It’s a new year and I think it’s time to post my CD collection…that will be happening soon.
BUT I would love to inform my readers about this really cool new blog that just got up and running. It’s by a close friend of mine who is sharing a story she is writing as it is produced. I think that’s how you prove you’re in something for the love of it. Shes also sharing her refreshing views on the world. She’s in the editing stages but I wanted to get the word out.
I finally did it. I finally picked up what is now the crown jewel of my album collection, John Frusciante’s Smile From the Streets You Hold. It was released in 1997 on Birdman Records and was taken off the market in 1999 by the guitarist himself upon his re-joining of the Red Hot Chili Peppers. He has since admitted the album was released to fuel the drug habit that almost ended his life.
My trek to get the album took me to eBay. I’m not an on-line kind of person, but when every record store you go to in New York can’t get it then your options in life are limited. I actually got a great deal on the album considering its worth. It just came in the mail today (Wednesday) after winning an auction on Monday. With my aversion to downloading illegally (pretty much the only way to get the album besides YouTube rips), I bought it and have listened to it straight through.
Now, I have to admit I am biased in that Frusciante is among my favourite artists. To review this album is a chore in that way. If you took a random person off the street and played them this album, they would hate it. It’s a true look into the depths of a dying man, no other way to describe it. If you know about his drug addiction going into the album and can stomach some gut wrenching screeches and howls disguised as vocals mixed with a heavy dose of “What the fuck did I just hear?” then you might be able to find enjoyment out of this album.
For me, enjoyment isn’t the right word. To me, this album brings me to another level of the mind and spirit. Not in a good way as sharing moments with your Dad as you celebrate the love and light of life. This also doesn’t bring me to the depths of Hell, even though it’s obvious it’s where Frusciante was during the recording of this album. It transports me to a place where all those feelings intersect. “Enter A Uh” sounds like a man who is literally one tourniquet and needle away from certain death, but a song like “Smile From The Streets You Hold” is oddly comforting. It’s comforting because you can really see that even in all the misery of what he was going through, Frusciante still had enough sense of who he was to create a avant-garde piece of art that goes from a psychedelic backward guitar-effects driven song into a glimpse into the soul of a person who lost his teeth/suffered permanent scars on his arms and literally almost died before recovering into the land of the living.
I’ll put it to you this way…the vocals are grating at best, literally unlistenable at worst. The guitar work is quite good on the songs recorded before he became a total junkie…after it barely qualifies as anything coherent.
If you’re looking for a nice quiet listen devoid of emotion and feeling…stay away. If you’re looking for another Frusciante record such as anything post-2000…stay away.
Yet if you’re looking to be transported to another level of the mind, to a place where it’s not the actual music that matters, it’s the emotion and feeling…THEN attempt this album. It’s a ride to depths that if you’re unprepared to experience, your personal emotions may get the better of you. It’s a hell of a ride, for better or worse.
Is it good? Hard to say. As I’ve mentioned, from a musical standpoint, it’s inconsistent, leaning heavily toward being a horrible album with very few high points. From an emotional standpoint, I don’t think I have ever heard an album that toyed with my emotions such as this one. It made me introspective and made me examine who I am. That’s not an understatement. The 60 minutes of Smile from the Streets You Hold will change your life. If it doesn’t you simply don’t have a soul.
Grades:
Musically—D-
Spiritually—B
Average Grade—C-
Sung half in English and half in Icelandic, Menn Ársins self-titled album is definitely an interesting one. It’s odd in that it’s not exactly different then lots of music in the crowded alternative scene, but the lyrics set it apart…at least for American audiences. I will say this people…if you hear this album; make sure to buy a nice translation dictionary (Hippocrene Books makes a pretty good affordable Concise Dictionary…just an idea). Released in 2008, the record caters to the more experimental listener, if for no other reason that on half the songs, most people will have no clue what singer Sváfnir Sigurðarson is saying. But in terms of the actual music itself outside of the Icelandic lyrics/song titles, Menn Ársins is a pretty solid record.
I first heard about Menn Ársins via an E-mail sent to me by bassist Sigurdór Guðmundsson who informed me of his band and the album. I have to say, I was pretty happy that I received the E-mail after I heard the music. Nothing sucks more than incompetent musicians thinking that they are good. This band doesn’t have to worry about that which is a step in the right direction. They have been featured multiple times on Nick Tann’s Is This Thing On? Podcast so if you get a chance to hear the Podcast…you might be lucky enough to hear the band’s music. At any rate, there is a link to this album in the Get Music Here section.
As mentioned, not much really sets the band apart musically compared to many of their peers other then the lyrics in a “foreign” language. I put foreign in quotations because… if you’re from Iceland/know the language then you know what they are saying. It’s all relative I guess. Regardless, it’s not as if Menn Ársins is a boring record. If anything it’s pretty interesting music for the average American listener due to the fact that it’s fascinating to hear another culture’s take on a poplar genre here in the States. I have to wonder if people from other countries then the USA feel the same way about our music. I highly doubt it…but if there are any readers out there from another country…leave a comment, I’d like to hear somebody’s take on it.
In terms of the actual music being played on the record, it’s above average for the vast majority of the time. One of the few weak points is Þegar augu okkar mætast. I say that not because it’s a bad song, but it just seems like something that has been done before by countless bands. Here’s the thing about this album and I said the same thing about Forget Paris. Even if the band’s music is something that is commonplace there is still a place for it in that if it’s good, people will enjoy it.
My favourite song on the album is probably Love to Turn You On. It’s a damn good rock song. It’s an example of Sváfnir Sigurðarson’s vocals where it shows that the guy has a great voice. It’s deep and clear. Now when it comes to a singer sounding good on record…you all know my views on that. That said, go check them out live via YouTube, it was a great surprise for me. So often, a singer that has that tone on record never comes close to it live, but Sigurðarson does it with ease.
The rest of the band is really talented. One of the bigger aspects of the band’s sound is keyboardist Haraldur Vignir Sveinbjörnsson. A secret weapon if you will. Bands that incorporate keys can either have one of two things occur. Either the band is light years ahead of where they could be as a band, or they instead rely on the keys to an extent where it’s a detriment to the band. Fortunately, Menn Ársins is able to strike that perfect balance.
The rhythm section of the band is also pretty good. I mean the bass playing for example is really good. Then again, I am a huge fan of the Red Hot Chili Peppers, so most bassists I listen to have to measure up to Flea. Not easy…but Guðmundsson does come pretty close. It’s obviously a different style but I do know that if the band makes it big here in the USA, he will be seen as one of the better bass players in current US popular music. As for the drums, I get the feeling that of all the great things about the band, Kjartan Guðnason is probably the weakest spoke in the wheel. Is he a good drummer? Yes. Does he play up to the standard of the rest of the band…probably not. Still, he is not a liability on this record and sounds much better then lots of other drummers out there in the wilderness of music.
Menn Ársins has created a great summer record. It’s a good rock record, but also has some grooves to it that perfectly fits the summer time. A bit darker musically then maybe some other records you would think of in the summer, but still it’s a good melodic album to just hang out and listen to on a summer day where the weather sucks. It’s a very good album that truthfully couldn’t be all that much better the majority of the time.
Grade—A-
The debut LP by Connecticut-based Forget Paris creates a sense of dualism. It truly invoked a duel-reaction, at least for me. On the one hand, the album was good at first glance, however after a while, it seemed like one of those been there, done that kind of feelings. It seemed to be full of hackneyed ideas. Yet, somehow those same clichés that have brought down so many albums over the years are actually what makes this album really fun to listen to. It’s funny; the album is far from innovative, yet still sounds really fresh. How it manages to do that, I have no idea. Give the guys lots of credit though, they take a genre that has seen a sensory overload in the last ten or so years and even with the inherent limitations of the type of music they play, found a way to create a really interesting album.
A huge part of what makes this album go is the musicians creating the music. The entire band is truly talented on their respective instruments and really takes the whole pop-punk/emo genre and gives it a refreshing twist. There is something to be said about a band making music that is not particularly groundbreaking in its lyrical/instrumental context but are still able to make it not appear to be boring. There are about ten billion other bands out there who sound like Forget Paris that I have heard over the years, but really they are one of the better bands of the genre. For what it is, it’s a pretty good album.
The general feel of the band really begins with the lead vocalist. Not that the other guys aren’t important, after all without music, it’s pretty much some guy randomly singing. But…the singer is vital to any band’s sound. The good news is that Tyler Cohen can actually sing. He’s not like Brad Nowell but is pretty good. Imagine Julio Marin from Glasseater, but with a bit higher range. It just fits the music. It’s always good when the singer fits with the rest of the band. Very often there will be singers who can sing well…but sound bad with a certain band or vice-versa. Cohen fits this band like a glove.
The backbone of this band is actually drummer Nick Forte. It’s not as if he is really breaking new ground with the drums, but he really sets the beat and does a pretty damn good job of it. He is probably at his highest point on Hold Your Breath, which happens to be my favourite song on the record. The opening 30 seconds or so of the song shows off the fact that guy can play…simple as that.
In any rock band, the guitarist needs to be mentioned as well. If he sucks…then the band is in serious trouble. Adam Ferrari though, doesn’t suck. In fact, he is probably the only guy in the band who does some things with his instrument that could be seen as different then most of the bands out there. He seems to mix a bit of Joseph Marro and Jack O’Shea and throws in his own style to create something unique.
There are some negatives in the album however. Everything is not perfect for Forget Paris on this album. First off was the issue raised earlier with the general style of music the band plays. Also, I hate to say it, but Mikey Martone is average for the most part as a bassist. He’s way better than many others out there, but compared to the rest of the band, he’s probably the weakest link. In most bands, he would be seen as one of the better members…not so in this band. The songs also sound the same after a while which isn’t all that uncommon on most current records.
Overall, the general feel of the album is a good one. It’s well-played, well-produced and just overall a good listen. It should also be mentioned that the album was dedicated to a friend of the band who recently passed in an accident. Forget Paris is a band with a really bright future if they keep making albums like this.
Grade—B+
It’s not that common for an album title to totally describe the record in the few words that titles tend to be. In this case, the title Bare Bones fits the music perfectly. Tom Caulfield has created an album which is pretty much him playing acoustic guitar and singing, and that is “Bare Bones” in the truest sense of the word. Not to say that the album is devoid of positive characteristics as you would think when hearing that an album is “bare bones”. Instead, Caulfield has created an album where the sound is simple yet complex. I hate to use clichés like that, but just go with it. He doesn’t attempt to go crazy with his guitar work, instead using a minimalist style that works better for the album then if he had focused on playing the most notes possible. In this case, the fact that the playing is more basic is one of the albums most enduring qualities.
The album starts off with Good You Got Away, a pretty basic song to begin the journey. Right off the bat, it’s apparent that this is one of those albums which is great to relax to. There are many albums where you can only listen to at times. Who listens to heavy metal when they are attempting to sleep? Well some people…but for the vast majority of humanity, not such a good plan. In this situation, Bare Bones proves to be a really flexible album from the listener’s point of view. It is great to listen to late at night after a day of work to unwind. It’s also great to listen to as a soundtrack to work (I just got a job…trust me this album helped to get me through the first week).
When it comes to the actual musicianship on the album I have to admit that it is pretty good. For a recording that’s really basic without lots of studio effects, it sounds really good. Give credit to Caulfield and Nick Tann (producer) on that one. It’s admittedly pretty standard music, not much in terms of innovation. Still, the music, despite its limitations at first glance, really holds up.
The high point on the album, both lyrically and musically is probably the fourth track, Miss Valentine’s Last Stand. If you are looking for a great song, look no further. The guitar work on this track is superb, as it’s pretty straightforward and Caulfield doesn’t really go overboard with the notes on this song. Truthfully this is a great thing, sometimes on an album where it’s a singer and an acoustic guitar sometimes the best songs are the most musically unassuming ones. Here’s the thing though, as much as the album isn’t overly dense with musical components, it’s still deep enough to show off Caulfield’s talent.
When it comes to negatives on the album, there are a few issues. One critique I have of the EP is with its length. Now before you start laughing and want to take away my computer so I can never review another album…think about what that means. Pretty much, I am a fan of Caulfield’s music and I wish it was a full length album so I could hear more of it.
In terms of an actually negative trait, I would probably have to mention the fact that while Caulfield is a very good singer for the most part; his voice tends to crack a bit on the high notes. It doesn’t happen often, and it’s not really egregious enough to bring down the grade on the album, but it is present to an extent. An example of this is in the fifty second range of Miss Valentine’s Last Stand. Again, it’s a slight issue and to be honest, I am nitpicking a bit.
Overall, Tom Caulfield has produced a very enjoyable acoustic album that should be in pretty much anybody’s collection. To download the album, check out my Get Music Here section, where there will be a link to this album.
Grade—B+
Hey!
So I decided to change some stuff around today. First off you will see that the Quick Hits section has been modified both in name and content. It will still have the same review style going forward, but with a bit more meat to it. Included will be a link section in the sub-heading, a little history of everything…and probably some other fun stuff once I think of it. It’s a total work in progress and to everyone thus far who has read the Blog and posted feedback, I am in your debt. It’s because of you people that I do this.
This week, I begin my second week of work at AIG. This is good for numerous reasons, mostly because now I have some semblance of a routine to follow. I won’t be running around like a chicken with my head cut off (well not as much anyway).
This will enable me to actually post some great reviews this week. There have been some really good albums I have heard and the reviews are ready for the most part. One is awaiting the album art, so once that happens then it’s up. Another is in the finishing touches stage. The wonders of lunch breaks means I can at least take some notes for the site during the day and begin to formulate ideas. Two more are still in the planning stages, and they should be up by mid-week at the latest.
Oh yea, forgot to mention. Listen to Nick Tann’s Is This Thing On? Podcast. It’s pretty awesome and has lots of cool music on it. Later this week (say Thursday) come back here to Right On Time Music Reviews and read my take on a few selected tracks. You can even download some of the band’s music…awesome eh?
Again…thanks and I will get some reviews up soon!!
-Carl
Hey Everyone,
The first Quick Hits section is up on the site. Highlight the Quick Hits section above and go down to the first link to check out this week’s music selections from Nick Tann’s podcast. He highlights many different types of music on it, and this week was no different. Look at my take on the music, and add your own comments in the section below! Thanks!
-Carl
My experience with The String Cheese Incident actually goes back a few years. Down the shore in about 2002-ish, I was speaking to a friend who introduced me to jam-band music. One of the bands she got me into was The String Cheese Incident, and over time I was able to pick up various songs and albums. This album is an example of a style of music that I am not all that familiar with, but I enjoy. There’s just so much music out there and it’s pretty hard to keep up with it all.
I hate using the term jam-band when it comes to describing the style of music that bands like The String Cheese Incident create, even though it makes the most sense technically speaking. They are a band, and most of their songs are some kind of improvised jam session, so I guess that fits them. There are elements of many genres of music within the band’s unique sound. Bluegrass, folk and reggae are but a few influences on the band’s sound. On One Step Closer, they show their varied influences. Some songs sound like the “typical” jam-band song, but others such as the opening track Give Me the Love reminds me somewhat of a Bob Dylan song. Not in the vocal style, as Dylan has one of the most distinctive voices in music, but instrumentally speaking, it wouldn’t be out of place on a Dylan album.
There are certain albums that can put the listener into a different frame of mind. This album is a great example of that. If you’re stressed out for any reason; just throw on One Step Closer. It is pretty much automatically going to calm you down. It’s practically impossible to hear this album and still stay angry at something. There aren’t all that many albums that personify the idea of a calm fun summer night. This is one of them. If you are doing anything during the hot summer months, throw on this album and it will fit into any situation.
Beyond the mood of the music, the question is whether the album is all style and no substance. It’s truly a bit of both. The music is very calming, which is a good thing. The actual songs are also pretty good. To me the biggest flaw and issue of the album is its pacing/track layout. Individually, the songs are a great listen, but together they just don’t have much of a flow. Its odd seeing as there is a definite mood to the album as a whole, but it seems somewhat disjointed in a way. The best way to describe it is like a sports team. The players on the team may be great, but if they can’t compete as a team to create a cohesive unit, the team doesn’t win. The album is made up of very good songs, but together they seem to skip around a bit too much. Variety on an album is great, but if the songs don’t fit together that takes the enjoyment of the album much lower for a listener.
With a different track sequence, this album would easily be a home run. As is, it’s hard to knock the album totally due to the songs being of high-quality. The pacing issues and track layout turn a good album into an average one.
Grade—C+
One of the more unique albums currently in Buckethead’s impressive catalogue, Population Override is a mixture of blues/jazz/funk and even metal. Listening to any album by Buckethead is quite an experience as you never really know what you are going to get coming out of your speakers or in your headphones. I highly recommend when picking up a Buckethead album, don’t listen to any previews or read any reviews. That way you have no clue what you’re getting into and that makes listening to the album that much more fun. It was how I approached Population Override. I had heard Kaleidoscalp before this album and it was a trip hearing that album. I came up with the idea of picking another album of his pretty much at random. It pretty much worked out as hoped…I had literally no idea what I was about to hear, and therefore went in with an open mind. It was a great idea.
It’s pretty hard to classify Population Override into any one particular genre. Then again, for most Buckethead albums that is the case. He has albums that may lean towards heavy metal for example, but they usually include some allusions to another type of music. In this case, jazz is a heavy influence on this record, as it seems as if Buckethead took jazz and threw convention out the window and threw his own spin onto the style. This makes this album sound nothing like most jazz albums out there. Still it’s obvious, the connection is there.
It’s really one of the more interesting albums of his since it’s not just a bunch of riffs where he just plays as fast as possible to show off his skills without creating much of a song. He tends to do that on certain albums, and here it actually seems like her decided to write actual songs with a point to them. Sure many of the songs sound like an extended jam but they actually do sound like a song as opposed to a bunch of notes. In addition to guitar, Buckethead also plays bass on the album. He is competent as a bassist, but let’s be honest; does anyone listen to a Buckethead album for the bass playing?
As mentioned, Buckethead also uses elements of funk in the record. Actually it’s more than an element; the album is in some ways a funk album as well. That’s what makes it so great…it keeps you guessing. The high points on the album are probably Too Many Humans, almost nine minutes of blues influenced rock that shows just how talented this man is as a guitarist, and the last song … (the title) is literally a blues song and sadly it’s a minute and a half long. To me, I really wish it was a 5 minute song; I would have loved to see where he would have gone with it.
A great album by a great artist, Population Override is a record that more people need to hear. Any fan of the blues or jazz looking for a more rocking version of what they are used too would be wise to pick it up. A complete recommendation from me and there’s no real negatives on the album.
Grade—A
Hey Everyone,
OK, so the new feature I have been mentioning is coming to fruition. If you look to the left….there is a link to Nick Tann’s Podcast. Some of you may remember that I reviewed his album late last week, and it was good. Check it out if you get a chance…worth it.
Anyway…starting next week here on Right On Time Music Reviews, I am going to team up with Nick and begin to review independent music artists from all over the world. Listen to his podcast to hear the songs…and then come back here to read my take on them. Yes…you can leave comments and give me your take as well. Should be a great time and an interesting chance for all of us to hear some new music.
Few more quick things:
One…after hearing the artists/reading the reviews, there will be links to their music in the Get Music Now section.
Second…if your in a band and want me to hear and review your music…shoot me an E-mail at the address below. I will take any genre of music and give it a fair and honest review. Only stipulation is that your band/you must have a legitimate album/EP recorded and I am able to get the album from you in a way to be determined by each individual case.
Thanks so much everyone!
-Carl
lombardi.carl@gmail.com
Also…here is the link to Nick’s podcast Blog. Pretty cool site he’s got going there…
http://isthisthingonpodcast.blogspot.com
