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presdoug 
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Joined: January 24 2010 Location: Canada Status: Offline Points: 8615 |
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 Posted: October 07 2017 at 12:27 |
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Band (Solo Artist)-Eddy Marron Album Information-Por Marco (Nagara) 1980Rating-5 Stars (Jazz) Prog Appeal-Moderate This solo album of the late Eddy Marron's would probably be deemed a bit light for most prog fans, dealing in a somewhat light and ethnic jazz feel,but should not be overlooked by them. And Marron's previous prog credentials (Vita Nova, Dzyan, Missus Beastly, Giger Lenz Marron) are pretty impressive ones. In listening to Por Marco, I am continually amazed by the amazing versatility and capability of this musician. It is so uplifting and captivating upon every listen. Most of the music is instrumental with guitar played by Marron. Below is a short, brief, track by track look at the music in Por Marco. 1) De Vinder 2:21-An engaging start to things, with a composition with a great forward momentum, and exquisite playing therein. 2) Follow Me 4:44-This starts off in a slower tempo, with some playing that builds and progresses, absorbing and captivating in it's lyrical beauty. 3) Honky Tonk 3:53-The title says it all! Real traveling music. 4) Easter Monday Ballad 4:39-a probing and mysterious composition. 5) Dance In Springtime 2:15-Reminds one of a sunny day in spring, with some simply lovely guitar phrasing. 6) Song For John 5:10-This song has some latin flavor to it, and brilliant, lightning quick playing by Marron. 7) Los Bachos 5:34-The start to this is slower, and meandering in an almost mournful way; but develops into quite an elaborate and well constructed piece. Like a flower unfolding. 8) Por Marco 3:30-Bright and lively, with some infectious and very intricate playing, and some vocalising, as well. 9) A Thing Of Beauty 4:58-Like it's title, breathtakingly beautiful, and like being on a sunswept desert island; the playing is quite remarkable. 10) Les-Piece 2:13-A short, but lively and upbeat piece that really moves, containing some impressive guitar phrasing. 11) Three On NIne 4:38-Eddy Marron incorporates a Turkish zaz in this, the final track, which has a kind of oriental flavor to it, and a unique and interesting way to end things. Edited by presdoug - January 25 2019 at 19:39 |
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dinesha4n
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spam Joined: August 30 2016 Location: chennai Status: Offline Points: 14 |
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Posted: September 06 2016 at 02:29 |
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Non- program album reviews could be hoked and generated in a manner site
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BunBun
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Joined: June 20 2014 Location: MN Status: Offline Points: 318 |
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Posted: August 30 2016 at 15:56 |
Absolutely love this album. This album has a mature sound that their first two lack, which is why, in my opinion, this is far and away their best effort. A shame that these two broke up after this LP because I think they were heading in a very interesting direction. |
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Tom Ozric
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Joined: September 03 2005 Location: Olympus Mons Status: Offline Points: 15916 |
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Posted: January 27 2015 at 18:28 |
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Artist - Nicky Hopkins
Album - Jamming With Edward Recorded - 1969, during Rolling Stones' 'Let It Bleed' sessions Released - 1972 Producer - Glyn Johns Track List - SIDE A : The Boudoir Stomp. 5:16 (Hopkins, Cooder, Watts) It Hurts Me Too. 5:49 (Elmore James) Edward's Thrump Up. 7:40 (Hopkins, Cooder, Watts) SIDE B : Blow With Ry. 11:12 (Hopkins, Cooder, Watts) Interlude A La El Hopo. 2.32 (Hopkins, Cooder, Watts) Highland Fling. 4:20 (Hopkins, Cooder, Watts) Session Pianist/Keyboardist, Nicky Hopkins, should be familiar to many Classic Rock lovers, his talents were utilised by many of the 60's giants, appearing on albums by The Kinks, The Who, Rolling Stones etc. and even becoming a fully-fledged band member of West Coast Psych-Rockers Quicksilver Messenger Service during the later half of '69 and into '70. 'Edward' was the nick-name given to him by Rolling Stones guitarist Brian Jones. The album, Jamming With Edward, sees Nicky joined by Charlie Watts (Drums), Mick Jagger (vocals/harmonica), Bill Wyman (Bass) and Ry Cooder (Guitars). Apparently waiting at the studio for Keith Richards to arrive, but he was allegedly 'still in bed'. Not wanting to waste valuable studio time, the five members here started to 'jam' while the tape was rolling. What we get is a slab of rather straight-forward boogie/blues/rock pieces, featuring basic grooves set by Watts, lots of piano, bluegrass slide and solo guitars, some buried-in-the-mix vocals from Jagger and occasional mouth-harp, and I must say that it's somewhat exciting to actually hear what Wyman is doing on the bass for a change, and he does a decent job, too. The impromptu songs linger around the same key and tempo (remember, these cats aren't technical Prog musos), with Hopkins' piano being the highlight, instrumentally speaking. The cover song is a typical 12 bar. Only in the album's opener can we hear Watts vary from a shuffle beat to a slower, straight beat. So, an obscure, rare treat especially for fans of The Rolling Stones, most of whom don't even know (or care) about the album's existence. 3 stars out of 5 Edited by Tom Ozric - January 27 2015 at 18:30 |
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KingCrInuYasha
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Joined: September 26 2010 Location: USA Status: Offline Points: 1281 |
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Posted: January 13 2015 at 19:46 |
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Here's my first one here!
 Rocka Rolla - Originally released Sept. 6, 1974 - 3/5 Personal likes: "One For The Road", "Rocka Rolla", "Cheater”, "Never Satisfied", "Run Of The Mill" Personal dislikes: none, but "Winter" comes close Well... this is certainly a low key debut to one of the most flamboyant bands in rock history. If you were to play this back to back with, say, Painkiller, you would think this was two entirely different bands. Even if I were to ignore their later glories and just focus on the album's own merits, I still think it’s kind of average. There’s nothing terrible here, but nothing that would scream "Buy this album now!", at least not enough good material to warrant it. Judas Priest was still finding its legs, going for a more hard rock and blues sound with a hint of progressive rock a la Black Sabbath, Led Zeppelin, Uriah Heep and early 70s Deep Purple. Speaking of which, I almost liken Rocka Rolla to Black Sabbath’s self titled debut in terms of its bluesy nature and raw state, however Rocka Rolla doesn’t sound as focused. It doesn’t help that Roger Bain, who also produced Sabbath’s debut, was supposedly nixing some songs that Priest was considering for the album, including "The Ripper", "Tyrant", "Epitaph" and what would eventually become the first half of "Victim Of Changes", and might have also been the one to drastically shorten the closing "Cavier and Meths". Problems aside, the album shows a band with some potential. The title track is a nice mid tempo gallop and the chorus and classical portion make it the catchiest piece on the album, not to mention the best. And Halford whips out a harmonica on there, which is a nice surprise. “Never Satisfied” is a cool hard rocking tune in the vein of Led Zeppelin and "One For The Road" and "Cheater" are bluesy stompers, with the latter having even more harmonica. Why "Cheater" had to be connected to the "Winter" suite in my copy of the album is beyond me. I guess the guy in the suite and "Cheater" is a snowplow driver who lost it after seeing his woman in bed with another man and proceeds to blow them both away a la "Hey Joe". While Priest was able to get a grip with hard rock from the beginning, their early ventures in progressive rock were hit and miss. The "Winter" suite could have been neat, but it sounds like the band wanted to make something with an incomplete hard rock tune and an incomplete ballad they had on them and had no idea how to integrate the two into a coherent whole. In the end, Downing just connects the two with two minutes worth of guitar feedback and calls it a day and as much as I like feedback, the final result just sounds clumsy. The eight-plus minute ballad "Run Of The Mill" is a little better, at least it sounds like there was some time and thought put into the piece. The vocal melody is decent and the lyrics are surprisingly introspective. The music has a nice moody vibe, which is complemented by the guitar work and synths. "Dying To Meet You", is another suite of a ballad and a hard rock tune (title “Hero, Hero”) tacked together. Kind of like “Winter” but the effect is not as forced. It doesn’t do much for me, but at least it’s decent. Rounding out the prog tunes is "Cavier and Meths", which is pretty, but kind of fillerish, most likely due to being reduced from its much longer form.
As I said, Rocka
Rolla is sort of unfocused, but I get the sense that this could have been a
much better record if Priest had been given more room to breathe. Nonetheless,
the album still manages to have some decent numbers and would serve as a
blueprint for the next two records, for which the band would refine the ideas
presented here. I want to give this a 4/5 and might in the future, but can’t
bring myself to do it mainly because, well, blame Sad Wings Of Destiny and Sin After Sin for that. Edited by KingCrInuYasha - January 13 2015 at 19:52 |
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He looks at this world and wants it all... so he strikes, like Thunderball!
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SteveG
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Joined: April 11 2014 Location: Kyiv In Spirit Status: Offline Points: 20604 |
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Posted: January 09 2015 at 09:16 |
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Tears for Fears
 The Seeds of Love 1989 Over shadowed by it's monster selling predecessor Song From The Big Chair, The Seeds of Love comes close in quality to SFTBC due to the efforts of the band and recruiting top flight musos like Phil Collins, Manu Catche and Pino Palladino.
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SteveG
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Joined: April 11 2014 Location: Kyiv In Spirit Status: Offline Points: 20604 |
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Posted: October 29 2014 at 19:41 |
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Midge Ure: Fragile. Verdict: Good return to electronic sound.
Edited by SteveG - February 01 2015 at 13:23 |
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This message was brought to you by a proud supporter of the Deep State.
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tszirmay
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Honorary Collaborator Joined: August 17 2006 Location: Canada Status: Offline Points: 6673 |
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Posted: September 22 2014 at 13:17 |
GREAT ALBUM, long time favorite , 3 sublime tracks (Lonely without you, Love an Adventure, Living in a Dream)
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I never post anything anywhere without doing more than basic research, often in depth.
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presdoug
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Joined: January 24 2010 Location: Canada Status: Offline Points: 8615 |
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Posted: August 08 2014 at 21:37 |
 Band (Solo Artist)-Helmut Koellen Album Information-You Won't See Me (Harvest/EMI) 1977 Rating-5 stars (70s Rock) Prog Appeal-Strong You Won't See Me is the debut solo album by the late Helmut Koellen, formerly a Guitar Player/Lead Vocalist for the German progressive rock band Triumvirat, and also previously a session musician/vocalist for German group Jail. Mr. Koellen's solo album was released in October, 1977, in both Germany and South America, after his death earlier that year. The recording is the best example of Helmut's musical inclinations after having split from Triumvirat at the end of 1975. You Won't See Me has some elements from Koellen's past, combined with a direction that was somewhat new to fans. It seems as if he still had a partial connection to progressive rock, with elements of that genre evident in the rock, jazz, folk, and almost funk influences the nine songs that make up this album have at times. Though, in the same breath, this recording is not as progressive or symphonic as his previous work in Triumvirat-the numbers here are shorter, and less elaborate, instrumentally. Listening to You Won't See Me is definitely a very refreshing, and ultimately rewarding experience, though. Helmut does all the lead vocals in his unique and very special way, a truly great voice he has, and a great pleasure to hear. Lyrically, there is a lot going on here, from a story of a love affair gone wrong in It's Hard To Love You, to achieving something superhuman in I'll Walk On The River, to the spirit of brotherhood in Playin' This Song Together, a mutually enlightening conversation with an elderly woman on a plane in Listen Lady, to being ready to go out for the evening in Station, and the story of "living the high life" in The Story Of Life. The real "rocker" song here is Mainstreet, a song whose story is in it's title, and so catchy and infectious, well, it could have been a big Rock Anthem, for sure. There is one cover song here, that of the Beatles song You Won't See Me, a fairly laid back approach, complete with strings added. The female background vocals on this album, sometimes by Helmut's sister, Elke, are nice, as well. Instrumentally, all songs are indicative of some very tasteful playing, which unites with the vocal parts quite excellently, and voice and instrument are never at odds with each other, but always complimentary. This solo album is a splendid, and overlooked one, at that. On hearing it over and over, I marvel at it's crafty intelligence, and general accessibility. And very indicative of Helmut Koellen's unique and very special musicality, which always came straight from his heart, a truly sincere and genuine artist. Edited by presdoug - August 09 2014 at 17:16 |
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presdoug
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Joined: January 24 2010 Location: Canada Status: Offline Points: 8615 |
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Posted: August 04 2014 at 19:07 |
 Band (Solo Artist)-Barry Palmer Album Information-Night Thoughts (UK) 2012 Rating-5 stars (Pop-Rock) Prog Appeal-Light or Historical Review- British singer Barry Palmer has a long and varied involvement in the music business-over several decades, in fact-most notably as a Lead Vocalist of the German progressive rock group Triumvirat in the 1970s, and Singer with British musician and composer Mike Oldfield in the 1980s. Well, 2012 saw the release of a new solo album of Mr. Palmer's called "Night Thoughts". "Pick up, pick up on anything" -that opening line from Night Thought's first song, "Innocent" sets the tone for this whole album. This record is about "picking up on" and opening doors to journeys to places one has maybe set aside, and not fully realised or acknowledged, places that are sometimes nice, and sometimes, not so. I like this album very much, and it is a record that grows on you, definitely. Barry's voice is youthful, and full of vitality, throughout. The following is a track by track breakdown of my impressions of Night Thought's content. Night Thoughts-prelude- Before the first song is a short prelude; though it is music from the album's title track which is at the very end of the album, this beginning is kind of linked to the first song called "Innocent" because it sounds like something old and antiquated, kind of like an old-fashioned sort of recording, or "auditory snapshot" from some bygone "age of innocence". Innocent- This song is very thoughtful, and full of meaning for me. It causes me to become reflective, which is a good thing, in of itself. A loss of innocence; such is often the human process, though for some, more quickly and to a greater extent, than others. Innocent (and ultimately all the songs on Night Thoughts) awaken new ideas and feelings upon each repeated listening. Still, Barry Palmer sings comfortingly, "There's a shadow hanging over you, but it's not your fault, because your Innocent". And then, "You're not alone, I am standing at your side". Dear John- This song is the lyrical highlight of Night Thoughts, along with "Ghost Of A Love". An endearing "letter to John Lennon". "Imagine all the people, living for today, like you said". This is a moving and heartfelt plea to Lennon's spirit, and, also, it is a reminder to those that were, and still are, moved by his messages of peace to not forget his life's meaning and message. The song also contains some lovely solo guitar and backing vocals. Here To Stay (Song For Selwa)- This song has a very beautiful acoustical guitar intro, and I love the line, "I understand the meaning, that love's more than just a feeling". This is more than just a love song; but one of incredible hope and faith in the future, about what one can achieve inspired by being in love. Ghost Of A Love- This song has such a lovely,haunting quality to it, and is a sad tale. Who hasn't been burned, somehow, in a relationship? This is a story of someone being double-crossed in a relation that was supposedly a loving bond of togetherness. Maybe It's You- This song is lovely and nice, and upbeat, both instrumentally, and lyrically-the story of a more welcoming relationship. 21st Century Game- This track has some beautiful acoustic guitar, and violin. Lyrically, it makes you wonder how many are involved in violence in this century, who are not really to blame. Yeah, after 9/11, we've all been drawn inextricably into things. This song makes you think hard. Miracle Tonight- This song has a Triumvirat vibe and feel to it, which is sure nice to hear. Barry Palmer even mentions how "old loves die hard" at one point. A song of hope is the way I see it, with Palmer singing of "a chance to make it better", and the need of "a Miracle Tonight". Forbidden Fruit- This song can be summed up with the line, "the trigger's pulled, we have to shoot"-a song about a bond of sexuality. Here It Comes Again- With a very nice keyboard intro, and lovely strings throughout, Barry's voice is strongest on this song, a deeply moving love story that is beautiful, instrumentally, and lyrically. A Better Man- With lovely guitar and violin, this track is thoughtful and positive. The story of a talk with a man one is walking beside, whose words "cut through me like a knife". In the end, there is an inspiration to become "A Better Man". God Knows- A sort of a spiritual, and almost philosophical look at where we are going and what lies ahead. "God knows" what's to come, evidently. Night Thoughts- Finally, the album's title track-in a nutshell, so peaceful! The perfect thing to listen to late at night, when one is with one's thoughts, and reflecting on life. A comforting and soothing end, lyrically, and instrumentally. Whatever one is pondering or dealing with, Barry Palmer sings "They're just Night Thoughts". Edited by presdoug - August 09 2014 at 17:26 |
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AtomicCrimsonRush
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Posted: July 14 2014 at 07:50 |
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and now the worst album of 2011
time for a good ol bashing with MORBID ANGEL  ILLUD DIVINUM INSANUS * Techno death that 'may have an unforeseen effect'!
Seriously! What the heck is going on with this industrial repetitive noise? It sounds like Rammstein meets Rage Against the Machine but far, far worse. This may be the 'St Anger' of death metal. I used to be a fan and considered 'Alters of Madness' a death metal classic when I was into that extreme style and along comes the latest Morbid Angel and of course I had to indulge after hearing the controversy surrounding it which has become a phenomenon in itself. Listening to tracks such as 'Too Extreme'; made me actually laugh which is a rare thing when listening to MA. I laughed because of the ludicrous music, the drum machines and awful singing, and I can understand how fans are going to react. 'Ten More Dead' is a shocking juvenile song with grade 6 school lyrics and uninspired riffing. 'Existo Vulgore' is okay with massive guitar speed riffing but ruined by silly lyrics and throaty phlegm spitting and laughing. If I was a fan still, wanting some death metal and put this on I would be demanding my money back from the dealer, and telling him to place the album in the alternative section next to Slipknot and Marilyn Manson. Vincent even tends to channel Manson on 'Radikult' right down to the whispered chants and rapping, with axe chops of distorted industrial guitar. Hey, it's actually quite a cool track, though it's not going to help the band's reputation after fans have waited 8 years for some death and speed extreme metal; you won't find it here. There is very little to recommend it apart from about 3 tracks that are old school death and speed though they are rare. 'Blades of Baal' is a brutal breakneck speed thrasher that really shines among the dullness. It still lacks the ferocity of past MA but this is a killer track. But it is counter balnced by trash such as 'Profundis Mea Culpa' with ludicrous chanting and absolutely appalling musicianship. Vincent's screechy vocals are okay but those "ohwoowah... ohwoowah,, oooohhhh" invocations are beyond a joke. What I cannot understand is how the producers of this album and the band could not see the glaring obvious conclusion that this album is going to alienate old fans and perhaps kill their reputation permanently. I have seen the slogan RIP Morbid Angel and I can understand why fans feel that way. The hyper speed blastbeats and brutality of such tracks as 'Blades' would appease any fan of course. But delicious tech-death tracks such as 'Destructos Vs The earth/ Attack' are a real laugh a minute and destroy any credibility. It is impossible not to be cynical about music with lyrics such as "attack imminent, it matters not what counter measure you employ, destroy man, we're marching, destructors marching on..." It gets worse too with some bizarre lead riffs that are just processed and repeated through effects mixers. I like Rammstein but this copy of their style just does not work for death metal. Admittedly, after a while the style on display is so out of the box here that it becomes entertaining, but for all the wrong reasons. I became quite impressed at how awful the tracks are, a real feat in itself. It is a spellbinding album because it really could not be any bad for Morbid Angel, and it likely to become a cult over the years as 'St Anger' is. Morbid Angel are on another planet here and it is an unpleasant experience. So you have been warned. Definitely listen to this before purchase. And then skip it and buy a decent metal album. The 'Destructos' track actually ends with the ironic statement, "This impact is so terrifying that it may have an unforeseen effect." Aint it the truth! Edited by AtomicCrimsonRush - July 14 2014 at 07:51 |
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AtomicCrimsonRush
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Posted: July 14 2014 at 07:45 |
 SIGN OF THE HAMMER **** Regretfully most of my metal vinyl has gone but I still remember Sign of the Hammer "be my guide, the spell has been lifted" it is in my brain forever. Loved those manic riffs too. 'The Oath' and 'Thunderpick' have some resonance with my memory too but I will never forget 'Guyana (Cult of the Damned)' with its haunting lyrics; "I thank you for the cool aid Reverend Jim." I knew every riff especially as it builds to the big riff in the verses. I did not know at the time what it was about but have since learnt it was focussing on the Jim Jonestown Massacre. The lyrics have even more power with that knowledge. The intro to the song is kind of a Latin rhythm that works well, and the drum pounding is incredible, like a march to the gallows, or a march along the boardwalk to the vats of poison the cultists eventually took. This is a strong Manowar and perhaps one of their last great releases, still powerful and riff heavy, with glorious vocals throughout, and then they moved into a more mainstream sound. |
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AtomicCrimsonRush
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Posted: July 14 2014 at 07:38 |
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Old school metal
Let each note I play be a black arrow of death sent straight to the heart of all those who play false metal.... This is undoubtedly a masterpiece for the band featuring some of their most famous songs beginning with the power metal of Blood Of My Enemies, followed by cool riffing Each Dawn I Die, with some naff lyrics powered out by the great Adams, but that’s what Manowar were about. A song about killing and “die die die!” on Kill With Power soon became a fan favourite for concert set lists, along with anthemic glitz on Hail To England, one to raise the horns up to in a concert. HAIL TO ENGLAND  *****
I had this on vinyl and must have played side one hundreds of time but I was always looking forward to the power intensity of Army Of The Immortals and the killer Black Arrows that is basically a lead guitar solo with fret melting spasming arpeggios at light speed by Ross the Boss. It ends with a slower paced Bridge Of Death, that was a low point for me, but overall this is still a glorious victory for the band and one of their most revered. HAIL from Australia! |
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AtomicCrimsonRush
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Posted: July 14 2014 at 07:37 |
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CREAM
Disraeli Gears  Brilliant milestone album from legendary masters of psychedelic fusion. Every song sizzles with vitality and this features some of their most infamous legendary songs such as Sunshine of Your Love and Strange Brew. Tales of Brave Ulysses is mind bending with Clapton's God like descending wah-wah guitar and his riffs on this album changed the face of rock indefinitely.
Jack Bruce's bass is a machine of power keeping it all together and the unsurpassed drums of Ginger Baker are phenomenal. This is legendary in the annals of rock; a milestone of the genius of Cream. Listen now and allow your mind to be hypnotised by the sounds of 1967. |
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AtomicCrimsonRush
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Posted: July 14 2014 at 07:32 |
FROM THE INSIDE ***** A masterpiece concept album and one of the best of 1978. It is hard not to like this as every track has a great melody and Alice sounds sinister and superb. His lyrics are inspired by insane inmates and we meet unforgettable characters such as Millie and Billie 'criminally insane' a chilling song if ever there was one, and the sexy Nurse Rosetta 'secretly my eyes undress her, let me feel your tongue depressor, I'm suddenly twice my size, my pants are all wet inside.' It is pretty racey but school kids loved these songs back when I was in High School.
The catchy From the Inside and Wish I Were Born in Beverly Hills 'I swear I couldn't drink half as much as she spills' are outstanding rockers. Then there are quiet reflective ballads such as The Quiet Room 'is like a tomb with just a moth stained naked light'. Serious is a straight forward rocker with a great Kiss like riff. The single was a radio friendly ballad that hit the top of the charts, How You Gonna See Me Now 'please don't se me ugly baby.' For Veronica's Sake 'I gotta get outta here' is a bit of a throwaway but still kicks A. Jackknife Johnny is another character that we meet and finally the creepy, I mean really creepy, Inmates (We're All Crazy) ends things 'it's not like we did something wrong, we just burned down the church while the choir within sang religious songs, with roller coaster brains, imagine diggin up graves, lizzy borden took an axe and gave her mother 40 whacks'. Not for the squeamish, and once heard never forgotten. This is Alice at his most notorious, spine tingling lyrics and infectious melodies. Simply a fantastic album. |
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AtomicCrimsonRush
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Posted: July 14 2014 at 07:31 |
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Some Alice Cooper classics
 ***** Welcome To My Nightmare is the magnum opus of shock rock pioneer Alice Cooper. Every track breathes a sinister fiery intensity and seems to be based upon the nightmarish visions of Mr Cooper including, black widows, corpses, and the disturbed. It is all delightfully tongue in cheek and won't offend easily these days. In it's time this caused quite a stir especially Only Women Bleed about female abuse, though it is now hailed as a classic song, played live every time Alice gets on stage.
Devil's Food is a throwaway track that I always liked due to it's heavy guitars but my favourite is the awesome The Black Widow. It begins with Vincent Price's chilling tones as he hails the black widows dominance to rise as man's fitting successor in the food chain. Cooper revels in the dark caverns of a spider rampaging, and indeed in concert had fun with the female waifs dressed as spiders crawling over the stage and up webs. The riff is a killer and it never fails to impress me. Some Folks is the worst song on the album and I rarely play it. Skip to Only Women Bleed, a quintessential treasure. Department Of Youth is a glorious tongue in cheek stab at the uprising of young anarchists. Cold Ethyl is Alice making love to a corpse, but it is simply a fun horror tale. Years Ago is a weird chiller that always makes me feel uneasy, and Steven is perhaps the scariest song on the album. The album ends with a couple of rockers and thus a fantastic album is created. Get this at your nearest opportunity. |
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rogerthat
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Joined: September 03 2006 Location: . Status: Offline Points: 9869 |
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Posted: April 26 2014 at 22:36 |
No such luck, it was neophyte Alia Bhatt. She is supposed to be cute in, er, a Emma Watson sort of way, but not for me. The remix basically used Nazia's original vocal rendition and placed it on top of thumping contemporary disco beats. If it weren't for the nostalgic value of reprising an eighties favourite, it would be just any other Bollywood 'party track'.
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Prog Sothoth
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Posted: April 26 2014 at 22:14 |
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The Monkees - 'More Of The Monkees (1967)
 Continuing in my oddball pop albums for the hell of it... OK, so the music itself isn't really odd as far as pop/rock is concerned and some of these tunes are well known. It's everything outside of the music itself that's rather unusual...things I didn't realize at the time when I grabbed this vinyl at a yard sale. 1. Think of all the great and classic recordings released in 1967. None of them sold as much as this bugger that year. In fact, it's the very first pop/rock album to top the Billboard yearly charts...not The Beatles (something I just sort of assumed back in the day). 2. The band didn't even know it was released until after the fact. It was rushed out while they were on tour to capitalize on their success. 3. Don Kirshner's strange liner notes on the back cover pimp out the songwriters before giving smarmy praise for his 'boys'. 4. Mike Nesmith soon proclaimed it "the worst album in the history of the world". Not exactly a winning endorsement from an actual band member. If all the songs were like "The Day We Fall In Love", he'd actually be correct. 5. Only two songs were actually written by the band, and their instrumental contributions were minor...most of the music was performed by session players. Basically it's a pop album with guitars. Thing is, what I also noticed is that every song in which Mickey provides the lead vocals range from great to classic, and the rest of the songs range from average to beyond terrible. The major highlights, "(I'm Not Your) Steppin' Stone" and "I'm A Believer", are flawless, and "She" rocks, "Mary Mary" (written by Mike) is cool, and the Carole King penned "Sometime In The Morning" could have been soppy but Mickey's heartfelt vocals make it a winner...the man had that Justin Hayward capability to turn simple ballads into art. The best of the rest is probably the Davey sung "Look Out (Here Comes Tomorrow)" that's got a groovy chorus, although the song is briefly marred by some stupid "Mary, I love you" whispering. The Peter Tork sung "Your Auntie Grizelda" is propulsive enough, although its goofiness gives it a dorky novelty vibe, and Mike's lone lead vocal contribution to his "The Kind Of Girl I Could Love" is passable, but he's written far better material. The rest of the songs, basically saddled with poor Davey, are awful, including the one with Neil Sedaka's imprint. "Laugh" is a particularly rotten attempt at who-knows-what, but nothing can compare to "The Day We Fall In Love", pretty much scraping the bottom of the barrel as far as The Monkees are concerned...or just about any recording group ever. It's so unbelievable that it practically needs to be heard once, especially when you're having one of those days when you just keep royally screwing things up to levels that question your sanity. Play this and you'll realize there are people creating worse disasters than you. This album played the catalyst that caused an eruption between Don Kirshner and Mike Nesmith, with Mike ultimately winning out (after threats and punching a hole in a hotel wall), thus instrumentally the next albums were performed by the band and with a much larger proportion of the songs also written by The Monkees themselves. So yes, this album practically defines 'manufactured product' but at least half of it is really good 'product'. |
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Prog Sothoth
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Honorary Collaborator Joined: May 03 2011 Location: MA Status: Offline Points: 1940 |
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Posted: April 26 2014 at 21:08 |
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^ Thanks...granted, it's not something I'd really recommend for prog fans, but the novelty of owning it before realizing that it's by no means an obscure release on a global scale made it kinda cool. Haven't checked out the remake version, although if Priyanka Chopra or Katrina Kaif were in that flick I might have by now...just for the song numbers of course.
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rogerthat
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Joined: September 03 2006 Location: . Status: Offline Points: 9869 |
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Posted: April 24 2014 at 00:54 |
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Ha ha, well, I didn't expect that. Maybe the first time I am seeing something so familiar to me being recommended in the Non Prog Album Reviews. By the way, Disco Deewane was remixed for a Bollywood film from 2012. The remix was also a hit.
Not one of my favourites but nice to see Nazia Hassan's name coming up in a PA discussion nevertheless.
Edited by rogerthat - April 24 2014 at 01:37 |
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SteveG wrote: