Category: Classic Album Review

Reviews of older and classic albums

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Classic Album Review

Album of the Week: KoRn – KoRn

You would have to try really hard to find a better record of the time than KoRn’s debute album, KoRn! Released on October 11, 1994, through Immortal/Epic Records, the record (and the band) rewrote how Metal was played and how it was supposed to sound. In fact, it was the beginning of a whole new genre – Nu Metal.

The iconic album cover depicts a small girl bringing her swing to a stop as she squints to see an ominous figure standing before her holding knives. A shadow of the figure and the knives is all that can be seen in the art. Speaking of shadows, the little girl’s shadow appears to depict her hanging from the KoRn brand. Intense!

Korn recorded almost the entire album with all members playing (and singing) simultaneously, rather than the normal routine of tracking one instrument at a time. They felt that playing as a band captured the distinctive sound and quality of the music, rather than the production. Jonathan Davis (vocals) recorded the bagpipes on “Shoots and Ladders" by walking around the parking lot, playing, while a microphone was set up at the back door.

“Blind" is THE song on this record! The awesome dueling riffs of James “Monkey" Shaffer and Brian “Head" Welch are matched only by the trademark line of Davis, “Are you ready?!?!?!?” “Ball Tongue" is an example of the incredible bass playing of Reginald “Fieldy" Arvvizu, with his patented clicking of his pick-ups. “Shoots and Ladders" calls into question nursery rhymes and their dark meanings of racism, plague, rape, and killing. The lyrics in quite a few of the songs concern experiences suffered by Davis – “Clown" is about a skinhead getting an attitude with Davis, and the road manager knocking the clown out. “Helmet in the Bush" is about Davis’ drug abuse. “F***“ is about when Davis was in high school where he was continuously bullied and called names. And “Daddy” is a very dark and disturbing track about Davis being abused by a close family friend. It is extremely graphic! “Need To,” “Divine,” “Predictable,” “Fake,” and “Lies” are the rest of the songs on the record, all dealing with Davis’ experiences. David Siveria plays drums and his quick, snapping hits really add a tribal feel to the album.

This record (and a major motivator for the band) is to be a voice for the voiceless; for those broken, beaten, and scarred. It helps to heal by realizing that you aren’t the only one going through this horrible thing. KoRn knows and understands.

As of 2013, KoRn has sold over 10 million copies worldwide.

Favorite songs: Blind and every other song on this record, but especially Blind!!

Rating: 10/10!!! One of my all-time favorites!

Stay Metal,

THE SAW

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Classic Album Review

Lost and Refound Folk Albums of the 1970s

So much music is made in the world, it can be overwhelming. Great albums are bound to be lost to time, especially in the days of physical copies. Thankfully, prolonged dedication has allowed for some lost albums and artists to be refound and given a second chance. Here are some of the greats:

Linda Perhacs: By day a dental hygienist in Beverly Hills in the 1960s, by night a folk-psychedelic singer-songwriter. Leonard Rosenman, a prominent film-composer, was one of her clients and was impressed by a demo tape of recordings she gave him; he then produced her masterpiece 1970 album Parallelograms, the title track inspired by synesthesia on Ventura Freeway and “seeing music”. The album didn’t chart well commercially and she returned to her dental career. In the 2000s, Perhacs was tracked down and Parallelograms was rereleased before she given the chance to record two new albums: The Soul of All Natural Things in 2014 and I’m A Harmony in 2017, both evidence that pure talent never fades.

Listen to: Hey Who Really Cares, Paper Mountain Man

Bill Fay: A college student in Wales in the 1960’s, Bill Fay was less interested in his electronics classes than the music he was making in his spare time. His demos scored him a recording spot at Decca Records, and he released two progressive-folk albums: his gentle self titled debut in 1970 and the more charged Time of the Last Persecution in 1971, the latter of which grapples with moral issues such as the Vietnam War and segregation through a religious lens. After the albums failed to gain attention, he was dropped from Decca and “deleted” from the music industry. He worked as a fish packer and groundskeeper until the late 90s, when he was tracked down by producers Jim O’Rourke and Joshua Henry with help from Wilco’s Jeff Tweedy. He has since been able to release three new albums: Life is People (2012), Who is the Sender? (2015), and his latest release, Countless Branches (2020). 

Listen to: I Hear You Calling, Tell It Like It Is

Rodriguez: Folk songwriter Sixto Rodriguez released two albums with Sussex Records in 1970 and 1971, both with poetic lyrics often discussing life in inner city Detroit. Neither album was an immediate success, leading him to quit music in the 70s and buying a house in a government auction for $50 (which he still lived in as of 2013). Meanwhile, and mainly unbeknownst to him, his records gained massive success in Australia, Botswana, New Zealand, and Zimbabwe, and stood as anti-Apartheid anthems in South Africa. He become the subject of a documentary, Searching for Sugar Man, which chronicled two Cape Town fans searching for him and went on to win a Sundance prize in 2012. Since his rediscovery, his albums Cold Fact and Coming from Reality have been reissued and he has been in talks with producer Steve Rowland about releasing new music. 

Listen to: I Think of You, Jane S. Piddy

Sibylle Baier: Young German actress and singer-songwriter, Sibylle Baier, recorded her songs for her only album Colour Green on reel-to-reel tapes sometime between 1970 and 1973. She never released them, and gave up hopes of a career in artistry in favor of raising her family. Thirty years later, her son Robby compiled a CD of the songs to give to family members and it found its way to the Orange Twin label, who released it in 2006. These fourteen hauntingly beautiful folk songs have since become well loved, which has left Baier “really quite perplexed” but “smitten” according to her son Robby (she prefers to stay off the Internet, it makes her “dizzy”). 

Listen to: Forget About, Tonight

One of the most magnetic qualities about folk music is its everlasting relevance; no matter how much time has passed, a good song will always strike a chord. These lost and refound albums and artists exemplify this trait, as they not only inspired dedicated searches in their name but still make a lasting impression on old and new listeners today.

 -DJ Big Hoss 

(camryn darragh)

i got really into this and it got kind of long

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Classic Album Review

Album of the Week: Dirt (1992) – Alice in Chains

Alice in Chains is one of my favorite bands of all time. My mom used to play them all the time while I was growing up. I remember riding in a Ford Ranger when I was 5 and my mom would play Rooster while we were driving down the road. It is a distinctive memory that I will always cherish.

Layne Staley (RIP) is one of my favorite vocalists because you can hear the beauty, pain, and sadness in his voice. He had such a powerful sound and his voice was like listening to a wounded angel. Mix Staley’s voice with the harmony of Jerry Cantrell (guitarist) and you end up with a masterpiece.

I like the overall sound and variety that is on their 1992 album Dirt. It is one of my 10/10 albums as well! A lot of my favorite songs come off this album (Them Bones, Rooster, Junkhead, Angry Chair, and Would?). Down In A Hole is also another song that is well-known to a lot of music fans.

Dirt is the second studio album that was released by them and it peaked at No. 6 on the Billboard 200 chart. The album was also well received by music critics. It has been certified four-times platinum and has sold 5 million copies worldwide making Dirt the band’s highest selling album to date. It was also the last album recorded with all four original members (bassist Mike Starr was fired from the band in 1993). Shortly after the release of this album, the band was invited to open for Ozzy Osbourne on his No More Tours tour in 1992.

Rooster was inspired by Cantrell’s relationship with his father, who served in the Vietnam War. It was written from the perspective of his dad while he was traveling through the jungles and trying to survive.

If you haven’t listened to this album in its entirety, I definitely recommend that you do. It is one of the most popular Alice in Chains album and it is not a surprise to me that it is.

What is your favorite song off of Dirt?

Stay Metal,

THE SAW

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Classic Album Review

Classis Album Review: Metallica – …And Justice For All

The fourth studio album from Metallica; recorded January – May at One on One Recording Studios in Las Angeles, California, and released on August 25, 1988 …And Justice for All (Elektra) amounted to the end of Thrash Metal as it was known at the time. Helping to mold the genre, Metallica, with this record, effectively brought it to its logical conclusion.

Not only was the album a natural progression of the band’s sound – starting with Kill ‘Em All (1983), through Ride the Lightening (1984) and Master of Puppets (1986) –  …And Justice for All was progressive metal (before there was such a thing). When Cliff Burton unexpectedly died in 1986, Metallica was searching for an outlet of sorts, I think, and with this record came an unleashing of rage and torment. It features staggering complexity, fast tempos, multiple time changes per track, eight or more riffs per track, and lyrics concerned with politics, the environment, legal injustice, censorship, and war. Jason Newsted was tapped for the bass position, though the final mix of the record nearly filtered him completely out. Blame for this fact flies all around, but I think it’s a sign of the struggle on behalf of Hetfield and Ulrich (and to some degree, Hammett) to cope.

Though the lyrical content of …Justice covered new ground, this record is all about the instruments! Specifically, nasty riffs, percussion, and double bass. Speaking of double bass, Lars’ double kicks on this album, have been dubbed, double “paper bass.” I love how they sound! The song “One” was the first music video for Metallica and was seen as an anti-war rant. The track “To Live is to Die” is a bass medley of unused recordings by Burton. Newsted played the medley that Burton wrote on the album. All lyrics on the record were written by James Hetfield, except the Spoken Word on “To Live is to die,” posthumously credited to Cliff Burton. All other music is credited to Hetfield Ulrich, and Hammett (Newsted gets co-credit on Blackened).

…Justice reached Gold in Norway; Platinum in Argentina, Finland, New Zeland, Switzerland, and the United Kingdom; 2X Platinum in Australia and Germany; 3X Platinum in Canada; and 8X Platinum, selling 8 million copies in the United States.

Favorite Songs: Blackened; …And Justice for All; Harvester of Sorrow

Rating: 10/10!! And quite possibly my favorite Metallica album!

Stay Metal,

THE SAW 

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Classic Album Review

Great Find: “Michael and His Slipper Tree” – The Equals

A few weeks ago, skimming through Spotify, I came across a brilliant track by the East London R&B/Rock Fusion group, The Equals. The song is titled “Michael and His Slipper Tree” and was released in 1969 on their album “Equals Strike Again”. The band was formed by Eddy Grant, Lincoln Gordon, Dervin Gordon, Pat Lloyd, and John Hall when the five were in high school. They began touring by 1965 throughout Europe. “Hold Me Closer” was the band’s first single, however it did not make it big. It was their 1967 song “Baby, Come Back” that put them on the charts. The song did particularly well in Germany and the Netherlands.

I was surprised to discover the band recorded in the 1960s. When I heard “Michael and His Slipper Tree” for the first time, I initially thought the band would have been from the 1980s. They certainly have a unique, timeless sound that will have you singing “Michael! Michael and his slipper tree, slipper tree, slipper tree, brand new shoes for you and me!” all day. Spotify even has a radio and maxi version!I  highly recommend giving this band a listen!

-DJ Lizzo 

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Classic Album Review

Hidden Gems brought to you by The Eclection

Pure Reason Revolution - "The Dark Third"

ALBUM REVIEW: Pure Reason Revolution – “The Dark Third” 2007 Europe Release

BEST TRACKS: Golden Clothes, Twyncyn / Trembling Willows, Voices in Winter

FCC Violations: none

Recommended if you like: Space rock AND Symphonic metal 

 One of the best progressive rock albums to be released in 2006, but went largely unnoticed. The Europe Release in 2007 is the important one to obtain given that it has 5 added tracks that can only be found on that release and are some of the best tracks on the album. 

Some background is that Pure Reason Revolution was formed in England in 2003 and have released 3 full-length studio albums since then. The Dark Third is their first and probably their most essential album. If you have any interest in both space rock and symphonic metal, this may become your new favorite album. 

According to Wikipedia, the “dark third” is a reference to how a person spends a third of their life asleep, and this comes out in the spacey themes that pervade this album.

Produced by Paul Northfield (who has produced albums from many other progressive outfits such as Dream Theater and Rush), this album takes virtuosic instrumentation and a capella and crafts it into a rainbow of different emotions. One moment you’ll feel reminiscent for the past, and the next you’ll feel an epic march toward the future. I have always described this album as “if the members of Pink Floyd decided to start a symphonic metal band and add a female vocalist.” In fact, one of the tracks from this album “The Bright Ambassadors of Morning” is a direct reference to one of the greatest Pink Floyd tracks of all time, “Echoes.” 

The beginning of The Dark Third is a long wash of spacey guitar riffs as it works its way into the 2nd track “Goshen’s Remains” where the female vocals come in, the music slows down, and builds into an intense wall of sound, which continues to persist throughout most of the tracks. Of course there are parts where things get slowed down, but that delectable intensity never quite ceases. One of my personal favorite tracks on the album is “Voices of Winter / In the Realms of the Divine” which exemplifies this duality perfectly. The first side of the track being more low-key “astral folk” and then moving into the second half which uses the themes from the first half for a crazy build up into another crash. 

Another track that exemplifies the “eclectic”-ness of this album is the last track (European Release only) “Golden Clothes.” This track is 7 and a half minutes long but contains 3 themes that go from light to dark and back with ease, and contain an impressive mixing of genres ranging from classical, to alternative, to metal, to electronica.

Give this album a shot if you are interested in anything that does a lot of genre-mixing, but even moreso if you enjoy space rock and symphonic metal. 

 -ArtZoid (Host of The Election)

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Classic Album Review

Hidden Gems brought to you by The Eclection

ALBUM REVIEW: Sweet Trip – “Velocity : Design : Comfort” 2003

BEST TRACKS: Sept, Fruitcake & Cookies, International

FCC Violations: none

Recommended if you like: Shoegaze AND Electronica 

 There are many ways to define “experimental” music, but I think the most accurate description is something that does not fit any particular genre definition. This album certainly deserves the title of experimental. Before I get into the music though, Sweet Trip was a little known group from San Francisco, California that focused on mixing alternative rock and dream pop sounds with heavy electronica. Although it is worth checking out the rest of their discography (only 3 total albums) if you are into this kind of music, Velocity : Design : Comfort is essential.

On the surface, the music overall is purposely glitchy and difficult to follow at times, but the more one listens to this album, the more fun and intriguing it gets. I personally seem to find new ear candy every time I give the album a listen through. This album’s carefully crafted intricate soundscapes that juxtapose dream pop and electronic glitch music is a one of a kind experience. Songs like “Dsco” seem like they had influenced artists like Anamanaguchi, but then you have tracks like “Fruitcake & Cookies” which are arguably some of the most creative shoegaze songs you will come across. Furthermore, “International” is an epic 10 minute journey that will throw at you a cornucopia of emotions throughout it’s duration through it’s everchanging soundscape.

This album may not be accessible to people who do not listen to experimental music often, but it’s worth giving a shot for anyone interested in electronica and shoegaze, because I think you’ll find yourself listening to it nonstop once its grown on you because it is so unique.

 – ArtZoid (Host of The Eclection)

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Classic Album Review

Classic Album Review: Guns N’ Roses – Appetite For Destruction

Released on July 21, 1987, Appetite for Destruction (Geffen Records) hardly even raised an eyebrow. It was the debut album by Guns N’ Roses, and the band immediately hit the road in support of the record. “It’s So Easy" was the first single released, a month before the debut dropped. The single, “Welcome to the Jungle” followed the debut on October 3, 1987. “Sweet Child O’ Mine” came in August of `88, “Paradise City" in November of `88, and “Nightrain" in July of `89. With the radio play of the middle three singles, the video for “Welcome to the Jungle" on MTV, and relentless touring by the band, in`88 Appetite became a massive commercial success. It was #1 on the Billboard 200 and became the best selling debut album of all time (the 11th best selling album of all time with 30 million copies sold).

Guns N’ Roses changed what was acceptable as Hard Rock, though for the general public, the band members themselves were completely unacceptable. Axle Rose (vocals) and Tracii Guns (lead guitar) were the original founders and the band’s namesake. But with larger than life personalities and even larger egos, the two could not keep it together. Guns left to form L.A. Guns, with moderate success (especially from their first couple albums). He was replaced by Slash and the fire was set. Duff McKagan, Seven Adler, and Izzy Stradlin finalized the lineup.

As noted above, G N` R instituted an irreversible change in the music industry, especially in the dark alleys of the Hard Rock / Heavy Metal world. Their appearance was (originally) “Big Hair,” but their sound was something else altogether. The band’s live shows were only an extension of the vision of Appetite. For the `80’s, they were wild! While the record was totally put together, it wasn’t long until the band, individually and collectively, began to show cracks. The song, “Mr. Brownstone,” for example, was about the band’s problems with heroin. They were no strangers to the police (before and during their success) in every town, state, and country; being known for violence and public intoxication. G N’ R were the poster children for “Sex, Drugs, and Rock-n-Roll.”

The original album cover art was based on Robert Williams’ painting Appetite for Destruction. It featured a robotic rapist about to be punished by a metal avenger. Record stores refused to stock the album with this cover, so the label moved this depiction inside and replaced the cover art with the classic Celtic cross and skulls of the five band members. The original artwork was a representation of the band (the metal avenger) wrestling back the power of the people from the system (the robotic rapist).

The song listing for the record reads like a list of chart toppers:

1.     Welcome to the Jungle

2.     It’s So Easy

3.     Nightrain

4.     Out ta Get Me

5.     Mr. Brownstone

6.     Paradise City

7.     My Michelle

8.     Think About You

9.     Sweet Child o’ Mine

10.  You’re Crazy

11.  Anything Goes

12.  Rocket Queen

Album Rating: 10/10!!

Favorite Songs: Welcome to the Jungle; It’s So Easy; Anything Goes

Stay Metal, 

THE SAW 

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Classic Album Review

Classic Album Review: Van Halen – Van Halen

The band’s self-titled debut album, Van Halen was recorded at Sunset Sound Recorders, Hollywood, CA from August 30 – September, 1977 and was released by Warner Bros. Records on February 10, 1978. “Diamond" David Lee Roth is the vocalist (and acoustic guitarist on Ice Cream Man), Eddie Van Halen plays the (groundbreaking) guitar and sings backing vocals, Alex Van Halen is the drummer, and Michael Anthony is the bassist and backing vocalist.

In 1976, Gene Simmons (KISS) discovers Van Halen and finances a three-track demo, which does nothing for the band in attracting record labels. But the demo does get the attention of Marshall Berle (the bands future manager) and he catches their sold-out show in their hometown of Pasadena. After killing it at (the legendary) Whiskey a Go Go and the Starwood club, Warner Bros. were ready to sign them to a deal. The band’s first tours after recording their debut were opening for Journey and Montrose in the US and, later, for Black Sabbath in Europe and the US.

The cover photo for Van Halen are pics taken at the Whiskey a Go Go, along with a pic of Eddie’s original signature guitar, Frankenstrat, a replica Fender Stratocaster that is now housed in the Smithsonian Institute.

The record hit Gold Status on May 24, 1978 and Platinum October 10, 1978 (4½ months later!). On October 22, 1984, the record achieved 5x Multi-Platinum status; 6x Multi-Platinum on February 1, 1989, 7x Multi-Platinum on September 29, 1993, 8x Multi-Platinum on July 11, 1994, and on August 7, 1996 the record reached Diamond status by RIAA (that’s a certified ten million copies sold, yo!).

The music world and their fans were enamored with the charismatic, sex symbol in Roth and the electrifying pioneer of the six-string in Eddie Van Halen. Nothing of it’s time sounded at all like Van Halen. With Roth’s powerful stage presence – swagger, martial arts, and screeching vocals; as well as a bluesy billow – and Eddie’s “jaw-dropping" techniques – he was doing in reality what most other guitarists only imagined in dreams – Van Halen reawakened the Rock/Hard Rock world.

Eddie Van Halen 

David Lee Roth 

Runnin’ With the Devil is the opening track, followed by a perfect example of Eddie’s brilliance, the instrumental, Eruption. Following that is the cover of the Kink’s, You Really Got Me (Roth insisted covers were the way to go, for someone else had already done the work). Side One is completed by Ain’t Talkin’ ‘Bout Love and I’m the One. Jamie’s Cryin’ leads off Side Two, followed by the heaviest track on the record, Atomic Punk. Feel Your Love Tonight and Little Dreamer smooth out the roughness. Ice Cream Man is a cover of John Brim’s song, and On Fire ends the offering with a blaze.

Favorite Songs: Ain’t Talkin’ ‘Bout Love, Little Dreamer, Atomic Punk

Rating: 10/10!!

Fun fact: I used to make my dad play Little Dreamer all the time when he was dropping me off at elementary school! It will always be one of my favorites!! 

Stay Metal,

THE SAW 

Categories
Classic Album Review

Ultra-Depressive Rap Rec : Bedwetter – vol 1

Travis Miller is no stranger to stark, disturbing content. After several early (largely ignored) stints in genres like black metal and noise, he gained notoriety with his half-parodic Memphis rap homage persona, Lil Ugly Mane. Pushing the already dark and murky sonic elements of the genre to the absolute brink of their extents, Ugly Mane tracks either came out hilariously listenable (“LOOKIN 4 THA SUCKIN”), as legitimate, raw bangers (“CUP FULLA BEETLEJUICE”), or sinister, avant-garde opuses (“UNEVEN COMPROMISE”). Travis took the latter style and ran with it on his 2015 project Oblivion Access, his planned final project under the LUM moniker. Though largely ignored or underrated by critics upon release, Access created something otherworldly with Travis’ bleak and cynical vision — no longer seemingly drowned in irony or imitation, he ditched the pitch-shifted vocals, derivative or quasi-experimental beats, and gratuitously vulgar lyrics for a Travis that had never sounded so concurrently confident and insecure. Diving into mental illness, mortality, filth, social issues, critics, and fans, backdropped by a harsh, spacious, and disturbed array of instrumentals sounding unlike even other experimental or noise rap contemporaries (e.g. Death Grips, clipping., or BLACKIE), Oblivion Access seemed Travis’ ultimate sendoff.

Yet suddenly at the start of 2017, Travis returned with a brand new alias, sound, and supposed series. The first (and for now, only) installment was titled “Flick your tongue against your teeth and describe the present” listed as “bedwetter.”  His Bandcamp description of the project opens with “I really thought today would be the start of something different” and the album itself with a distorted, chopped up sample of John 1:1. Initially, it all feels a bit melodramatic and edgy. Until the actual music starts.

“man wearing a helmet,” the second track but first actual song, has Travis at unprecedented levels of vulnerability, fear, and agony, not just for his own music’s standards, but for truly anything I’ve ever heard before. Bedwetter raps from the perspective of a frightened young child being kidnapped — perhaps young Travis himself, or a recurring nightmare of his, or even a metaphor for the clutches of his depression. Travis scrawls this uncompromisingly brutal and grotesque portrait in blood and Crayola, filled with “chafed legs, denim tears, piss, vomit” and narrating his further decent into his (and his parents’, as bedwetter also notes) personal hell in this “hidden jail.” The song climaxes with a chilling return to the present: “all this time passed, I’m scared that I’m there still” before the drums and foreboding piano melodies kick in, with Travis’ urgent and deeply pained refrain: “all these f****** years, I just don’t remember.”

The album continues with further ventures into bedwetter’s corrupted psyche and personal agonies, via both bitterly candid verses and myriad instrumental interludes, venturing through experiments in electronica, sparse guitar riffs, unsettling samples and ambience. Travis flashes forward to the present day with “stoop lights,” a meditation on a life in decline. Bars contemplating family rifts, alcoholism, and self-hatred flow over the closest thing to a modern trap beat Travis has ever worked with.

vol 1’s truest moments of doom and utter frustration come on the final rap track of the record, “haze of interference,” an apocalyptic instrumental teetering between dark heavy synths and hi-hats and low-tempo boom-bap drums with the specter of a repeated Jandek sample looming over all. The raps are beyond cynicism, beyond fear, beyond contemplation — it’s a screaming, utterly defeated polemic against the agonies mental illness have brought him his entire life. Beyond even this, biting self-awareness and direct references to the audience and his fanbase are slung toward the end — “You’re treated like a muse / Are you happy now, Travis?”

-Ethan Myers