FINAL CUT CD REVIEWS & CHICANERY: MARCH/APRIL 2005

[Jim Price]

FINAL CUT CD REVIEWS & CHICANERY: MARCH/APRIL 2005

FIRST…SOME SOAPBOXING…

I don’t do a whole lot of soapboxing this month…I’ve been too busy to think!

MAD ABOUT THE MADNESS?

Generally, I’m not a basketball fan. Being altitudinally challenged all of my life (translation: short), I was never good at playing hoops. (I did score 3 points in a junior high school sectional championship game once, Logan Jr. High R.I.P.) I’ve never followed the NBA much; there’s no Pittsburgh franchise, and I’ve never been into the antics of the egotistical stars of the game like Alan Iverson, Kobe Bryant, Latrell Sprewell, etc. (Yao Ming and LeBron James might make me change my mind; they seem to have their heads on a little more straight.)

My interest in college and high school hoops ebbs and wanes with the success of the local teams. In the college ranks, if Penn State does well, I’m interested. Penn State’s men’s team has stunk for the past 4 years; so my interest in college hoops recently has been minimal.

But I do find myself becoming more and more interested in March Madness every year. 64 teams make the cut into the NCAA Championship Tournament every year (65, if you count the play-in game, where two borderline teams vie for the privilege of getting rolled by a top seed in the first round of the tournament). Each of those 64 teams enters the tournament with the ultimate objective: win six games in a row, and become college basketball’s national champions. Some of the teams are just happy to be invited to the Big Dance; others are intent on advancing as far in the tournament as they can.

The tournament seedings are established, and the initial matches made. The stage is set; smaller, unknown schools get paired against perennial powerhouses. And inevitably, there are upsets. The possibility of David toppling Goliath is what draws my attention to the NCAA’s Big Dance each year.

Case in point: On the second day of this year’s March Madness, I was sitting at Burgi’s Roundhouse and watching Billy & the Inmates. Above and in front of my booth hung a television, showing the match between 14th-seeded, little-heralded Bucknell and 3rd-seeded perennial powerhouse Kansas. I found myself paying closer and closer attention between songs and sets, as Bucknell held a slim lead at the half, and held the lead through much of the second half of the game. Eventually, Kansas took a one-point lead with about a minute to go. I thought to myself that Bucknell blew it. I was wrong – Bucknell retook the lead, and pulled one of the biggest upsets of this year’s tournament. Bucknell would eventually lose in the next round to Wisconsin; but for this night, David had slain Goliath, and the Bison would live to battle another day. Lewisburg, PA was on the college basketball map!

So count me in, I’m now a fan of March Madness! No, I’m not about to wager money on brackets or anything, but I’m intrigued by the matchups and the potential for David vs. Goliath upsets; and this year, I experienced the satisfaction of seeing a few happen.

AND NOW…SOME NATIONAL AND LOCAL CD REVIEWS

OZZY OSBOURNE – PRINCE OF DARKNESS (Epic) Ozzy Osbourne's record company, Epic, thought the time was right in his storied career for the metal icon to issue a boxed set retrospective. As Osbourne explains in Prince Of Darkness’ liner notes, he had reservations about repackaging the same songs that most of his fans already have on albums, so half of the 4-disc boxed set contains material not available on other albums. The first two discs compile many of the top songs from Osbourne's post-Black Sabbath career, with an emphasis on his years with late guitar great Randy Rhoads, spanning to his most recent work with Zakk Wylde. Purists may not like the fact that on Disc 1, Osbourne used songs from the reissued Blizzard Of Ozz and Diary Of A Madman albums, where original bassist Bob Daisley and drummer Lee Kerslake's parts were replaced, stemming from their lawsuits against Osbourne over royalties. Disc 2 includes some interesting early demos of Osbourne classics such as "I Don't Want to Change the World," "Mama I'm Coming Home" and "See You On the Other Side" (with saxophone, Osbourne actually preferred this version over the one that ultimately was issued on the Ozzmosis album). Disc 3 compiles many of the songs that Osbourne recorded with other bands and artists; spanning from well-done collaborations with Primus, Type O Negative and Motorhead; to his infamous duet with Miss Piggy from The Muppet Show on Steppenwolf's "Born to Be Wild;" to his and Dweezil Zappa's rendering of the Bee Gees' "Stayin' Alive." On Disc 4, Osbourne interprets a number of classics that influenced him through the years; including his fittingly ghoulish treatments of King Crimson's "21st Century Schizoid Man" and The Crazy World Of Arthur Brown's "Fire." Mountain's Leslie West provides the guitar solo on Osbourne's update of "Mississippi Queen;" and Ian Hunter contributes backing vocals to his read of David Bowie/Mott The Hoople's "All The Young Dudes." Perhaps most revealing here, though, is Osbourne's stern and solemn version of John Lennon's "Working Class Hero;" he cites Lennon and the Beatles as his biggest influence in the liner notes. Produced by Osbourne's wife, Sharon, and Iron Maiden singer Bruce Dickinson, Prince Of Darkness reins in many of the loose ends from Ozzy Osbourne's overall body of work. The set offers enough shining moments, curios and variations on Osbourne's works to be a worthwhile addition for the Ozzy fan who already has it all.

JUDAS PRIEST – ANGEL OF RETRIBUTION (Epic) Heavy metal fans worldwide rejoiced when singer Rob Halford reunited with his former band, Judas Priest, after over a decade away; setting the stage for a 2004 concert tour, and a new studio album, Angel Of Retribution. Packaged as a two-sided DualDisc, with the DVD flip side featuring a documentary and footage from the 2004 concert tour; Angel Of Retribution finds Judas Priest referencing their heritage, and acknowledging their total body of work. There are reminders of the group's past throughout this album, from lyrical resets of past Priest album and song titles to the sounds and styles of the group's attack itself. The opener, "Judas Rising," is a punishing statement of purpose that forcefully announces this band's return; the group sounds majestic and mighty, with Halford's voice again ringing out high and powerful. The rampaging "Deal with the Devil," the thunderous "Revolution" and the midtempo "Wheels Of Fire" recall Judas Priest's early 80's commercial zenith; while the brutal "Demonizer" taps the thrash-metal aggression of 1990's Painkiller. "Worth Fighting For" and the ballads "Angel" and "Eulogy" recall the darker, more articulate textures of the group's 70's Sad Wings Of Destiny/Sin After Sin/Stained Class period. The album culminates in the 13-minute-plus "Lochness;" where metal thunder, majesty and folklore converge into an anthemic epic. Halford turns in one of his strongest hours ever; his voice showing maximum power and range, and very little, if any, signs of wear. Glenn Tipton and K.K. Downing reprise their stature as one of the metal genre's most lethal dual-edged lead guitar attacks; constantly flashing their solo virtuosity and blending to produce eloquent guitar harmonies. Scott Travis' pummeling kick drumming provides aggression and newfound urgency to Judas Priest's presentation. Angel Of Retribution captures the might and essence of vintage Judas Priest, and convincingly re-introduces listeners to the band who established the blueprints, parameters and dynamics of heavy metal in the late 70's and 80's. The album doesn't reinvent Judas Priest, but re-establishes their position as esteemed elder statesmen of the heavy metal kingdom.

BILLY IDOL – DEVIL'S PLAYGROUND (Sanctuary Records) With the exception of his cameo appearance in the Adam Sandler film The Wedding Singer, spike-haired 80's punk/pop bad boy Billy Idol has been missing in action in the dozen years since his last studio album, the 1992 flop Cyberpunk. But reunited with his longtime guitar player Steve Stevens and producer Keith Forsey, Idol has returned with a vengence on his new studio album, Devil's Playground. Idol sounds fresh and recharged; growling, snarling, and sneering his way through most of the album's baker's dozen tracks, as well as offering a few new twists on his musical personality along the way. Devil's Playground roars out the opening gate, announcing Idol's return with the boisterous high-octane opener "Super Overdrive," and re-establishing his defiant demeanor and attitude on "World Comin' Down." Idol celebrates sex and rock'n'roll on the high-powered radio single "Scream;" and offers a dysfunctional punkish holiday reflection on "Yellin’ at the Xmas Tree." Several tracks are more serious in tone, with Idol pondering modern day trials and tribulations on "Rat Race," and addressing his past demons and struggles on "Body Snatcher" and "Evil Eye." He finds a source for solace on the acoustic-geared "Plastic Jesus," taps a darker Johnny Cash country rebel flavor on "Lady Do or Die," and dabbles with a more lavish arrangement on the reflective closer "Summer Running." The fiery performances and the overall strength of the songwriting on this album clearly show that the chemistry between Idol and Stevens has been renewed. And while Idol still demonstrates ample bluster and bravado, a tranquil and more seasoned side of his musical personality is revealed here; evidence that this punk has weathered a few storms since his 80's heyday. Devil's Playground finds Billy Idol celebrating his past heritage but not being bound by it. While the album shows he is still a punk rocker at heart, it also shows he isn't afraid to try a few new tricks.

STRAPPING YOUNG LAD – ALIEN (Century Media) Strapping Young Lad brainchild Devin Townsend is either a genius, a nutcase – or both. On the Canadian group’s fourth studio offering, Alien, Townsend explodes off the deep end with a cathartic release of wild rants, seemingly inspired by the inner workings of his own mind and imagination, and fears of domestication and control. Against a constantly pulverizing heavy metal Armageddon backdrop, Townsend offers maniacal definitions of his own creativity on the progressive speed-metal flavored “Skeksis,” and his own insanity on the apocalyptic “Sh**storm.” But on the defiant anthemic march “Love,” Townsend views relationships as a threat to his individuality and creativity, declaring “It’s about control.” The speed-burner “We Ride” explores relationship conflicts; “Possessions” brings children into the equation, and a further tax on Townsend’s individuality and freedom. “Two Weeks” is anticlimactic; offering the peace and solitude, and possible surrender to domestication, during a vacation. Townsend reasserts his individuality on the escalating thunderstorm “Thalamus,” leading to the furious and glorious “Zen;” before the album ends in eleven minutes of white industrial noise called “Info Dump.” Devin Townsend crafts his own harsh and maniacal world here; his blend of insane angst and acidic wit convincingly paints the picture of a frustrated genius turned madman. Musically, Alien is as punishing, aggressive and heavy as metal can get; especially the machine-gun drive and precision of drummer and “atomic clock” Gene Hoglan. Incorporated into the extreme metal heaviness are virtuoso guitar displays from Townsend and Jed Simon, fierce tempo and chord shifts, interesting embellishments such as samples, child choruses and more. Strapping Young Lad renders heavy metal Armageddon and insanity on Alien, further defining their extreme heavy turf, and further exploring the insight and lunacy of Devin Townsend as he careens off the deep end. Intense and incredible stuff!

CRASH DELICATE – A CANYON BETWEEN (Hitmen Musique) There are some albums whose artistry and beauty don’t fully kick in until after several listens. This is one of them. The debut CD from Montreal’s Crash Delicate, A Canyon Between, is an album that takes a few listens to connect; but once it does, it is a thing of beauty. Over the album’s eleven tracks, singer/guitarist/programmer Martin Dam and singer/keyboardist Caroline Ethier craft a wide range of sonic textures; merging elements of rock, progressive, techno, dancebeat and more. Beyond the aural pleasures of this album, though, are very thoughtful and intelligent lyrics rooted in personal experience, literature, history and more. There’s the uptempo rocker “In A Flash,” inspired by the Ambroise Pierce short story An Occurrence At Owl Creek Bridge about a hanging in the South during the American Civil War. Also intriguing is the Martin-sung “Franz Marc,” about a German painter unwillingly drawn onto the battlefield during World War I, where he loses his life; comparisons are then drawn between that situation and the modern day. The Caroline-fronted “Like Living” is a powerful piece about being trapped in a dead-end relationship and realizing it is a hopeless cause; the transition where Caroline makes that realization and escapes the relationship is one of the album’s strongest moments. The terse, techno-flavored “Nothing’s Changed” regards generational internal family conflict. And there’s also “Asking You,” pondering paths to happiness or righteousness in life, and which path is ultimately more fulfilling. Martin and Caroline create detailed backdrops that layer guitars, keys and electronics; and demonstrate a knack for escalating arrangements whose peaks and valleys yield maximum effectiveness and impact. Although a diverse album with no two songs sounding the same, A Canyon Between maintains a constant flow and consistency from start to end. Crash Delicate’s attention to musical texture; thoughtful, emotion-stirring lyrics and passionate performances makes A Canyon Between a fresh and powerful debut. I recommend! (Can be obtained by visiting the website www.crashdelicate.com.)

KATSU – DISASTER (S.A.M. Records) On their second album, Disaster, State College’s Katsu picks up where their first album, 2002’s Gorgeous Mess, left off. Katsu steps up the swagger, aggression and muscle over Disaster’s ten tracks (plus bonus track); with bigger beats from drummer Keith Lingenfelter (replaced by Josh Troup since the album’s release); agitated, swarming guitars from Mark Klein; busier bass work from Frank Yarnal; and the bolder, more boisterous presence of frontman/acoustic guitarist Dennis Fallon. As the band’s lyricist, Fallon continues his loose explorations of life, love, broken hearts and lost innocence in blue-collar America. With the album’s harder edge serving as the cohesive foundation, Katsu varies their flavors from song to song. “Cold Stop” offers brash garage-styled punk to open the album; and punk also fuels “Change” and the Ramones-ish “Why Does My Heart Still Break?” The tongue-in-cheek “The Stalkin’ Song” takes on a lighthearted, folksy taste; while “Our Days” displays a slight hip-hop texture. “She Took” and “The Road” are fiery, uptempo rockers, and “Big Riff” combines happy-go-lucky reggae verses with thunderous, heavy metal-styled choruses. The album culminates in the fun, freewheeling and fast-firing cow-punk adventure “Prison Break.” Producers Bret Alexander and Paul Smith let Katsu rock out without overpowering their stylistic subtleties or Dennis Fallon’s bold, charismatic vocal style. As a result, while Disaster is edgier and more in your face, it doesn’t sacrifice melody or flavor; and gives a stronger definition of Katsu’s muscle and strut. Disaster is a confident, fun, and rocking sophomore effort that further establishes Katsu’s bold musical personality; and offers hard-edged, modern rock and roll with style and substance. (To obtain, visit the website www.katsuiswatchingyou.com.)

URINAL PUCK MINISTRIES – GREATEST HITS VOL. TWO; TWISTED TALES FROM THE FALLOPIAN TUBE (no label) After hearing the band name Urinal Puck Ministries and taking in the title and cover of their debut album, Greatest Hits Vol. 2; Twisted Tales From the Fallopian Tube for the first time, you quickly come to the realization that this five-piece band from the Chambersburg area just isn’t right in the head! But that’s quite all right, as the 14 tracks of Twisted Tales reveal a hard-hitting, high-energy band with imagination and an appropriately sick sense of humor. Urinal Puck Ministries’ base sound is a collision of old-school punk and metalcore that disrespectfully tips the hat to S.O.D., M.O.D. and I’m the Man-era Anthrax. Guitarists Kingpin and Skeezer quickly catch your attention with their short, sharp riffage, backed by the tight rhythms of drummer Fudge and bassist Dogg. Lead throat Skin sings, howls, barks and yaps his words with ample wit and a snide demeanor, often surrounded by a cavalcade of gang shouts, toilet flushes, animal sounds and other soundbytes. The songs are short, sweet, and tongue-in-cheek, with only one clocking in at over 3 minutes. Highlights include several group manifestos, such as the opener “Born to the Ministry” (the toilet flush and television evangelist opening is classic!), the sermon shout-along “Slave to the Puck” and “Welcome to the Sewer;” also tongue-in-cheek rants such as “Mommy Can I Dance with the Devil,” the sissy-bashing “Mary Boy,” “Personal Meat,” “I Know Your Mother,” “Dismembered Member” (the “Gerbils!” shout had me howling!) and “Satan’s Hayride.” The production and mix are appropriately clean and jagged, giving this group’s presentation full sharpness and edge. This is fast-moving, deviant musical fun; Twisted Tales From the Fallopian Tube will leave you soundly rocked and with a naughty grin on your face by album’s end. One can only wonder what chicanery Urinal Puck Ministries provides when they bring this stuff to the live stage! (Can be obtained by visiting the website www.urinalpuckministries.com.)

SEARCHING FOR GLADYS – SEARCHING FOR GLADYS (427 Records) From the land where Yuengling is brewed - Pottsville - hails Searching For Gladys, who introduces their brand of melody-geared modern rock on their self-titled debut CD. Singer Patrick Burke, guitarist Jamie Rodgers, bassist Troy Lee and drummer Kevin S. Miller craft effective, hook-laden melodies and encase them in a hard, muscular modern rock sound not far removed from Fuel or Creed. The general tone of the album is serious, as Searching For Gladys explores themes of troubled relationships, personality conflicts and wars of words. The pace of this album is slower, with midtempo numbers and ballads comprising the bulk of the songs. The strongest of these is "Make Your Mind," which builds from a soft beginning into a driving, irresistably catchy chorus. "Conversation" is a ballad reminiscent of Candlebox, and "Saja's War (You Take Me Away)" explores the similarities between personal conflict and international warfare. Searching For Gladys steps up the aggression a few times, most notably on the tribal-beat underscored album opener "Lul," the acid-tongued "Princess Mess" and the small-town soap opera observation "Dysfunctional County." Recorded at Saturation Acres in Danville and produced by The Badlees' Paul Smith, Searching For Gladys sounds clean, full and muscular, with a good balance of vocals, harmonies and guitar crunch. With its abundance of slower tempo numbers, the album tends to plod along in spots. But the group's performances are strong and confident; and overall, Searching For Gladys is a respectable debut that establishes this band's musical turf, and sets the initial foundation for them to grow and expand upon. (Can be obtained by visiting the website www.sfgband.com.)

BLOOMSBURG TO BANGLADESH – BLOOMSBURG TO BANGLADESH (Blue Buddha Records) Bloomsburg-based singer, songwriter and multi-instrumentalist Jeremy dePrisco first demonstrated a fascination with Middle Eastern and Asian music and ideas on his 1999 solo album debut, Mandala. Jeremy has continued to explore far Eastern musical frontiers, and has teamed with Bangladesh-born tabla player Bulu Rahman to form the project Bloomsburg to Bangladesh. Bloomsburg to Bangladesh’s self-titled debut album offers a varied mixture of western folk/rock, eastern music and fusions between the two. The results are often interesting and captivating, evidenced immediately by the catchy Eastern-meets-rock fusion opener “She’s A Zombie.” Rock also meets Eastern on the instrumental “Mangalam” and the character story “Mikey Might.” Also interesting are several fusions of Western and Eastern folk, such as the mariner ode “Men At Sea,” an interpretation of Tom Waits/Kathleen Brennans' "Yesterday Is Here,” the musical fable “Teasing the Toad” and the woodwind-flavored instrumental “Visions” (hinting an Ian Anderson/Jethro Tull flavor). Jeremy performs “Pentangle;” while Bulu likewise sings an eastern folk song, “Bistirno Dupare.” The album ends with a choral folk rendition of the Bangladesh National Party Anthem, “Prothom Bangladesh.” Engineered and produced by Jeremy dePrisco and recorded at Mothership Studios in Bloomsburg, Bloomsburg to Bangladesh sounds continually fresh and diverse as it showcases its musical and instrumental variety, with no two songs sounding the same. Jeremy demonstrates skill on a wide range of instruments, including guitar, mandolin, flute, tinwhistle, bass, keys and percussion; while Bulu exhibits his talents on tabla and harmonium. The two musicians explore new territory and establish common ground throughout the album’s eleven tracks; that common ground providing the consistency that glues this album into a unified set. Bloomsburg to Bangladesh successfully merges western and eastern instrumentation and styles into a hybrid musical territory that is exotic; yet accessible, listenable, and ultimately appealing. (Can be obtained by visiting the website www.mindspeak.com.)