Jaw dropping…  stunning…  incredibly moving…  flat out killer…  just how do you describe a piece of music or song that you enjoy?  I had a hard time figuring out how I wanted to start this version of the “Shameless Plug” series of posts.  Did I want to highlight artists re-recording one of their originals?  How about how the dichotomy between a band’s regular style and their more lighter fare?  Or maybe touch on the impact of the unplugged movement of the late 80s/early 90s?  Sure, all of that applies here but what I really want to hit on with Testament’s acoustic remake of their 1992 thrash ballad “Return To Serenity” is just how good it is.

The early 90s for the thrash movement had already started to shift gears when Testament came out with The Ritual in 1992.  Whether it be due to record company interference, the onset of grunge, or possibly due to the success of Metallica’s “Black Album”, many of the band’s peers were changing up their sound- songs were less frenetic, paces were slowed down just a tad, and things often felt a bit more overproduced and overthought.  In the case of Testament, their fifth album felt the same effects although with more tightly hewn riffs akin to Judas Priest rather than the manic assault felt on their first couple of albums.  However, the original “Return To Serenity” was a minor masterpiece in songwriting and craft that stood far apart from the rest of the release-  a semi-ballad with multiple layers, a subtle vocal, and incredible musicianship.  I loved the band’s fast and heavy stuff, but this?  THIS was different.  And very, very good.

Fast forward a few years to 1995…  after the music world had been turned on its ear courtesy of “the Seattle sound” and the growing prominence of gangsta rap, thrash music had fallen out of favor with the major labels and had gone underground.  Testament had released another major label album the previous year and as a stopgap before they planned their next move they self financed and released their first live album Live At The Fillmore.  While their heavier tunes were up front and in your face, tacked on to the tail end of the CD were acoustic studio versions of three of their more atmospheric songs:  “The Legacy”, “Trail Of Tears”, and in my mind the definitive version of “Return To Serenity”.

How do you top an original?  That’s often a difficult task (and why would you?), but in more ways than one the acoustic version of this song should be viewed as a Testament classic.  It is no doubt far removed from their thrashier material and exists as a dark horse/outlier in the catalog, but based on delivery, song structure, ebb and flow, vocal, and all parts in between it deserves your attention.  While the original has a certain level of sonic mastery, the acoustic version reveals a deeper emotional depth at its core as those heavy layers are peeled back.  What’s left is an incredibly haunting and beautiful performance on all fronts.  Let’s break it down:

Song structure…  three echoed notes really set the tone here, offset with a separate acoustic pattern and the onset of drums and bass to a slightly heavier tempo before a liquid solo slithers out and continues the build.  About one minute in comes a dynamic change; a simply played yet elegant figure reminiscent of daybreak on a chilly November morning offset by a second guitar’s slight flamenco vibe.  The ebb and flow of the song moves between both motifs and increases come solo time before it eases out to an elegant ending.

Delivery…  where do I start?  What stands out on this version compared to the original is the slightly faster pace, which has a bit more swing to it than the somewhat choppier original (cursed a little by a more pronounced and heavier drum thwack).  This version flows extremely well between all parties, allowing the melody to breathe more via the exquisite guitar layers (including electric guitar overdubs and understated yet grooving bass) and less heavy handed production that focuses more on the strength of the vocal.

Vocal…  good Lord…  Chuck Billy really is an outstanding vocalist and his delivery here is spot on but the real “star” here is the incredible accompaniment from Native American singer Star Nayea, who echoes Billy’s vocal and adds her own flair deep in the mix.  Both voices mesh well together and the performance easily outdoes that of the original as Chuck and Star’s dreamlike vocals have a more definitive flow courtesy of the acoustic delivery and subtler touch.

Musicianship…  one of the reasons this band stands above some of their peers is the incredible guitar work courtesy of Eric Peterson and Alex Skolnick.  However!  This version includes the talents of James Murphy, who hopped on board for the Low album and adds his mind-bending talents to this version.  Acoustic, flamenco, electric…  Murphy does it all (accompanied by Peterson) and his replication of the original solo is phenomenal as he balances half the solo with a dramatic acoustic build before an electric crescendo kicks the song into an even greater stratosphere.  Skolnick’s original solo is magnificent in its own right and I would have loved to have heard his take on acoustic but Murphy delivers his all and then some.  His silvery touches are similar to his predecessor yet slightly more aggressive, adding to the already heavy emotional scope of this performance.

Download now, dim the lights, throw on the headphones, and ease in to a master performance by these Bay Are legends that may surprise you.  Hit that repeat button a few times while you’re at it.

I’ve never been someone who believes that friends and loved ones that have passed on have the ability to communicate with you from the afterlife.  Television shows featuring mediums that “talk to the dead” are just a bunch of hoo hah in my eyes and anything supposedly revealed is just happenstance or a coincidence.  But something weird has been happening in my neighborhood over the past couple of months that makes me think…  is Gregg Allman trying to communicate with me?

So before I get into the why, let me step back just a bit.  As many of you likely know, Gregg Allman passed away in late May of this year due to complications from liver cancer.  I’d recognized a number of recent passings of favorite artists, but due to the ever increasing ages of my rock heroes I thought to myself…  do I really want to recognize every artist when they die?  Do I just do favorites or those that have made an impact on me?  What if I forget someone?  After much waffling and internal debate on the subject, I figured it might be best to stop it altogether and make a casual reference to an artist in a shuffle post or in some other form rather than dedicate an entire post.  And I made this decision shortly after the death of Gregg Allman.

I’m not sure exactly when the odd occurrence happened, but I’m pretty sure it’s been over the past couple of months.  I take out our dog three times a day- once when we wake up, right after work, and before we go to bed.  We generally follow the same boring routine of out the door, turn left to go around the cul de sac, and then at the stop sign go whichever direction the dog’s sniffer takes us.  One evening when walking the dog before bed I hear the faint strains of music.  I couldn’t tell exactly where it was coming from but it was maybe 15-20 seconds worth of what sounded like some sweet melody from an unknown instrument.  My first thought was that someone had left the radio on because it would repeat every few minutes, but each time I was not close to the source of the sound.  I didn’t think much of it…  that is, until I heard it again… and again… and again…  during different times of the day and night.

Oh, it didn’t happen every day that I took the dog out nor did it happen any other time I may have been outside, but each time it slipped from my memory that darn figure would pop up again.  One day when it was fairly quiet I got a good listen to the tune-  a sweet guitar melody that sounded very familiar but couldn’t quite place it.  And finally I deduced the source of said tune-  a kid’s toy that looked like a little pink bus in my neighbor’s front yard, parked under one of their small trees..

What makes this story even stranger is that that toy has remained in the same location for the past two months with nary a child playing with it.  It’s been left out in the sweltering Midwest humidity, it’s been dumped on with inches and inches of rain, it’s been caught in hailstorms and windstorms and whatnot and I’d STILL hear that song.  Just when I thought the batteries may have died out or that the weather had finally gotten the best of it, that little pink bus would fire up it’s 15-20 second melody.  Short of Toy Story coming to life, I thought…  when is it going to stop?

And then it finally did.  Or so I thought…  two, maybe three weeks goes by and nary a peep from the neighbor’s yard.  I started to miss that little tune and tried to remember exactly how it went because it sounded like the Allman Brothers and always brought a smile to my face- was it “Little Martha”?  Maybe it sounds more like “Blue Sky”?  I dunno, but…  I haven’t heard it in awhile.  That is until today, bright and early at 6:30 AM when I was out with the dog as he did his business and then suddenly I KNEW.  This was a sign, a message from Gregg Allman telling me that I should have made a reference to his passing in a post.

So Gregg…  here it is…  it’s not going to be very long but I get the vibe from the short tune that it’s OK to be brief.  Many thanks for great music over the years and I hope you are up there laying down some new tunes with brother Duane and drummer Butch Trucks.  The Allmans legacy will live on in the hearts of jam bands everywhere.  May you rest in peace.

Oh yeah…  I know if I don’t hear any more out of that car then it really WAS you!

https://www.youtube.com/watch?v=ShNoTozReoA

Time once again for a curveball on the shuffle post by giving my musings on the first ten artists that pop up on the iPod, plus pick my favorite three songs from the artists.  Let it roll…

Mercyful Fate

Of course, let’s start with a tough one…  Mercyful Fate, a band I never really got into until maybe the 90’s when King Diamond decided to resurrect the band after his lengthy solo career.  All that said, King and the boys were a huge influence on the metal scene (especially Metallica) with songs full of steely riffs, macabre lyrics, and over the top vocals.  And that Denner/Sherman guitar tag team is aces and the King’s ultracool personality (not to mention insane singing style) is totally unique.

Favorite Cuts:  “A Corpse Without Soul”, “Curse Of The Pharaohs”, “Evil”

Wild Cherry

Only got one cut from Wild Cherry and it’s a KILLER…  the ubiquitous “Play That Funky Music”; a song with an insistent funkiness and stanky groove topped off with an insanely catchy singalong chorus.  Never fails to bring a smile to my face even after years and years of hearing it, and if someone is gonna frown on it then I don’t want you hangin’ out at my party.  Hate to say that I’ve never heard anything else from the band though.  Oh well.

Favorite Cut:  “Play That Funky Music”

Survivor

Loved these guys back in the early 80s and liked their extremely popular Vital Signs LP with the major hits (well, those outside of “Eye Of The Tiger”), but man…  if I clamor for some Survivor I have to go with the Dave Bickler era-  just some great heavy blue collar rock from the Chicago boys.  Sure, the Jimi Jamison era was more popular but it got a little too poppy and ballady for my tastes which now I look at it more as a product of the MTV era.

Favorite Cuts:  “Poor Man’s Son”, “The One That Really Matters”, “Eye Of The Tiger”

Allman Brothers Band

Big fan here; love the Allmans and really got into them moreso over the past 15-20 years or so.  Preference is definitely for the Duane Allman era but I certainly don’t discount anything done since his unfortunate demise (especially the latter Warren Haynes years).  Brother Gregg’s (RIP) soulful singing o’er top of that dual guitar interplay between Duane and Dickey Betts is the main selling point for me, plus they wrote a good number of hits and did some excellent blues covers.

Favorite Cuts:  “One Way Out”, “You Don’t Love Me”, “Nobody Knows”

Rory Gallagher

Wow, tough tough call here as I have a few things from Rory but I don’t listen to him enough to make the call but hey, ya gotta do what ya gotta do and I’ve put three down that I like.  Hard thing though is actually picking songs because he’s mostly known for his guitar prowess, which is quite incredible.  I was in a record store one evening and they were playing his Live In Europe and I was floored by the insane fire and energy from his performance.   And yeah, the live stuff is where it’s at.

Favorite Cuts:  “I Take What I Want”, “Cruise On Out”, “Bullfrog Blues”

The Winery Dogs

I remember when these cats teamed up and how excited I was at the prospect of what they would put together, but I was slightly disappointed.  Not sure exactly why though as the talent is there but it may have been that I was looking for more fiery fretwork and less bluesiness from the band, which is a shame in my thinking as the players are all killer and Richie Kotzen has some great soulful pipes.  Still, I’m wanting a more aggressive approach from him to match the tunes.  Got some really good tunes though.

Favorite Cuts:  “Six Feet Deeper”, “Desire”, “Not Hopeless”

The Beatles

As much as I dig the Fab Four it’s hard for me to say that I absolutely love them.  That may be blasphemy to some; however, my tastes lean heavier and a bit more bombastic compared to the melodic tunefulness and brilliant songcraft of the band.  That said, I have MASSIVE respect for what they’ve done and they definitely fall into the top tier of favorites of all time due to their immense creativity and wealth of iconic music.  They literally changed the face of popular music during the 60s and their influence cannot be denied.

Favorite Cuts:  “A Day In The Life”, “Let It Be”, “Eleanor Rigby”

Sex Pistols

Short of the Never Mind The Bollocks… CD I have nothing else from the Pistols so I’ll be a little biased towards my choices.  Funny tho, I’d heard covers of Pistols songs before I actually heard a thing from the band themselves.  Even funnier listening to this these days is how relatively tame it seems to be, which just goes to show how much punk rock influenced a lot of the heavy music I grew up with.  Still, Johnny Rotten’s snotty delivery is often imitated and never duplicated and the songs were strong- don’t let anyone tell you otherwise.

Favorite Cuts:  “Anarchy In The UK”, “God Save The Queen”, “Holidays In The Sun”

Iron Maiden

Yeah, don’t need to go into much more detail on my all time favorite band having already done that as they achieved the #1 spot on that list.  But yer gonna get another small dose of it anyway.  Great musicianship?  Check…  Excellent songs?  Check…  Fabulous live energy?  Check…  Cool lyrical content?   Absolutely…  the best metal frontman ever?  Hell yes…  We can talk Maiden on here all day, but I’ll leave you with this-  there’s not a band anywhere that’s as deep in my soul as these guys are and there never will be.  Entrenched and anchored well within…

Favorite Cuts:  “The Trooper”, “Hallowed Be Thy Name”, “Wasted Years”

Monster Magnet

The cool thing about working at a record store back in the day were the promos that were sent out, which was my first exposure to the great Monster Magnet.  At one point in the 90s I thought that their brand of stoner rock would be THE NEXT BIG THING but unfortunately it was not.  Still, they did have a semi hit with the over the top video for “Space Lord” but they never did replicate that success.  But man, the band’s spaced out fuzz and trippy lyrics are really deserving of more exposure.  Runs the gamut from stoner to cock rock and it’s all good.

Favorite Cuts:  “Negasonic Teenage Warhead”, “Space Lord”, “Medicine”

Somewhere…  a long, long time ago…  creative, artistic, and compelling music was not a dirty notion as far as popular culture was concerned-  talents of all sizes, shapes, and color could easily coexist because playlists were nonexistent, artists could do as they damn well pleased, and a certain bit of uniqueness was OK on the radio or MTV.  Which is a shame because in today’s industry, songs as brilliant and dynamic as Black Dub’s “I Believe In You” do not get the attention and push they deserve.

They say that the apple doesn’t fall far from the tree and in the case of Black Dub lead singer Trixie Whitley, this rings very true.  Like her late father Chris, Whitley has an expressive gift-  not only in the haunting and smoky vocalization but also in her fearless interpretation of a lyric.  THIS is an excellent example of a singer perfectly in tune with the multiple shades and hues of a song.  She knows exactly when to push and pull, when to throw light onto the shade, and when to soar to great heights.  There is no overselling here in the vocal; it is pure, unadulterated feel and miles removed from the frequent operatics of many of your American Idol hopefuls.  An absolutely stunning performance.

As for the music…  the accompaniment is fairly subtle, working well as the backdrop to the vocal.  Bassist Daryl Johnson’s reggae influenced line is the first earworm; a slinky, dub-infected groove that bubbles underneath the sparse piano lines of Daniel Lanois.  But the other star of this cut to counter Whitley’s passionate vocal is the impressive drum mastery of Brian Blade- everything from subdued cymbal work to cracking rimshots to powerful tom hits are on display here, adding another spark to an already moving cut.  His jazzy touch is transcendent and quite remarkable, pushing and laying back in the right moments.

I’ve included two different versions here to highlight the slight differences between how well this song works live vs the studio version.  Both are certainly incredible as far as dynamics are concerned, but the extra production touches on the actual Black Dub album make for an aural treat typical of Daniel Lanois’ style.  Most of these touches are deep in the mix and do not distract from the performance- for example, there is an indiscreet, evocative vocal effect that intros the song and weaves in and out periodically as it makes itself known during dynamic changes.  Also, listen for the hints of keyboards and guitars that help build during the verses and the final chorus towards the end of the song.  Those delicate touches along with the passionate yet subtle delivery from all performers makes “I Believe In You” a winner.

“It’s Who You Know”, X Wild Gift

https://www.youtube.com/watch?v=ghcBd7Ii66s

With a slam bang wallop Billy Zoom riff, Los Angeles’ X kicks down the door with a fine two minutes of punkabilly greatness that is too short for its own good.  Lead vocals/bassist John Doe is in fine croon ‘n sneer form here countered by fellow vocalist Exene Cervenka’s high wail and DJ Bonebrake’s trap rattling, but it’s really that careening Zoom guitar that provides the real kick in the pants.  More fun than you can shake a stick at.

“Back Seat Confidential”, AC/DC Bonfire: Volts

From the massively awesome Bonfire box comes this early take on “Beating Around The Bush” with entirely different lyrics but mostly the same music, although quite a bit rawer.  Gives you a great idea how Mutt Lange shorn off those rough edges to make ‘DC huge rock titans come Highway To Hell.  What’s interesting here is that this feels like an extension of the relentless boogie of Powerage but turned up a bit more in intensity and…  Fiyah!  (oh, wait… that’s not for a couple more albums).

“Kick Out The Jams”, Rage Against The Machine Renegades

Going for a bit more groove, RATM takes on this MC5 classic and puts their own spin on it-  less frenetic in pace than the original but totally slamming nonetheless.  Frontman Zach de la Rocha plays the vocal relatively straight compared to his ferocious takes on their original material and does an admirable job. The rest of the band?  Rockin’ mighty and rockin’ hard…  Tim C with some growling tone and sweet runs backed by Brad Wilk’s bashing and Tom Morello’s angry crunch.  A tasty cover.

“I’m The Man”, Cheap Trick Sex, America, Cheap Trick

From the rarely seen animated movie Rock & Rule comes this lost Cheap Trick cut finally released on CD on their great Sex, America, Cheap Trick box set.  You want to hear a primo rock vocalist?  Robin Zander proves why he’s the man of 1000 voices, giving serious throat power to this relatively brief cut that shows a heavier side to Rockford’s finest that runs counter to the power pop of the hits.  Songs like this prove how underrated these guys have always been.

“Reach Out”, Iron Maiden Best Of The B-Sides

Man, hearing this brings back TONS of memories as I literally ran to the record store to pick up the “Wasted Years” single waaaaay back in 1986.  Played the A side to death and was totally gobsmacked (a British term for ya!) by this Adrian Smith penned AND sung cut on the flip.  H’s always awesome tunefulness is one of those strengths of the band that was sorely missed during his absence for most of the 90s and “Reach Out” shows this off in spades, especially during that soaring chorus.

“All Of My Heart”, ABC Absolutely: Best Of ABC

Where would my listening tastes be if I didn’t have MTV in 1983?  ABC was one of those bands that were the total opposite of the Maidens, AC/DCs, KISS, and Cheap Tricks that I normally listened to but there was so much melodic and elegant goodness that I couldn’t ignore it.  “All Of My Heart” is beautifully lush; a musical smorgasbord of strings, keyboards, and excellent musicianship laying the groundwork for the ultra cool and suave Martin Fry’s stellar crooning.  Great production from Trevor Horn.

“No Prayer For The Dying”, Iron Maiden No Prayer For The Dying

https://www.youtube.com/watch?v=nvd7706UUns

As much as I hate to say it, 1990’s No Rest For The Wicked was the beginning of an odd period for the band- Adrian Smith gone, Bruce Dickinson gets a bit raspier, and those big and bold knob jobs by Martin Birch are a thing of the past, leaving us with more of a “back to the roots” rawness.  In hindsight, was it really THAT bad?  Naaaaah… the title cut is one of the better tunes, its nursery rhyme melody features some excellent guitar work and Bruce gives us his all.  Nice charge midway through to bring ‘er home.

“Hallowed Be Thy Name”, Iron Maiden The Number Of The Beast Single

OK, so much for shuffling through 20,000+ songs and ending up with three here but too much Maiden is never enough.  If you want one song to show off what Iron Maiden is all about, “Hallowed” is as good a choice as any (especially the live versions)- killer mood setting intro, excellent guitar work, fab melody and incredible dynamics, topped off by an exceptional Bruce Dickinson vocal.  This version (Brixton 2002) gooses the crowd participation a little bit but it’s the energy dammit!  A great example of why I love this band as much as I do.

“Blue Light”, Cathedral The Carnival Bizarre

Did I mention dynamics?  Yeah, I did…  so Cathedral blesses us with a smooth buildup before getting a bit trippy…  hints of haunted keyboards and bongos make their presence known as the band adds a subtle, sci-fi psychedelica to the proceedings.  And singer Lee Dorrian-  not the most precise and “on pitch” vocalist out there but one with a ton of character, especially come the spoken word piece toward the back end of the song.  Not typical of this band’s style but a decent change of pace.

“Crystal Planet”, Joe Satriani Crystal Planet

https://www.youtube.com/watch?v=jLJtO_iRbA8

I really don’t listen to a ton of instrumental music but I’ve always dug Joe Satriani’s work.  Kicking off with a vaguely middle eastern motif, the song eventually kicks into heads down rock mode as it leans a little close in spiritual vibe to Surfing With The Alien but with plenty of twists and turns to make this its own unique beast.  As always, Joe is in top form with liquid smooth runs and spacey chops- kinda like an out of control magic carpet ride in outer space.

Song of the week…  no contest…  “Hallowed Be Thy Name” by a WIDE margin because that song IS the essence of Iron Maiden.  I’ll take “Reach Out” and “I’m The Man” for the silver and bronze medal.

With a heady mix of Sabbatherian swingin’ doom, Opeth gloom, and Pink Floyd spaciness Norway’s SAHG have created a fine frothy brew of heavy rock that doesn’t necessarily break new ground but takes the best of those fine bands and creates a sonic swirl worthy of your attention.  The band was formed in 2004 and has since released five solid metal albums with lead singer/guitarist Olav Iversen the only member throughout their history.  Although numerous lineup changes have occurred the overall impact to the band’s sound has not been greatly affected- in all actuality, their sound has moved even further away from the aforementioned influences into something a bit more spacey and proggy.  However, those doom and stoner roots remain to create an excellent blend of music.

SAHG I and SAHG II drink heavily from the Sabbatherian well- lots of mountainous slabs of riffery and Iversen’s effective Ozzy wail with the occasional space trip via effects laden vocals.  Not everything is all doom and gloom here as the band often kicks up the speed on songs like “Pyromancer” from II, a blistering rocker with a powerful riff and the hefty swing of “Soul Exile” or groovy “Boundless Demise” from I.  But man, those atmospheric cuts are classic stuff…  just take a listen to “Repent” off the first album which takes you on a sonic soundscape of murkiness, trippy vocal, and sludgy riff.  Or check out II’s “Monomania” and its ten minutes of stoner gloom ‘n haze, sounding like a thousand setting suns in the farmost reaches of the universe (trust me, I’ve been there).

SAHG III offers up a slight change to the formula but not by too much-  by this time the band has replaced a couple of members but does not quite deviate too much from the formula.  Songs are a bit more leaner and meaner; a tad more “heroic” in vibe, less space-y, and maybe a touch more Dio era Sabbath than the Ozzy years.  Cuts like “Shadow Monument” are a bit more layered and melodic and less fuzzy guitar tone wise, which allows the song to breath a bit more.  On the other side, “Spiritual Void” hearkens back a bit to the first two albums but still retains its own charm as it offers up a bit of Seattle grunge in vibe; and “Mortify” pulls out all the stop with its snaky dual guitar intro before kicking into a mighty headbanging riff that would make Dio proud.

Delusions of Grandeur and Memento Mori, SAHG’s most recent two releases, have shifted the band focus even more- both discs dive deeper into Pink Floyd/Opeth/Mastodon territory-  vast soundscapes, dynamic atmospherics, and various hues and shades musically and vocally.  Delusions is a bit more psychedelic in approach as cuts like “Blizzardborne” and “Walls of Delusion” evoke darker areas of brainspace; however, cuts like the riffy “Firechild” and swinging “Ether” still tip the scale towards the rockier side.  Roll both of those styles together and you come up with a masterwerk like “Slip Off the Edge Of The Universe” or the proggy “Sleeper’s Gate To The Galaxy”.  And Memento is a monolith; more ethereal and spookier overall via cuts like the the massive “Black Unicorn”, morose yet beautiful “Take It To The Grave”, and the outstanding acoustic vibes of “(Praise The) Electric Sun” that sounds straight out of a lost 70s prog rock album.  Yet you still get the nod to past masterpieces on cuts like “Blood Of Oceans” and “Sanctimony”, both featuring plenty of those sludgy riffs and solid doomy atmosphere featured on the first few albums.

If you have a like for those aforementioned bands and the dynamics of each yet still want a fresh makeover, check out SAHG.  Solid musicianship, great songs, and plenty of twists and turns on each album to keep your attention.

Kids these days and their music…  I tell ya, there is A LOT of good stuff out there for old guys like me.  My son turned me on to Protest The Hero a couple of years ago and I’ve become quite the fan, plugging them in a Spotlight post last year (check that out HERE) and recently purchasing their latest EP Pacific Myth.   In keeping with the blog’s spirit of turning others on to new music, I wanted to highlight one of their latest tracks in the fantastic “Harbinger”- if you really dig melodic guitar oriented music but get turned off by some of the more aggressive vocals, this may be right up your alley.

Protest the Hero has exhibited a bit of growth on this song compared to their other material in a few different ways.  First an intro piano sets the tone and makes the occasional reappearance throughout, adding a different harmonic ingredient to the band’s sonics that helps offset those crunchier, in your face moments in other places.  Second, the incredible Rody Walker continues to grow as a vocalist as he does an excellent job here switching between beautiful, melodic vocal lines and the stronger, dynamic belts through the verses.  This dude can SING.  And third, a little less musical chaos on this one that allows the song to breathe a little more.  But fear not…  there is still quite a bit of energetic, tricky guitar passages to melt your face; however, that is countered with more of a straight ahead approach through the chorus and at the tail end of the song.  For me, those switches between the lighter elements and the heavier swings are what makes “Harbinger” one of this band’s more passionate and fiery cuts.

Did I say anything about the guitar work here?  Hoo boy…  as always with this band, the guitar work is all sorts of noodly goodness with plenty of twists and turns that don’t lose your attention.  While there are all sorts of heavy riffs and intricate patterns between the bass and the two guitarists that take you on an incredible journey, it’s the song’s incredibly tasty solo section that is a real grabber.  These guys (Luke Hoskin, Tim Millar) are some serious players but this is the first time I’ve really appreciated one of their solos-  just a really sweet piece with lots of stinging runs and excellent tone.  Fantastic!

So go out and download “Harbinger” and if you like, the rest of the EP is very good too.  Step out of your comfort zone and take a chance- it may take a few listens but it’s well worth it!

Haven’t picked up as much this quarter as I did the beginning of the year but it’s still a decent chunk.  As before, all legally purchased or downloaded!

• Maceo Parker – Life On Planet Groove
• Cheap Trick – We’re All Alright
• Mastodon – Emperor of Sand
• Men At Work – Contraband:  The Best Of Men At Work
• Tower Of Power – Back To Oakland
• Dick Dale – The Best Of Dick Dale and his Del-Tones
• Soen – Tellurian
• Soen – Cognitive
• Baroness – Blue Record
• UFOMammut – Ecate
• Vektor – Outer Isolation
• Protest The Hero – Pacific Myth
• Brant Bjork – Gods & Goddesses
• Witchery – Dead, Hot and Ready
• Havok – Burn
• Power Trip – Nightmare Logic
• Daniel Lanois – For The Beauty Of Wynona
• ZZ Top – XXX
• ZZ Top – Eliminator
• Joe Walsh – Barnstorm
• Joe Walsh – But Seriously, Folks
• Big Chief – Platinum Jive
• Leprous – Coal 
• Leprous – The Congregation
• Prong – Ruining Lives

Been a few months for a regular shuffle post.  Time to ponder about the first ten songs that pop up in shuffle mode on the iPod!

“Sheep” Pink Floyd, Animals

https://www.youtube.com/watch?v=3-oJt_5JvV4

Kind of a forgotten album in the Pink Floyd canon; that is, unless you are a big fan of the band.  I didn’t get into the magnificence of this one until just recently, with “Sheep” being one of the best of the lot.  If you prefer more of a jammy Pink Floyd this will do the trick-  plenty of mood setting Rick Wright keyboards, an insistent Roger Waters bassline, and that killer Dave Gilmour guitar.  A bit of a hidden gem of an album although not one for someone looking for Floyd hits.

“Scarabus”, Ian Gillan Deep Purple Friends and Relatives

Album three of the jazzier rocking Ian Gillan Band features this cut, which, interestingly enough, will be a repeated vocal melody for “Disturbing The Priest” just a few years later on Gillan’s lone Sabbath album.  But back to “Scarabus” the song…  pretty cool lyric, a little sorcery going on here-  fairly light musically but some cool stick work from drummer Mark Nauseef.  An interesting period for the man before jumping back into rockier pastures with the Gillan band a few short years later.

“Hello There” Cheap Trick, Samurai Rock Band

Always loved how this kicked off their great Live At Budokan album although this time we’ve got a version from the killer boot Samurai Rock Band.  Pretty much a carbon copy version of the officially released Budokan version; Rick Nielsen a bit hotter early in the mix until they tone him down a hair and Robin Zander strong throughout (that’s some pipes!).  Oh yeah, Bun and Tom are killing it too.  Now that’s rock and roll baby!  Grab you by the throat and slams it out within two minutes.

“Funky Broadway” Wilson Pickett The Very Best Of Wilson Pickett

Man, what a song…  the Wicked Pickett brings it on this souled up classic, certainly funky in all spots and lays more on the backbeat than fellow funk n soul peer James Brown’s “on the one”.  You got people that like to dance?  Drop this on the turntable and watch the rumps start a shakin’ to that thumpin’ bass groove and that four on the floor groove.  Pickett is in fine vocal form, a bit of grit mixed in with some honey smooth soul weaving in and around the beats.

“Shadows That Move” Mastodon Call Of The Mastodon

First ever Mastodon cut officially released (originally on an EP but I have it on Call Of The Mastodon), “Shadows That Move” showcases quite a few of the elements that continue through the band’s material today, especially those killer Hinds/Kelliher riffs and the incredible drum virtuosity of Brann Dailor.  Interesting here though is the early vocal approach; a little bit more grunt n growl that was the early staple of the band until more recent albums.  Cool song musically…  vocally… they’ll get there.

“Naturally” Fast Eddie Clarke, It Ain’t Over Till It’s Over

A little more Fastway here instead of Clarke’s original gig as guitarist with Motorhead, “Naturally” shows off a bit more blues rock approach with some hot guitar work and a gritty vocal (oddly enough sounding a bit like a gruffer Ace Frehley from Kiss!).  If you liked those aforementioned bands as well as the dirtier hair bands like LA Guns or Faster Pussycat, this cut would be right up your alley.  Oh yeah, and his solo album as a whole is pretty decent too!

“Ain’t No Fun (Waitin’ Round To Be A Millionaire)” AC/DC, Dirty Deeds Done Dirt Cheap

https://www.youtube.com/watch?v=1EfJt8IDKBA

Truer words were never spoken-  “Millionaire” is another fab Bon Scott tale, likely a tad bit of truth in the tale and a bit of a sad one considering the millions that the band would accumulate in the years after his death.  At any rate, this is prime early days ‘DC-  that familiar boogie riffing, punchy background vocals, and a shift into a speedier gear midway through that allows them to yell out the chorus up through the very end.  Sure, it’s not one of their more well known songs but hey…  it’s AC/DC!

“Christmas Song (Live From Zurich)” Jethro Tull, Rock Island

YouTube link is not the version I’m reviewing, which is from the remastered Rock Island LP but there are similarities.  The Tull gets jiggy with it on this fine version, lots of excellent acoustic and mandolin playing with Ian Anderson in fine voice and a tad bit of early flute.  Picture a cold winter night around the campfire as you sit there sipping on some eggnog with a few elves dancing around the fire and you get the picture.  Not your typical Christmas song but Tull was never your typical band.

“Lowdown In The Street” ZZ Top, Deguello

I love early ZZ Top.  Everything up through Deguello is my favorite period of the band, much much moreso than the Eliminator era and everything since (lots of goodies but does not compete with the early days).  “Lowdown” is a brooding funkster featuring some smooth Frank Beard drumwork and a great Billy Gibbons vocal.  But if you are like me you want to hear that Gibbons guitar-  here it’s little more subtle featuring a slinky riff and incredibly tasty guitar solo.  Oh yeah, dig those Dusty Hill backing vocals!

“The Train” King’s X, Ear Candy

A great cut from an incredibly underrated band, “The Train” mixes a nice chunky riff with some jangly bits and tosses in some Beatle-esque harmonies in this fine concoction.  This middle period was incredibly fruitful from the band as it toughened up the guitar and bass tones in the studio as they added a few more sonic layers to their template.  Definitely one of my more favorite King’s X cuts and a great sampler that shows off pretty much all sides of the band.

Wow, some great cuts for the song of the week.  Gotta go with a four way with ZZ Top leading the pack followed by King’s X and Wilson Pickett rounded out by Cheap Trick.

The thrash metal revival over the past few years has birthed a number of really good bands like Evile, Havok, and Warbringer (to name just a few) but there is only one who’s had a release that has been in constant rotation in my CD player.  With one listen to lead cut “Executioner’s Tax” I knew I’d found a band that had a little extra oomph in the tank over this new breed, so much so that I felt like a mad scientist on the brink of discovery:  “YESSS!  YESSSSSSSSSS!”  That band is Power Trip and their newest release is the mighty Nightmare Logic.

I’m not kidding that this has been non-stop in the CD player.  I may take the occasional break to listen to something else but I’ve returned to this one quite frequently based on multiple factors.  Nightmare Logic is relatively short for the modern CD era but that’s part of its effectiveness-  its eight songs are generally no more than three or four minutes with only one topping out over five, leading to a sonic punch to the gut that’s barely over a half hour.  Once you are done playing it, you want to hit repeat again and again and again.  There is not one wasted moment here-  just one solid wallop after another of varying speeds, heaviness, and intensities that get your blood flowing.

Granted, what you are hearing here is nothing groundbreaking-  you’ll definitely hear elements of various thrash bands:  gang vocals, boot stomping riffs, manic lead breaks, and often politicized lyrics.  But there are a few reasons why this works moreso than their modern day peers:  For one the production leans more old school, sounding as if this was recorded deep in an echoey cavern with everything clotting together in one giant (and I mean GIANT) wall of sound-  riffs are thick and meaty and drum tones are thumping.  And speaking of the drums, sticksman Chris Ulsh is as old school thrash\metal as you can get.  There are no blastbeats or double kicks here; Ulsh is more of a compact pounder akin to early Lars Ulrich, Philty Animal Taylor of Motorhead, or Kirk Arrington of Metal Church, which is very refreshing compared to modern heavy metal drummers of today who rely more on triggered drum kicks.

However, the BIGGEST reason this disc ranks high is the incredible vocal presence of Riley Gale.  Sounding equal parts hardcore roarer and death metal bellower, Gale pulls every note from somewhere deep in the depths of his soul as he belts each lyric with serious conviction.  His delivery is “venomous maximus”:  there is no screwing around here as Gale means business.  The amazing part of his delivery is varying layers of intensity-  you may get a deep howl to intro a cut followed by a menacing spit take of a few lines and then on to a half sung, half shouted chorus.  Just when you think he’s going out of control he’ll reel it back a little with a commanding bark of a few lines before that mania creeps back in.  Awesome awesome stuff.

As for songs…  well, you’ve got your pick of the litter here.  The aforementioned “Executioner’s Tax”, with its straight out of the 80’s video, is huge, as are its closest rivals in chug factor in “Waiting Around To Die” and “If Not Us Then Who”; all three featuring massively stomping riffs and classic gang vocals.  If you want speed, look no further than a good chunk of lead off cut “Soul Sacrifice” (dig that Slayeresque lead break!) and all throughout the incendiary “Firing Squad”.  Or how about slightly less speed but just as much intensity?  “Ruination”, “Crucifixation”, and the title cut.  There is really no weak link in the bunch.

So if you miss old school thrash vibes and have a hankering for seriously raw yet massive production and a singer with an incredibly intense vocal approach, go out and grab a copy of Power Trip’s Nightmare Logic.  Be forewarned… your neck may be sore for weeks!