by implying that she’s a viable, kid-safe replacement for Michael Jackson. The way she talks about “God” in her MTV interviews could “Anglo-Saxonify” Jesus Christ to the point of looking like Conan O’Brien.
I mean if Avril Lavigne was around during that crucial period in 1988–1989. Where the Parents Music Resource Center (PMRC), which was headed by Tipper Gore - wife of Al “An Inconvenient Truth” Gore. Was then reaching out to the teens of America at that time to help them fulfil their core mission of making the REAGANISM of Jerry Falwell’s Moral Majority a way of life to a whole generation of American teenagers. To me back then, Avril Lavigne would have no choice other than to become a herald of Jerry Falwell and the Moral Majority’s “Imperial Ambitions” because her “musical” competitions in the pop charts circa 1989 are very weak, which primarily makes Avril very rich. The mediocrity of Milli Vanilli alone would make Avril Lavigne a wholesome, child friendly substitute to Axl Rose. Avril Lavigne would single handedly save PMRC -if only this hypothetical situation can be made real. Except that 99% of her fans don’t even know what PMRC is or if they even care about the time when the game show host Howie Mandel of “Deal or No Deal” was still in “St. Elsewhere”. This makes a good book / novel don’t you think?
But in Avril Lavigne’s defense, living in the “Stepford Wives-ville” that we call Anglo-Saxon America (Sen. John Edward’s “Other America”) had probably made her extremely unhappy. Empty materialism can be such a drag. The way I see it, Avril probably needs the millions of dollars in revenue that her “talent” provides, just to achieve the same levels of happiness experienced by pastoral folk like the Kalahari “Bushmen” of Sub-Saharan Africa. If Avril Lavigne does something similar to what The Beatles did with the Maharishi Mahesh Yogi back in 1967 maybe by incorporating Sufi or Druse mysticism into her lifestyle. Will this do wonders to her “creative process” without sacrificing the millions of dollars that she earns? I think –at the present Bush / Neo Conservative administration - its way too risky to her preferred charity organization: War Child. Will Avril Lavigne’s artistic appeal be lost amidst the millions of dollars in royalties? Praise Goddess for my way overplayed Paramore “promotional” DVD.
Tuesday, September 25, 2007
Lunachicks: The Epitome of Punk Rock Creativity?
During this age of “same-sounding-Billboard-chart-downloaded-to-iPod” phase of pop music, one wonders of the existence of an active government conspiracy 10 years ago – a la X-Files – bent on keeping the band Lunachicks in relative obscurity?
By: Vanessa Uy
The first time I listened to Lunachicks was during a point in my life that could be considered “musically” tumultuous. I was 8 at the time when I knew that achieving Joe Satriani like levels of guitar virtuosity is second nature to me. Avril Lavigne’s debut album was conquering the local airwaves unabated when I’m starting to wonder if my newly found virtuosity will only be in vogue in classical music circles (or 1980’s hair metal bands). My guitar skills will always be a legal way for me to achieve easy money by being a session musician, but it’s only fair to thank the band Lunachicks for keeping me sane during this past few years.
First formed way back in 1987 Lunachiks were said to be discovered by Kim Gordon and Thurston Moore of Sonic Youth at their second gig. The two members of Sonic Youth thought that Lunachicks were a “noise band” – but in actuality- Lunachicks hadn’t learned how to play their instruments yet at the time. A few years later –in 1990 – Lunachicks released their debut album titled “Baby Sitters on Acid” on the record label Blast First. Baby Sitters on Acid “is” the only Lunachicks album that I haven’t heard or owned yet (CD or LP only offers please).
The principal members of Lunachicks are: Theo on lead vocals full name Theo Kogan, stands a full 6 feet and extensively works as a model in the NYC area. Gina (full name Gina Volpe) on guitars and vocals. Squid (Sydney Silver), on bass guitar and vocal duties. Becky Wreck a.k.a. Susan Rebecca Lloyd was their drummer during their first two albums. Chip, (Chip English) replaced Becky about the time when Lunachicks signed up with Go-Kart records – a legendary New York based independent music record label. Sindi, (Sindi Benezra Valsamis) served as the bands other guitarist from 1987 but she’s no longer with the band during the 1998 leg of their tour. Helen Destroy served as the band’s drummer from 2000 to 2001.
After achieving a substantial cult following and critical acclaim from their Baby Sitters on Acid album, Lunachicks released “Binge and Purge” on the Safe House record label in 1992. The album served as a creative template for the succeeding Lunachicks albums. With songs about female masturbation whose lyrical descriptions rival those of Jonathan Swift’s literary description of defecation on his book “Gulliver’s Travels.” As a Punk Rock band, Lunachicks’ uniqueness is the result of their unabashed use of “technical” guitar playing which is the preserve of 1980’s “hair metal” bands.
Lunachicks came into their own when they signed up with Go-Kart records. A friend of Greg Ross once told him to sign Lunachicks because they are NYC’s most popular “indie” band. Around 1995, Go-Kart was still a fledgling record label but as luck would have it Lunachicks signed up with Go-Kart. In May 1, 1995, Go-Kart released Lunachicks’ third full-length album – “Jerk of all Trades.” Because of their popularity, Lunachicks single-handedly became the label’s financial bread-and-butter. During the later half of 1995, Lunachicks toured with “alternative / indie” bands made famous by MTV circa 1995 like Offspring, Marilyn Manson, Luscious Jackson, Rancid, and Reverend Horton Heat.
In February 18,1997, Lunachicks released “Pretty Ugly” on Go-Kart. It’s rare for them to retain the same record label in releasing a new album, but they might have been satisfied on what Go-Kart records did to the band’s career. A quirk about this album is the title track –“Pretty Ugly” was released on a Go-Kart records compilation titled “GO-KART VS. THE CORPORATE GIANT”. Production value-wise, “Pretty Ugly” is somewhat too bass heavy a recording for a Punk Rock band. Either they are following a trend – Massive Attack, Portishead and Trent Reznor / Nine-Inch-Nails - at the time were releasing albums with ridiculous amounts of bass which were selling like hotcakes- or experimenting. Back then, a friend of mine damaged his US$1,500 Velodyne sub woofer during the song “What’s Left” when he played the song at unamplified-drum-kit-sound-pressure-levels. Mind you his audio rig easily passed muster playing other well-recorded drum kit recordings at their natural/unamplified sound pressure levels (105-110 dB SPL). Remember, at that level of loudness the stereo set up should make the recorded sound of the drum kit sound like a real drum kit the way God and Her infinite wisdom intended to sound in nature.
In 1998, Lunachicks released “Drop Dead Live” which to me is probably the best Live Rock Concert album of all time in sound quality terms. Rivaling that of Kiss’ “Alive” and Cheap Trick’s “Live at Budokan”. This is where –as a live band – Lunachicks’ performance rivals that of Iron Maiden circa 1984. This just proves that independent labels –like Go-Kart – good sound quality comes naturally.
In 1999 while still with Go-Kart records, Lunachicks released “Luxury Problem”. I think –as epitomes of the Punk Rock ideal – Lunachicks became somewhat “uncomfortable” with their popularity in the audiophile community chose to record their “Luxury Problem” album with heavy amounts of audio compression and “dry” i.e. no reverb. But the resulting sound quality made the recording sound as if Lunachicks are playing in the cramped confines of a typical Punk Rock venue in New York City like CBGB’s. Are they trying to mimic the godfathers of Punk – The Ramones – on this recording? The tattoo art world / culture references are still present though.
From 2001 onwards, the band’s tour itinerary has gone from few to nonexistent. The band’s members are busy with their “other jobs.” Gina is now the lead singer and guitarist of the band Bantam. Theo now play’s with Theo and the Skyscrapers. Theo also appeared in the movie Zoolander, you know, the tattooed woman in Hansel’s loft. Becky was the drummer for the Blair Bitch Project back in 2000. Helen Destroy plays drums in the all-female Led Zeppelin tribute band Lez Zeppelin (The Lesbian Led Zeppelin?). Squid is currently working as a tattoo artist. I wonder if Squid did Theo’s tattoos?
Despite of their album’s quirks sound quality wise, it’s really hard to pick a single favorite album from Lunachicks. It’s like picking a best Mark Levinson amplifier. To me, Lunachicks’ influence reached beyond the confines of Punk Rock. Theo grazed the cover of Tattoo Magazine’s international edition and probably influenced a generation of women on their taste in fashion. They made some “conventional guys” that I know into loyal fans even though these guys are Soldier of Fortune types who helped Zimbabwe to become independent back in 1980 even though the country has bee going to hell recently. Some used to roam downtown Grozny, Chechnya with Kalashnikovs back in 1992. They don’t care about the “Brickface and Stucco” connotations, to them it’s all about the music and one’s “preferences” is his or her own business not the Government or the Church or whatever.
The songs that stuck on me are “FDS” from Jerk, which sounds like a Broadway show tune Punk Metal hybrid. I also like “Bitterness Barbie” for reasons that might result in me writing a 250 page Doctoral Thesis about what is wrong with George W. Bush and his neo-conservatives. “Spoilt” for it’s critique on Capitol Hill / Wall Street Imperialism that required the sacrifice of working class American blood in running it. And who could forget “Fallopian Rhapsody”, the Roe v Wade question that nobody seems to care or the American women whose voices are silenced by the Moral Majority / Right Wing Christian extremists. Remember the January 16, 1997 Sandy Springs incident?
To me, Lunachicks deserve multi-platinum status. Their drummer Chip’s been playing like they already had one. When the Suicide Girls appeared in Jerry Bruckheimer’s CSI New York, I thought would an appearance by Lunachicks be not far behind? Or is that prospect as viable as a Henry Rollins – Black Flag reunion tour?
Lately, a new band called Paramore whose promotional DVD was given to me from a sympathethic friend who works our local Kuwait Fund facility. To me Paramore's artistry could well rival that of Lunachicks, but it's too soon to tell.
By: Vanessa Uy
The first time I listened to Lunachicks was during a point in my life that could be considered “musically” tumultuous. I was 8 at the time when I knew that achieving Joe Satriani like levels of guitar virtuosity is second nature to me. Avril Lavigne’s debut album was conquering the local airwaves unabated when I’m starting to wonder if my newly found virtuosity will only be in vogue in classical music circles (or 1980’s hair metal bands). My guitar skills will always be a legal way for me to achieve easy money by being a session musician, but it’s only fair to thank the band Lunachicks for keeping me sane during this past few years.
First formed way back in 1987 Lunachiks were said to be discovered by Kim Gordon and Thurston Moore of Sonic Youth at their second gig. The two members of Sonic Youth thought that Lunachicks were a “noise band” – but in actuality- Lunachicks hadn’t learned how to play their instruments yet at the time. A few years later –in 1990 – Lunachicks released their debut album titled “Baby Sitters on Acid” on the record label Blast First. Baby Sitters on Acid “is” the only Lunachicks album that I haven’t heard or owned yet (CD or LP only offers please).
The principal members of Lunachicks are: Theo on lead vocals full name Theo Kogan, stands a full 6 feet and extensively works as a model in the NYC area. Gina (full name Gina Volpe) on guitars and vocals. Squid (Sydney Silver), on bass guitar and vocal duties. Becky Wreck a.k.a. Susan Rebecca Lloyd was their drummer during their first two albums. Chip, (Chip English) replaced Becky about the time when Lunachicks signed up with Go-Kart records – a legendary New York based independent music record label. Sindi, (Sindi Benezra Valsamis) served as the bands other guitarist from 1987 but she’s no longer with the band during the 1998 leg of their tour. Helen Destroy served as the band’s drummer from 2000 to 2001.
After achieving a substantial cult following and critical acclaim from their Baby Sitters on Acid album, Lunachicks released “Binge and Purge” on the Safe House record label in 1992. The album served as a creative template for the succeeding Lunachicks albums. With songs about female masturbation whose lyrical descriptions rival those of Jonathan Swift’s literary description of defecation on his book “Gulliver’s Travels.” As a Punk Rock band, Lunachicks’ uniqueness is the result of their unabashed use of “technical” guitar playing which is the preserve of 1980’s “hair metal” bands.
Lunachicks came into their own when they signed up with Go-Kart records. A friend of Greg Ross once told him to sign Lunachicks because they are NYC’s most popular “indie” band. Around 1995, Go-Kart was still a fledgling record label but as luck would have it Lunachicks signed up with Go-Kart. In May 1, 1995, Go-Kart released Lunachicks’ third full-length album – “Jerk of all Trades.” Because of their popularity, Lunachicks single-handedly became the label’s financial bread-and-butter. During the later half of 1995, Lunachicks toured with “alternative / indie” bands made famous by MTV circa 1995 like Offspring, Marilyn Manson, Luscious Jackson, Rancid, and Reverend Horton Heat.
In February 18,1997, Lunachicks released “Pretty Ugly” on Go-Kart. It’s rare for them to retain the same record label in releasing a new album, but they might have been satisfied on what Go-Kart records did to the band’s career. A quirk about this album is the title track –“Pretty Ugly” was released on a Go-Kart records compilation titled “GO-KART VS. THE CORPORATE GIANT”. Production value-wise, “Pretty Ugly” is somewhat too bass heavy a recording for a Punk Rock band. Either they are following a trend – Massive Attack, Portishead and Trent Reznor / Nine-Inch-Nails - at the time were releasing albums with ridiculous amounts of bass which were selling like hotcakes- or experimenting. Back then, a friend of mine damaged his US$1,500 Velodyne sub woofer during the song “What’s Left” when he played the song at unamplified-drum-kit-sound-pressure-levels. Mind you his audio rig easily passed muster playing other well-recorded drum kit recordings at their natural/unamplified sound pressure levels (105-110 dB SPL). Remember, at that level of loudness the stereo set up should make the recorded sound of the drum kit sound like a real drum kit the way God and Her infinite wisdom intended to sound in nature.
In 1998, Lunachicks released “Drop Dead Live” which to me is probably the best Live Rock Concert album of all time in sound quality terms. Rivaling that of Kiss’ “Alive” and Cheap Trick’s “Live at Budokan”. This is where –as a live band – Lunachicks’ performance rivals that of Iron Maiden circa 1984. This just proves that independent labels –like Go-Kart – good sound quality comes naturally.
In 1999 while still with Go-Kart records, Lunachicks released “Luxury Problem”. I think –as epitomes of the Punk Rock ideal – Lunachicks became somewhat “uncomfortable” with their popularity in the audiophile community chose to record their “Luxury Problem” album with heavy amounts of audio compression and “dry” i.e. no reverb. But the resulting sound quality made the recording sound as if Lunachicks are playing in the cramped confines of a typical Punk Rock venue in New York City like CBGB’s. Are they trying to mimic the godfathers of Punk – The Ramones – on this recording? The tattoo art world / culture references are still present though.
From 2001 onwards, the band’s tour itinerary has gone from few to nonexistent. The band’s members are busy with their “other jobs.” Gina is now the lead singer and guitarist of the band Bantam. Theo now play’s with Theo and the Skyscrapers. Theo also appeared in the movie Zoolander, you know, the tattooed woman in Hansel’s loft. Becky was the drummer for the Blair Bitch Project back in 2000. Helen Destroy plays drums in the all-female Led Zeppelin tribute band Lez Zeppelin (The Lesbian Led Zeppelin?). Squid is currently working as a tattoo artist. I wonder if Squid did Theo’s tattoos?
Despite of their album’s quirks sound quality wise, it’s really hard to pick a single favorite album from Lunachicks. It’s like picking a best Mark Levinson amplifier. To me, Lunachicks’ influence reached beyond the confines of Punk Rock. Theo grazed the cover of Tattoo Magazine’s international edition and probably influenced a generation of women on their taste in fashion. They made some “conventional guys” that I know into loyal fans even though these guys are Soldier of Fortune types who helped Zimbabwe to become independent back in 1980 even though the country has bee going to hell recently. Some used to roam downtown Grozny, Chechnya with Kalashnikovs back in 1992. They don’t care about the “Brickface and Stucco” connotations, to them it’s all about the music and one’s “preferences” is his or her own business not the Government or the Church or whatever.
The songs that stuck on me are “FDS” from Jerk, which sounds like a Broadway show tune Punk Metal hybrid. I also like “Bitterness Barbie” for reasons that might result in me writing a 250 page Doctoral Thesis about what is wrong with George W. Bush and his neo-conservatives. “Spoilt” for it’s critique on Capitol Hill / Wall Street Imperialism that required the sacrifice of working class American blood in running it. And who could forget “Fallopian Rhapsody”, the Roe v Wade question that nobody seems to care or the American women whose voices are silenced by the Moral Majority / Right Wing Christian extremists. Remember the January 16, 1997 Sandy Springs incident?
To me, Lunachicks deserve multi-platinum status. Their drummer Chip’s been playing like they already had one. When the Suicide Girls appeared in Jerry Bruckheimer’s CSI New York, I thought would an appearance by Lunachicks be not far behind? Or is that prospect as viable as a Henry Rollins – Black Flag reunion tour?
Lately, a new band called Paramore whose promotional DVD was given to me from a sympathethic friend who works our local Kuwait Fund facility. To me Paramore's artistry could well rival that of Lunachicks, but it's too soon to tell.
Friday, June 15, 2007
30 Centuries of Scott Walker
A retrospective on a career that spans from being a lead singer for the Walker Brothers to “The Drift” album, will a documentary on Scott Walker’s creative process shed more light on his artistry?
By: Vanessa Uy
“Scott Walker: 30 Century Man” a “Rockumentary” released to whet the appetite of dedicated Scott Walker fans. Being young, I’ve only known Scott Walker’s circa 1960’s musical career with the Walker Brothers after seeing this documentary. I never knew that the Walker Brothers’ fame at the time rivaled that of The Beatles. Also, the deep baritone voiced Scott Walker was named as one of the most influential people of Rock music history and one of his famed admirers were David Bowie. Despite of this, Scott Walker is not exactly a household name in either Britain or America. But if you can manage to find a dedicated fan from both sides of the Atlantic (there are more of them than you think), you might gain a first-hand experience of what it means to be a dedicated Scott Walker fan.
After his success during the 1960’s, Scott Walker withdrew from the public limelight. Now 64 years old, Scott Walker still receive god-like devotion from his fans and most of them (even the under 35’s) claim that they stuck by him since the “Walker Brothers” days. “Scott Walker: 30 Century Man” is a documentary directed by Stephen Kijak documenting Scott Walker’s creative genius and his legacy with the attendant live performance footage from the 1960’s to the present. This documentary serves to spread awareness of Scott Walker’s works and even his existence (!) to the uninitiated.
In assessing the merits of “Scott Walker: 30 Century Man”, I also reevaluated my views on Scott Walker’s last two albums: “Tilt” and “The Drift”. I can say that Scott Walker is one of those gifted musicians who are terrified by fame even though he truly deserves praise for his talent. To me, Scott Walker probably single-handedly influenced the “anti-fashion” musical movement of the 1990’s with his Richard Wagner meets Heavy Metal style. After first hearing “Jesse” from Scott Walker’s “The Drift” album, my first impressions are- Did Scott Walker just invented a new genre of music? “Jesse” is a trippy sounding Oriental Modalism meets Guitar-Driven-Rock. This is a very radical departure from the sex-drugs-and-rock n’ roll that we have come to know and love of “conventional” Rock music. “Difficult avant- garde musician” is a description that comes to mind after hearing Scott Walker’s latest album. And the DVD of “Scott Walker: 30 Century Man” is also worth it because it caters to the uninitiated-and successfully-at that. Although the documentary raises more questions than answers about weather Rock music in its current format needs revision beyond its dogmatic “three chords and the truth” format.
If you like Keiji Haino or love those Miles Davis’ albums that are a tribute to the passing of Jimi Hendrix like “Bitches’ Brew” and “Agharta” then you will surely love this documentary and the attendant music. Scott Walker just reminded me why I love listening to music in the first place.
By: Vanessa Uy
“Scott Walker: 30 Century Man” a “Rockumentary” released to whet the appetite of dedicated Scott Walker fans. Being young, I’ve only known Scott Walker’s circa 1960’s musical career with the Walker Brothers after seeing this documentary. I never knew that the Walker Brothers’ fame at the time rivaled that of The Beatles. Also, the deep baritone voiced Scott Walker was named as one of the most influential people of Rock music history and one of his famed admirers were David Bowie. Despite of this, Scott Walker is not exactly a household name in either Britain or America. But if you can manage to find a dedicated fan from both sides of the Atlantic (there are more of them than you think), you might gain a first-hand experience of what it means to be a dedicated Scott Walker fan.
After his success during the 1960’s, Scott Walker withdrew from the public limelight. Now 64 years old, Scott Walker still receive god-like devotion from his fans and most of them (even the under 35’s) claim that they stuck by him since the “Walker Brothers” days. “Scott Walker: 30 Century Man” is a documentary directed by Stephen Kijak documenting Scott Walker’s creative genius and his legacy with the attendant live performance footage from the 1960’s to the present. This documentary serves to spread awareness of Scott Walker’s works and even his existence (!) to the uninitiated.
In assessing the merits of “Scott Walker: 30 Century Man”, I also reevaluated my views on Scott Walker’s last two albums: “Tilt” and “The Drift”. I can say that Scott Walker is one of those gifted musicians who are terrified by fame even though he truly deserves praise for his talent. To me, Scott Walker probably single-handedly influenced the “anti-fashion” musical movement of the 1990’s with his Richard Wagner meets Heavy Metal style. After first hearing “Jesse” from Scott Walker’s “The Drift” album, my first impressions are- Did Scott Walker just invented a new genre of music? “Jesse” is a trippy sounding Oriental Modalism meets Guitar-Driven-Rock. This is a very radical departure from the sex-drugs-and-rock n’ roll that we have come to know and love of “conventional” Rock music. “Difficult avant- garde musician” is a description that comes to mind after hearing Scott Walker’s latest album. And the DVD of “Scott Walker: 30 Century Man” is also worth it because it caters to the uninitiated-and successfully-at that. Although the documentary raises more questions than answers about weather Rock music in its current format needs revision beyond its dogmatic “three chords and the truth” format.
If you like Keiji Haino or love those Miles Davis’ albums that are a tribute to the passing of Jimi Hendrix like “Bitches’ Brew” and “Agharta” then you will surely love this documentary and the attendant music. Scott Walker just reminded me why I love listening to music in the first place.
Monday, April 23, 2007
Celebrating the Best of Osibisa
Here’s a band whose mission is to tell everyone there’s more to continental Africa than wars and despotic leaders.
By: Vanessa Uy
For all it’s worth, almost everyone I knew has a certain ignorant-leaning pre-conception about African music. Most of them conjure up sounds and images of 1930’s Johnny Weissmöler –era Tarzan. But lets face it, those of us who are “in the know” knew that it’s more than that.
Recently, all that we seem to hear about Africa is the crisis in the Darfur Region, “conflict diamonds” or what kind of atrocities the Zimbabwe strongman Robert Mugabe has inflicted upon his political rivals. Even one of the most trusted names in journalism, the BBC seems to have a fixation on the ugly facets of Africa. Well, as always, I’ve put it upon myself to explore what might have been to me an artistic expression that extols this continent’s rich cultural heritage: African Music.
The first time I heard “Celebration-The Best of Osibisa”, I was transported into a parallel universe: A universe were the Catholic Church gained enlightenment the same time Michaelangelo finished his paintings on the Sistine Chapel. A Catholic Church that learned the true meaning of “self-determination” and “human rights”; a universe were slavery was resolved in continental Africa without the European and American powers becoming entangled in its evil rigmarole. You know: an Africa whose art and culture was evolved by people who benefited from self-determination. We’re allowed to dream, aren’t we?
Osibisa are one of those bands that helped launch a new style of music back in 1970 called "Afro-Rock." Osibisa’s fusion of African music and Rock laid the groundwork for succeeding generations of African musicians to benefit the growing worldwide interest in African music. Witness the success of Paul Simon’s “Graceland” album whose roster of South African musicians gave them global exposure.
Osibisa, whose core members hailed from Ghana in West Africa, were catapulted to stardom on their gig in London back in 1970. Their albums became Afro-Rock classics like “Osibisa”, ”Wo Ya Ya”, ”Heads”, ”Superfly”, ”Welcome Home”, ”Ojah Awake” and “Mystic Energy” which collectively sold over 8 million copies-a feat no other African band has ever came close to.
Although passed over somewhat by the 1990’s World Music phenomenon that catapulted Nusrat Fateh Ali Khan to crossover stardom in the MTV circuit and specifically, the ascent to stardom of Siphó Gumede and Moses Taiwa Molelekwa at that time. Osibisa created more than any other band, the groundwork for the entire African Rock Music movement to become the vibrantly flourishing culture today.
“Celebration-The Best of Osibisa” is their greatest hits compilation. For the benefit of those who heard them the first time around, the tracks on this album include: “Everybody Happy”, “Happy Children”, “Wo Ya Ya”, “Welcome Home”, “Right Now”, “Ke Le Le” and others taken from their previous albums. Osibisa’s sound and message, even back in the turbulent times of the 1970’s where most of the African continent is in turmoil, has an optimism that anticipated 1990’s post-Apartheid South Africa. To me, this album is highly recommended to Bob Marley fans so that they may gain a deeper insight into the roots of Reggae and Rastafarian culture.
By: Vanessa Uy
For all it’s worth, almost everyone I knew has a certain ignorant-leaning pre-conception about African music. Most of them conjure up sounds and images of 1930’s Johnny Weissmöler –era Tarzan. But lets face it, those of us who are “in the know” knew that it’s more than that.
Recently, all that we seem to hear about Africa is the crisis in the Darfur Region, “conflict diamonds” or what kind of atrocities the Zimbabwe strongman Robert Mugabe has inflicted upon his political rivals. Even one of the most trusted names in journalism, the BBC seems to have a fixation on the ugly facets of Africa. Well, as always, I’ve put it upon myself to explore what might have been to me an artistic expression that extols this continent’s rich cultural heritage: African Music.
The first time I heard “Celebration-The Best of Osibisa”, I was transported into a parallel universe: A universe were the Catholic Church gained enlightenment the same time Michaelangelo finished his paintings on the Sistine Chapel. A Catholic Church that learned the true meaning of “self-determination” and “human rights”; a universe were slavery was resolved in continental Africa without the European and American powers becoming entangled in its evil rigmarole. You know: an Africa whose art and culture was evolved by people who benefited from self-determination. We’re allowed to dream, aren’t we?
Osibisa are one of those bands that helped launch a new style of music back in 1970 called "Afro-Rock." Osibisa’s fusion of African music and Rock laid the groundwork for succeeding generations of African musicians to benefit the growing worldwide interest in African music. Witness the success of Paul Simon’s “Graceland” album whose roster of South African musicians gave them global exposure.
Osibisa, whose core members hailed from Ghana in West Africa, were catapulted to stardom on their gig in London back in 1970. Their albums became Afro-Rock classics like “Osibisa”, ”Wo Ya Ya”, ”Heads”, ”Superfly”, ”Welcome Home”, ”Ojah Awake” and “Mystic Energy” which collectively sold over 8 million copies-a feat no other African band has ever came close to.
Although passed over somewhat by the 1990’s World Music phenomenon that catapulted Nusrat Fateh Ali Khan to crossover stardom in the MTV circuit and specifically, the ascent to stardom of Siphó Gumede and Moses Taiwa Molelekwa at that time. Osibisa created more than any other band, the groundwork for the entire African Rock Music movement to become the vibrantly flourishing culture today.
“Celebration-The Best of Osibisa” is their greatest hits compilation. For the benefit of those who heard them the first time around, the tracks on this album include: “Everybody Happy”, “Happy Children”, “Wo Ya Ya”, “Welcome Home”, “Right Now”, “Ke Le Le” and others taken from their previous albums. Osibisa’s sound and message, even back in the turbulent times of the 1970’s where most of the African continent is in turmoil, has an optimism that anticipated 1990’s post-Apartheid South Africa. To me, this album is highly recommended to Bob Marley fans so that they may gain a deeper insight into the roots of Reggae and Rastafarian culture.
Sunday, March 4, 2007
An Off-The-Beaten-Track Music Review
By: Vanessa Uy and Bones
As a 10 year old girl living in an impoverished country. I am lucky to be able to play around with my aunt’s and my new best bud’s record and CD collection. There’s this older dude who’s been romantically involved with my teen-aged aunt. I could say I like him but that would only incur the wrath of Child Services with their SWAT style Elian Gonzales type intervention.
Bones owns maybe close to a thousand CDs all of them original. Some are Mobile Fidelity Sound Labs and Chesky CDs that retail between PhP2,500 to PhP5,000 each. My aunt has about 75 LPs and some rare 7inch singles (Avril Lavigne singing Greenday’s Basket Case). It would be a pity if civilization falls or this country goes to hell -whichever comes first that no one will be able to listen to them. As a principle, we don’t review music downloads because their sound quality is either highly suspect or not up to our standards for long term listening. Unless they are available in high data rate formats like 24 bit 96 Khz digital or better. Or of topical interest like the latest Al-Qaeda chatter. We have good ears and fortunate enough don’t yet live in a war zone like downtown Baghdad.
Lets start with Vanessa’s 10 favorite CDs.They are in no particular order of excellence.Bones may also form an opinion on the following:
1.American Thighs by Veruca Salt (released 1995)
2.Little Earthquakes by Tori Amos (released 1991)
3.Ritual de lo Habitual by Janes Addiction (released 1990)
4.Under My Skin by Avril Lavigne (released 2004)
5.Liz Phair eponymous (released 2003)
6.Saturday Morning Cartoons Greatest Hits by various artists (released 1995)
7.Piece of Mind by Iron Maiden (released 1983)
8.Nature Film by Scrawl (released 1998)
9.If I Were A Carpenter by various artists (released 1994)
10.Rust in Peace by Megadeth (released 1990)
Majority of these albums are released way before I was born and almost all of them are American. Which serves as a critique to the music industry and our local talent. Get off your lazy asses and read Nietzsche you bums!
+ Vanessa’s review on American Thighs:
If I were to select an album, which describes my overall personality, it might be Veruca Salt’s American Thighs album. This is one of those albums, which I listen to from start to finish without skips in my listening sessions. It’s one of the most musical sounding CDs I’ve ever encountered. When I mean musical its when I can turn up Bones’ PhP500,000 audio system to garage band sound pressure levels (110 dB S.P.L.) without hurting my ears. I hope that someday I can find a vinyl LP of this album.
+ Bones’ review on American Thighs:
It’s safe for me to say that for more than a decade this album still has the goods to occupy in my personal top 10.Musical, you bet ,pump up the volume and the drums become almost real. Nina Gordon and Louise Post are one of my favorite vocal pairings.
+ Vanessa’s review on Little Earthquakes:
Bones told me a very interesting story about how he used to listen to Tori Amos’ piano playing back in 1992 to compose creatively fresh and interesting power chord runs via a Les Paul /Marshall set up. I also do the same thing somewhat in reverse. When I was 5 and taking piano lessons. I do power chord runs on the piano from the heavy metal songs I've heard like Judas Priest’s Breaking the Law and it turned out “Tori Amosy sounding”!
To me this album is musically and lyrically transendent. If Friedrich Nietzsche were to have a musical influence other than Richard Wagner, it would be Tori Amos. My favorite track here is “Tear In Your Hand” which is also Bones’ favorite.
+ Bones’ review on Little Earthquakes:
Vanessa almost described this album the way I would have to a T. I thought she liked “Precious Things” , a song about Tori Amos’ critique on Christian Slave Morality.
+ Vanessa’s review on Ritual de lo Habitual:
The LP I’ve used in this review is from my grandpa. It’s only an ordinary pressing ,not those fancy Mobile Fidelity Soundlabs version. But it’s a hell a lot better than the CD.I can play this louder than the CD. My Aunt May and Bones used to play this LP on my grandpa’s refurbished Linn turntable, and it kept the impure thoughts and deeds of my aunt and Bones from manifesting. Those two look like a Norman Rockwell painting everytime they listen to a good LP. Musically and lyrically this album probably defined the alternative rock movement of the 1990’s. The songs are about addiction , dependence and those other things (feminism in the 1980’s?) that are anathema to anglo-saxon machismo. To me, Janes Addiction reinvented hard rock right then and there.
+ Bones’ review on Ritual de lo Habitual:
There’s something that I’m uncomfortable with Janes Addiction. It’s not that the CD, recorded and produced maybe in the late 1980’s still has some audio bugs that most CD’s recorded in the mid 1990’s to present already left behind. And majority of modern rock recordings on CD are good at emulating that good ol’ LP sound. It’s the way Janes Addiction structures their songs. Like the song “Then She Did…” it’s structure is more akin to a Jazz Fusion band studying at Juilliard School of Music than a Punk band at CBGB’s. Which goes against the trend most bands are going through in the start of the 1990’s. At this time, most hard rock and heavy metal groups were exploring Punk circa 1977. But thanks to my eclectic musical taste my love affair with this album lasts until this day. And the better my stereo gets the better this album will sound. This could be defined as a healthy addiction.
+ Vanessa’s review on Under My Skin:
Avril Lavigne, the voice of my generation. Well, that statement kinda makes me feel a bit, just a bit, uncomfortable. As a songwriter, she’s up there with the best. Some critics compare her to Joni Mitchell. I’ve listened to Joni Mitchell’s album “Blue” a little while ago. Joni was the supposedly voice of my granma’s generation (she grew up in the 1970’s). I suspect Avril’s claim to fame as a generational mouthpiece is an unintended byproduct of the music industry’s failure to adapt to 21st Century marketing. But that could be seen as a can of worms that no one should dare open. Believe me when I say she’s the best ( she looks like my aunt ipso facto she’s pretty). She writes some personal stuff that has universal appeal, which as I last checked, made Jim Morrison and Kurt Cobain into “rock icons”. I just wish I haven’t heard this older chick called Liz Phair.
+ Bones’ review on Under My Skin:
I’ve read an article some time ago after the tech community declared victory against the Y2K Bug, which states that the future is a foreign country. I’ve became involved with Vanessa’s aunt about the same time when Avril Lavigne broke through the musical scene seemingly out of nowhere. Are young people today so different from us (both socially and culturally) folks who grew up during the time when Ronald Reagan was planning to use ray guns against an “Evil Empire”. Long story short, Vanessa’s aunt was into Star Trek and Friedrich Nietzsche thus another one odd pairing. Later she went to some air force/astronaut academy in the ‘States and I got stuck with some shrink punk kid. Avril Lavigne was labeled punk by the media for some time now which is kind of disconcerting for me. To me, whose been around when punk first came around, punk will always mean CBGB era Debbie Harry or Excene Cervenka of the band “X” or more contemporary ones like Lunachicks and 7Year Bitch. For me, Avril Lavigne is an excellent singer/songwriter. Another good thing she does is by donating a significant part of her earnings to ”Warchild” a humanitarian group which Vanessa and I may become involved when this country goes to hell. I just hope that before she turns 40, Avril will write a song similar to Lunachick’s “Spoilt” or “Fallopian Rhapsody”.
+ Vanessa’s review on Liz Phair’s eponymous album:
This album was released 2003 and only received the heavy radio and MTV rotation that it deserves around April or May 2004. The songs “Extraordinary” and “Why Can’t I ?” are used in famous movies, yet this album is unheard of in college-feminist-poseaur circles. You know, those types who don’t even know what the phrase “Three chords and the truth” means. Is this my favorite album of all time? Is the albums second track “Red Light Fever” an “Avril Killer”? Is “Red Light Fever” a song about Bones? To answer all those questions, give this album a spin, enlightenment never disappoints.
+ Bones’ review on Liz Phair’s eponymous album:
From the lady that brought us Exile In Guyville and Whipsmart (remember the song “Supernova”?). I’m showing my age here man. Liz Phair probably grew up worrying about the same things I do so I can’t help but relate to her songs. Most topics may be anathema to George W. Bush' America. But to me, great songs are like that. My favorite track here is “Red Light Fever”.Most guys aged 18 to 50 could relate to this song. It’s like looking into some Freudian mirror despite some smart ass 10 year old girl with a 219 IQ insistence to be my shrink. I may be a mensa type but I’m no “ubermensch”. I hope Vanessa doesn’t get this you’re-Tony Soprano-I’m-the-shrink-roleplay get over her head or spoil my listening enjoyment.
+ Vanessa’s review on Saturday Morning Cartoons Greatest Hits:
Bones grew up on this ritual of watching cartoons on Saturday mornings. From 8 to noon I reckon. Saturday Morning Cartoons, ain’t this some Politically Correct Catholic ritual? Where would Bones be today without these “cartoons”? A leader for the Aryan Nation or Neo-Nazi local chapter, or Osama Bin Laden’s second hand man, the possibilities are endless. So here’s an album that peers into Bones’ childhood. The versions remade here are way cooler than the originals. Like what they call “Perfect Yesteryears” which is one of the most cognitive disconnect ideas of all time. All of the songs are great that it’s hard to pick just one. My top 3 favorites are Liz Phair’s version of the Banana Splits theme song. Next is the garage-band-a-riffic sounding remake of the Josie and the Pussycats theme by Tanya Donnely (of the band Belly, one of Bones’ faves from the 1990’s) and Juliana Hatfield (she looks like Bones’ baby sister)
And the Popeye the Sailorman theme by the band “face to face” which contains one of the most frighteningly realistic sounding drum sounds ever recorded. I would have shared this album with my dad if he was ever around to raise me or to my mom if she would give a damn about Star Trek or Nietzsche.
+ Bones’ review on Saturday Morning Cartoons Greatest Hits:
Whoa, this album inspired some strong emotions from Vanessa. I’ve started to enjoy listening to this album maybe a year before she was born. After listening to this great album, watching those classic cartoons will never be the same again. This album passed my sound quality checklist with flying colors. Isn’t it ironic that most of the artists featured here have made albums of less than pristine sound quality.
+ Vanessa’s review on Piece of Mind:
Ahh, Iron Maiden. Why is it that most excellent metal bands are affiliated with Satan? To me, Satanism like Christian Slave Morality is an ideological crutch, it hinders rather than aids creativity. But in this album, Iron Maiden concentrates more on intellectual escapism (isn’t most of their songs about this idea?). Songs about science fiction adventures or great battles of the past are presented here with great musicianship. The Trooper is a good song for warming up my fingers, whether I’m playing guitar or cello.
+ Bones’ review on Piece of Mind:
Some people will say that The Trooper is the only redeeming song on this album. I began to seriously listen to this album back in 1995 using a Super Bit Mapped CD reissue. Even back then, this album held it’s own compared to post-Nirvana-grunge-wannabes. Good guitar musicianship and good songwriting can be found here in abundance. This is probably the best metal album of the 20th Century.
+ Vanessa’s review on Nature Film:
Scrawl is one of those obscure bands that I’ve immediately fell in love with. The album is filled with songs that Avril Lavigne might write when she turns 30. All of the songs were written from a time when America was the most technologically, morally, and socially advanced country in the world. Sadly the Clinton legacy hasn’t kept the course so to speak. My most favorite track here is “11:59(It’s January)”. I always thought this song is about the Y2K Bug, no, it’s one of those song that mirror Bones’ life.
+ Bones’ review on Nature Film:
Looks like someone want’s to play shrink as opposed to playing doctor. F.Y.I. , this country has a low opinion on shrinks. Like The Inquisition’s opinion on witches/feminists.
I first heard Scrawl back in 1993 from a radio program on NU107 called Not Radio. Despite numerous (?) media exposure and a Guitar World magazine interview, Scrawl seemed to have been denied the fame that they really deserved. In today’s George W. Bush’ America where even rational thought is considered a “left-leaning” view, the ideas presented in this album may seem anathema, even subversive. Is this album a beautiful swan song to a post-politically-apocalyptic America or a beautiful art form for it’s own sake? Only a good listen through can answer that. But I’ll promise you it would be one hell of a good listen.
+ Vanessa’s review on If I Where A Carpenter:
I’ve always thought that The Carpenters are my grandparent’s musical influence since they grew up listening to them. After listening to this grunge-ified ,garage band-ified versions of those songs, I’m sold. This is my favorite alt-rock albums of all time. Check out the Johnette Napolitano and Marc Moreland rework on the classic “Hurting Each Other” with its orchestral Les Paul and Marshall wall of sound.
+ Bones’ review on If I Where A Carpenter:
This is one of those very rare 1990’s alternative/grunge rock albums where the guitar playing musicianship is on par with the best heavy metal bands of the 1980’s. For some the albums musical aesthetic may be a not so easily acquired taste but it works for me.
+ Vanessa’s review on Rust in Peace:
The album’s title is about a utopian future where our stockpiled nuclear weapons lay idle. Megadeth is one of those bands pigeonholed for Satanism, thus leading me to ask “Why are those bands that are labeled Satanic are always very artistic?”. This is a guitar player’s dream album. I loved playing the guitar parts on the song “Tornado of Souls”. It provides a good workout routine for my fingers. Lately I made a bet with Bones that I’ll wear my ass as a hat if Avril Lavigne does what Dave Mustaine did on Tornado of Souls (i.e. great guitar playing) before she turns 30. Which leads me to wonder why bands today don’t do guitar playing like the one found on this album anymore?
+ Bones’ review on Rust in Peace:
Why is it that most artists, like painters and musicians, who are addicted to heroin are extremely talented? There’s one catch though, heroin addicts are extremely difficult to work with. As a certain MTV / VH1 documentary made 5 years ago and just shown recently in our local MTV channel, documents Megadeth frontman Dave Mustaine’s struggle with heroin. He missed important sessions and cancelled some important performance dates almost cost this band’s career. How much did this addiction contribute to his talent may be a loaded question at best, and always open to debate. But who am I to argue with a good work of art. Although I prefer “Cryptic Writings” as the best Megadeth album, one of my all time favorite songs is “Tornado of Souls” on their Rust in Peace album.
That concludes our review of Vanessa’s top 10 albums. Next time we’ll examine Bones’ favorites, some Islamic Devotional Music picks, and an exploration of Southern Baptist music like Sonny Treadway’s Jesus Will Fix It, a form of Christian Gospel music that we like. See ya next time.
As a 10 year old girl living in an impoverished country. I am lucky to be able to play around with my aunt’s and my new best bud’s record and CD collection. There’s this older dude who’s been romantically involved with my teen-aged aunt. I could say I like him but that would only incur the wrath of Child Services with their SWAT style Elian Gonzales type intervention.
Bones owns maybe close to a thousand CDs all of them original. Some are Mobile Fidelity Sound Labs and Chesky CDs that retail between PhP2,500 to PhP5,000 each. My aunt has about 75 LPs and some rare 7inch singles (Avril Lavigne singing Greenday’s Basket Case). It would be a pity if civilization falls or this country goes to hell -whichever comes first that no one will be able to listen to them. As a principle, we don’t review music downloads because their sound quality is either highly suspect or not up to our standards for long term listening. Unless they are available in high data rate formats like 24 bit 96 Khz digital or better. Or of topical interest like the latest Al-Qaeda chatter. We have good ears and fortunate enough don’t yet live in a war zone like downtown Baghdad.
Lets start with Vanessa’s 10 favorite CDs.They are in no particular order of excellence.Bones may also form an opinion on the following:
1.American Thighs by Veruca Salt (released 1995)
2.Little Earthquakes by Tori Amos (released 1991)
3.Ritual de lo Habitual by Janes Addiction (released 1990)
4.Under My Skin by Avril Lavigne (released 2004)
5.Liz Phair eponymous (released 2003)
6.Saturday Morning Cartoons Greatest Hits by various artists (released 1995)
7.Piece of Mind by Iron Maiden (released 1983)
8.Nature Film by Scrawl (released 1998)
9.If I Were A Carpenter by various artists (released 1994)
10.Rust in Peace by Megadeth (released 1990)
Majority of these albums are released way before I was born and almost all of them are American. Which serves as a critique to the music industry and our local talent. Get off your lazy asses and read Nietzsche you bums!
+ Vanessa’s review on American Thighs:
If I were to select an album, which describes my overall personality, it might be Veruca Salt’s American Thighs album. This is one of those albums, which I listen to from start to finish without skips in my listening sessions. It’s one of the most musical sounding CDs I’ve ever encountered. When I mean musical its when I can turn up Bones’ PhP500,000 audio system to garage band sound pressure levels (110 dB S.P.L.) without hurting my ears. I hope that someday I can find a vinyl LP of this album.
+ Bones’ review on American Thighs:
It’s safe for me to say that for more than a decade this album still has the goods to occupy in my personal top 10.Musical, you bet ,pump up the volume and the drums become almost real. Nina Gordon and Louise Post are one of my favorite vocal pairings.
+ Vanessa’s review on Little Earthquakes:
Bones told me a very interesting story about how he used to listen to Tori Amos’ piano playing back in 1992 to compose creatively fresh and interesting power chord runs via a Les Paul /Marshall set up. I also do the same thing somewhat in reverse. When I was 5 and taking piano lessons. I do power chord runs on the piano from the heavy metal songs I've heard like Judas Priest’s Breaking the Law and it turned out “Tori Amosy sounding”!
To me this album is musically and lyrically transendent. If Friedrich Nietzsche were to have a musical influence other than Richard Wagner, it would be Tori Amos. My favorite track here is “Tear In Your Hand” which is also Bones’ favorite.
+ Bones’ review on Little Earthquakes:
Vanessa almost described this album the way I would have to a T. I thought she liked “Precious Things” , a song about Tori Amos’ critique on Christian Slave Morality.
+ Vanessa’s review on Ritual de lo Habitual:
The LP I’ve used in this review is from my grandpa. It’s only an ordinary pressing ,not those fancy Mobile Fidelity Soundlabs version. But it’s a hell a lot better than the CD.I can play this louder than the CD. My Aunt May and Bones used to play this LP on my grandpa’s refurbished Linn turntable, and it kept the impure thoughts and deeds of my aunt and Bones from manifesting. Those two look like a Norman Rockwell painting everytime they listen to a good LP. Musically and lyrically this album probably defined the alternative rock movement of the 1990’s. The songs are about addiction , dependence and those other things (feminism in the 1980’s?) that are anathema to anglo-saxon machismo. To me, Janes Addiction reinvented hard rock right then and there.
+ Bones’ review on Ritual de lo Habitual:
There’s something that I’m uncomfortable with Janes Addiction. It’s not that the CD, recorded and produced maybe in the late 1980’s still has some audio bugs that most CD’s recorded in the mid 1990’s to present already left behind. And majority of modern rock recordings on CD are good at emulating that good ol’ LP sound. It’s the way Janes Addiction structures their songs. Like the song “Then She Did…” it’s structure is more akin to a Jazz Fusion band studying at Juilliard School of Music than a Punk band at CBGB’s. Which goes against the trend most bands are going through in the start of the 1990’s. At this time, most hard rock and heavy metal groups were exploring Punk circa 1977. But thanks to my eclectic musical taste my love affair with this album lasts until this day. And the better my stereo gets the better this album will sound. This could be defined as a healthy addiction.
+ Vanessa’s review on Under My Skin:
Avril Lavigne, the voice of my generation. Well, that statement kinda makes me feel a bit, just a bit, uncomfortable. As a songwriter, she’s up there with the best. Some critics compare her to Joni Mitchell. I’ve listened to Joni Mitchell’s album “Blue” a little while ago. Joni was the supposedly voice of my granma’s generation (she grew up in the 1970’s). I suspect Avril’s claim to fame as a generational mouthpiece is an unintended byproduct of the music industry’s failure to adapt to 21st Century marketing. But that could be seen as a can of worms that no one should dare open. Believe me when I say she’s the best ( she looks like my aunt ipso facto she’s pretty). She writes some personal stuff that has universal appeal, which as I last checked, made Jim Morrison and Kurt Cobain into “rock icons”. I just wish I haven’t heard this older chick called Liz Phair.
+ Bones’ review on Under My Skin:
I’ve read an article some time ago after the tech community declared victory against the Y2K Bug, which states that the future is a foreign country. I’ve became involved with Vanessa’s aunt about the same time when Avril Lavigne broke through the musical scene seemingly out of nowhere. Are young people today so different from us (both socially and culturally) folks who grew up during the time when Ronald Reagan was planning to use ray guns against an “Evil Empire”. Long story short, Vanessa’s aunt was into Star Trek and Friedrich Nietzsche thus another one odd pairing. Later she went to some air force/astronaut academy in the ‘States and I got stuck with some shrink punk kid. Avril Lavigne was labeled punk by the media for some time now which is kind of disconcerting for me. To me, whose been around when punk first came around, punk will always mean CBGB era Debbie Harry or Excene Cervenka of the band “X” or more contemporary ones like Lunachicks and 7Year Bitch. For me, Avril Lavigne is an excellent singer/songwriter. Another good thing she does is by donating a significant part of her earnings to ”Warchild” a humanitarian group which Vanessa and I may become involved when this country goes to hell. I just hope that before she turns 40, Avril will write a song similar to Lunachick’s “Spoilt” or “Fallopian Rhapsody”.
+ Vanessa’s review on Liz Phair’s eponymous album:
This album was released 2003 and only received the heavy radio and MTV rotation that it deserves around April or May 2004. The songs “Extraordinary” and “Why Can’t I ?” are used in famous movies, yet this album is unheard of in college-feminist-poseaur circles. You know, those types who don’t even know what the phrase “Three chords and the truth” means. Is this my favorite album of all time? Is the albums second track “Red Light Fever” an “Avril Killer”? Is “Red Light Fever” a song about Bones? To answer all those questions, give this album a spin, enlightenment never disappoints.
+ Bones’ review on Liz Phair’s eponymous album:
From the lady that brought us Exile In Guyville and Whipsmart (remember the song “Supernova”?). I’m showing my age here man. Liz Phair probably grew up worrying about the same things I do so I can’t help but relate to her songs. Most topics may be anathema to George W. Bush' America. But to me, great songs are like that. My favorite track here is “Red Light Fever”.Most guys aged 18 to 50 could relate to this song. It’s like looking into some Freudian mirror despite some smart ass 10 year old girl with a 219 IQ insistence to be my shrink. I may be a mensa type but I’m no “ubermensch”. I hope Vanessa doesn’t get this you’re-Tony Soprano-I’m-the-shrink-roleplay get over her head or spoil my listening enjoyment.
+ Vanessa’s review on Saturday Morning Cartoons Greatest Hits:
Bones grew up on this ritual of watching cartoons on Saturday mornings. From 8 to noon I reckon. Saturday Morning Cartoons, ain’t this some Politically Correct Catholic ritual? Where would Bones be today without these “cartoons”? A leader for the Aryan Nation or Neo-Nazi local chapter, or Osama Bin Laden’s second hand man, the possibilities are endless. So here’s an album that peers into Bones’ childhood. The versions remade here are way cooler than the originals. Like what they call “Perfect Yesteryears” which is one of the most cognitive disconnect ideas of all time. All of the songs are great that it’s hard to pick just one. My top 3 favorites are Liz Phair’s version of the Banana Splits theme song. Next is the garage-band-a-riffic sounding remake of the Josie and the Pussycats theme by Tanya Donnely (of the band Belly, one of Bones’ faves from the 1990’s) and Juliana Hatfield (she looks like Bones’ baby sister)
And the Popeye the Sailorman theme by the band “face to face” which contains one of the most frighteningly realistic sounding drum sounds ever recorded. I would have shared this album with my dad if he was ever around to raise me or to my mom if she would give a damn about Star Trek or Nietzsche.
+ Bones’ review on Saturday Morning Cartoons Greatest Hits:
Whoa, this album inspired some strong emotions from Vanessa. I’ve started to enjoy listening to this album maybe a year before she was born. After listening to this great album, watching those classic cartoons will never be the same again. This album passed my sound quality checklist with flying colors. Isn’t it ironic that most of the artists featured here have made albums of less than pristine sound quality.
+ Vanessa’s review on Piece of Mind:
Ahh, Iron Maiden. Why is it that most excellent metal bands are affiliated with Satan? To me, Satanism like Christian Slave Morality is an ideological crutch, it hinders rather than aids creativity. But in this album, Iron Maiden concentrates more on intellectual escapism (isn’t most of their songs about this idea?). Songs about science fiction adventures or great battles of the past are presented here with great musicianship. The Trooper is a good song for warming up my fingers, whether I’m playing guitar or cello.
+ Bones’ review on Piece of Mind:
Some people will say that The Trooper is the only redeeming song on this album. I began to seriously listen to this album back in 1995 using a Super Bit Mapped CD reissue. Even back then, this album held it’s own compared to post-Nirvana-grunge-wannabes. Good guitar musicianship and good songwriting can be found here in abundance. This is probably the best metal album of the 20th Century.
+ Vanessa’s review on Nature Film:
Scrawl is one of those obscure bands that I’ve immediately fell in love with. The album is filled with songs that Avril Lavigne might write when she turns 30. All of the songs were written from a time when America was the most technologically, morally, and socially advanced country in the world. Sadly the Clinton legacy hasn’t kept the course so to speak. My most favorite track here is “11:59(It’s January)”. I always thought this song is about the Y2K Bug, no, it’s one of those song that mirror Bones’ life.
+ Bones’ review on Nature Film:
Looks like someone want’s to play shrink as opposed to playing doctor. F.Y.I. , this country has a low opinion on shrinks. Like The Inquisition’s opinion on witches/feminists.
I first heard Scrawl back in 1993 from a radio program on NU107 called Not Radio. Despite numerous (?) media exposure and a Guitar World magazine interview, Scrawl seemed to have been denied the fame that they really deserved. In today’s George W. Bush’ America where even rational thought is considered a “left-leaning” view, the ideas presented in this album may seem anathema, even subversive. Is this album a beautiful swan song to a post-politically-apocalyptic America or a beautiful art form for it’s own sake? Only a good listen through can answer that. But I’ll promise you it would be one hell of a good listen.
+ Vanessa’s review on If I Where A Carpenter:
I’ve always thought that The Carpenters are my grandparent’s musical influence since they grew up listening to them. After listening to this grunge-ified ,garage band-ified versions of those songs, I’m sold. This is my favorite alt-rock albums of all time. Check out the Johnette Napolitano and Marc Moreland rework on the classic “Hurting Each Other” with its orchestral Les Paul and Marshall wall of sound.
+ Bones’ review on If I Where A Carpenter:
This is one of those very rare 1990’s alternative/grunge rock albums where the guitar playing musicianship is on par with the best heavy metal bands of the 1980’s. For some the albums musical aesthetic may be a not so easily acquired taste but it works for me.
+ Vanessa’s review on Rust in Peace:
The album’s title is about a utopian future where our stockpiled nuclear weapons lay idle. Megadeth is one of those bands pigeonholed for Satanism, thus leading me to ask “Why are those bands that are labeled Satanic are always very artistic?”. This is a guitar player’s dream album. I loved playing the guitar parts on the song “Tornado of Souls”. It provides a good workout routine for my fingers. Lately I made a bet with Bones that I’ll wear my ass as a hat if Avril Lavigne does what Dave Mustaine did on Tornado of Souls (i.e. great guitar playing) before she turns 30. Which leads me to wonder why bands today don’t do guitar playing like the one found on this album anymore?
+ Bones’ review on Rust in Peace:
Why is it that most artists, like painters and musicians, who are addicted to heroin are extremely talented? There’s one catch though, heroin addicts are extremely difficult to work with. As a certain MTV / VH1 documentary made 5 years ago and just shown recently in our local MTV channel, documents Megadeth frontman Dave Mustaine’s struggle with heroin. He missed important sessions and cancelled some important performance dates almost cost this band’s career. How much did this addiction contribute to his talent may be a loaded question at best, and always open to debate. But who am I to argue with a good work of art. Although I prefer “Cryptic Writings” as the best Megadeth album, one of my all time favorite songs is “Tornado of Souls” on their Rust in Peace album.
That concludes our review of Vanessa’s top 10 albums. Next time we’ll examine Bones’ favorites, some Islamic Devotional Music picks, and an exploration of Southern Baptist music like Sonny Treadway’s Jesus Will Fix It, a form of Christian Gospel music that we like. See ya next time.
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