Dio "Holy Diver" 1983 (Deluxe ed. 2012)*****

I can totally dig Jack Black's adulation of Ronnie James Dio, as showcased in his albums with Tenacious D and the "Pick Of Destiny" movie. Before him, RJD had always been a bit of a guilty pleasure. OK, heavy metal in general is a guilty pleasure if you're over 18, but the likes of Metallica invite less ridicule than Dio and his sword-and-sorcery imagery. His grandstanding on stage also made for a comical contrast to his dwarf-like stature and age - 40 when this, his solo debut, was released. I know technically Dio were a band and not a solo act but they've always been Ronnie and whoever. This album features the best Dio line-up ever: RJD's former colleagues Jimmy Bain (from his Rainbow days) on bass and Vinnie Appice (Black Sabbath) on drums plus the young and talented Vivian Campbell on guitar. Few people knew then that Dio existed before Metal - he actually cut his first record in 1958, just three years after Elvis. His Italian-American family were opera fans and, unlike other kids, Ronnie (real name:Padavona) did not abandon his early influences for rock'n'roll. He instead remained an opera fan, something that shows in his singing. Although he wasn't -as is often wrongly mentioned- classically trained, the power and range of his voice are unmatched in rock and metal music. His singing style and lyrical preoccupations were evident in previous work with Rainbow and Black Sabbath, but this time the voice takes center stage. No more lengthy Blackmore guitar solos and heavy Iommi riffs to steal the show; instead of the doom laden Sabbath music, Dio's is uplifting and anthemic, setting the blueprint for power metal. Opener "Stand Up And Shout" is a perfect power metal anthem, drums setting a breakneck pace, Campbell delivering his solos with supersonic speed and RJD screaming his rebellious empowerment message to young metal fans. "Holy Diver"'s iconic riff reminds me of Dio's work with Sabbath. "Gypsy" and "Invisible" are mid-tempo tracks closer to Deep Purple, while "Caught In The Middle" has a commercial AOR feel. "Don't Talk To Strangers" may be Dio's best vocal performance ever, starting off as a fragile ballad and abruptly turning into an epic metal piece with incredibly powerful, even menacing, vocals. A trick he had previously employed on Black Sabbath's Sign of the Southern Cross. "Straight Through The Heart" could have come straight from the seminal Rainbow Rising album. "Rainbow In The Dark" introduces itself with a cheesy keyboard part (played by Ronnie himself), but Dio's fantasy lyrics and epic vocal leave no doubt: this is still heavy metal. Thanks to the radio-friendly keyboard part and catchy chorus it was Dio's biggest crossover hit. Ironically, they kept their most cheerful melody for the most pessimistic lyrics: "There's no sign of the morning coming/ You've been left on your own/ Like a rainbow in the dark...". The album closer "Shame On The Night" is a typically theatrical metal number, introduced with the sound of a howling wolf and fading out with a satanic laughter. Today "Holy Diver" stands not only as Dio's finest achievement but as one of Heavy Metal's most emblematic records, both for its powerful music and its lyrical context. The album cover was almost as iconic as the music. It seemed to picture a demon (actually Dio's mascot, nicknamed Murray) whipping a drowning priest with an iron chain. RJD denied this explanation but that didn't do much to deter the ensuing moral outrage and accusations of satanism.
My copy of the album is the 2012 Deluxe edition containing a second CD with B-sides and Live tracks. This opens with "Evil Eyes", a driving song too good for a B-side, which is why the band re-recorded it for their next album "The Last in Line". It's followed by two rough and ready live versions of "Stand Up And Shout" and "Straight Through The Heart" originally released as B-sides to "Rainbow In The Dark". The rest of the bonus tracks come from a contemporary live performance professionally recorded for radio's "King Biscuit Flower Hour". The band is in smokin' form playing their own songs ("Stand Up And Shout", "Shame On The Night", "Holy Diver" and "Rainbow In The Dark") as well as some from RJD's previous bands. Their live attempts on Sabbath's "Children Of The Sea" and Rainbow's "Man On The Silver Mountain/Lady Starstruck" are interesting and nice to have, but let's face it: comparisons to Tony Iommi and Ritchie Blackmore aren't about to be favourable for any guitarist, let alone a 20-year old kid from Belfast in his first big tour. Which is not to undermine his considerable ability: even at that age he was among the best heavy metal guitarists. He left Dio in '86 and has since played in some of the genre's top groups, including Whitesnake and Def Leppard. Bain and Appice also came and went, as the band never had a stable line-up: 17 musicians have at various times been members. A large number, sure, but still far behind The Fall's 66 (at last count!)

***** for Stand Up And Shout, Holy Diver, Don't Talk To Strangers, Rainbow In The Dark 

**** for Gypsy, Straight Through The Heart, Evil Eyes, Stand Up And Shout (Live), Holy Diver (Live), Rainbow In The Dark (Live)

*** for Caught In The Middle, Invisible, Shame On The Night, Stand Up And Shout (Live B-Side), Straight Through The Heart (Live), Shame On The Night (Live), Children Of The Sea (Live), Man On The Silver Mountain (Live, incorporating "Lady Starstruck")

After Forever "Remagine" 2005**

Pretty cool on the part of record companies to stamp promos with big capital letters PROMOTIONAL COPY-NOT FOR SALE. That way, when they do appear for sale they're dirt cheap. I got this one for €1. My knowledge of symphonic metal doesn't go too deep, but After Forever have a good name here in (their home country of) The Netherlands - so I thought I'd try them out. I had an idea of what to expect because I'd already seen the band of their former guitarist/co-leader Mark Jansen, Epica. They played a free festival in The Hague and had a huge show with exploding fireballs and a pretty female singer with an impressive operatic voice. Listening now to After Forever (and looking at the CD cover) it's obvious what their blueprint was. Singer Floor Jensen is the main draw here, and not only for the reasons obvious on the record cover. Throughout the record she showcases her vocal abilities to the max, singing in an operatic soprano style as well as in earthier rock tones. She has immaculate technique, not surprising since she's classically trained and -before going professional- made her living as a vocal coach. Guitarist Sander Gommans adds occasional infernal death metal growls as well as metal riffage, while a further ingredient is the atmospheric synths. The overall sound is an amalgam of Nightwish's symphonic metal, Opeth's prog-meets-death metal sound and compatriots The Gathering's goth rock. As it invariably happens, though, the result is less than the sum of its parts, suffering from lack of inspiration and discernible hooks. This album takes a more pop approach than their previous ones - nothing wrong with that, if you have the hooks to support it. Fans, of course, cried "Sell Out!", starting their criticism from the cover and Floor's see-through blouse -a blatant attempt for commercialization. I mean if you have to show some skin, why not dress her as Xena the Warrior Princess? I can't think of any metal fan objecting to that. The music is a mix of metallic riffs, operatic vocals, symphonic orchestral passages and choirs. "Boundaries Are Open" is the stand-out track, as it has a memorable chorus and introduces synth-pop elements in the usual mix. "Being Everyone" is the one with the most commercial sound, Floor abandoning the opera for a straight pop performance with a catchy chorus and synths reminiscent of 80's pop-metal acts like Europe. "Living Shields" is a personal fave: although the Carmina Burana choir does sound slightly ludicrous, I like how it integrates with the metal riffs, death growls and rolling bass line. "Free of Doubt" is full of symphonic/prog passages, "Strong" is the token power ballad and "Face Your Demons" tries a more alternative/nu-metal approach with Floor wailing like a rock singer instead an opera one. "No Control" sees the male vocalist taking the lead (both growling and clean vocals) and "Forever" is the big prog moment, with everyone giving his best in an oriental melody that reminds me of Rainbow's "Gates Of Babylon". The rest of the album is a nondescript mix of all the elements I mentioned before. It's well played and cleanly produced and I imagine it may appeal to fans of its genre as it ticks the right boxes. Personally, though, I found it rather uninspired. After Forever recorded one more album before they disbanded in 2009, while Floor Jensen has found a home for her considerable vocal talents with the champions of symphonic metal, Finland's Nightwish. For those wondering how she's doing with replacing the ever-popular Tarja Turunen here's a link to a fan-made video mixing their performances on the same song. Meanwhile, you can see After Forever in a clip from Remagine...

*** for Come, Boundaries Are Open, Living Shields, Being Everyone, Free of Doubt, Strong, Face Your Demons, Forever

** for Enter, Attendance, Only Everything, No Control

Ornatos Violeta "O Monstro Precisa de Amigos" 1999***

I came across Ornatos Violeta at a Lisbon FNAC shop. Both their albums were on special offer and I was in the mood to acquaint myself with the Portuguese rock scene of which I knew absolutely nothing. No, that's not quite true: I had seen a metal band called Moonspell a couple years back at Rotterdam's free Baroeg Open Air festival and I wasn't impressed - but then again, it's not my favourite style of music. Anyway, I listened to samples of Ornatos' albums at FNAC and finally decided on this, their sophomore effort. Their debut had an amateurish funk/punk charm a la early Red Hot Chili Peppers, but this one exhibited more variation, better production and more "mature" compositions. Its mix of grungy guitars and experimental pop reminded me of dEUS, but there are also elements of RHCP, Smashing Pumpkins and the Violent Femmes whose singer Gordon Gano guests here in the folky "Capitão Romance". It's an uncharacteristically acoustic song, mixing country, Iberian and Balkan folk (at least it reminded me of certain Goran Bregovic ballads). Opener "Tanque" is a different beast altogether, opening as it does with some Kraftwerk-like electronics to get heavier and funkier with anguished Kurt Cobain-like vocals. "Chaga" is a grungy guitar rocker embellished with dramatic strings. If it wasn't for the language it could totally be a hit with American college radio of the time. "Dia Mau" is another radio-friendly song, albeit with a more playful folk-punk tone. "Para Nunca Mais Mentir" is a ballad that reminds me of RHCP circa Californication. Lead single "Ouvi Dizer" starts off as a piano ballad, later making good use of the quiet-loud-quite dynamics that characterised so many indie hits of the 90's. "Pára De Olhar Para Mim" is almost proggy in its various turns and twists, while "O.M.E.M."' revives the first album's funk/punk stylings.  "Coisas" sounds like a Coldplay/Radiohead pastiche and "Novem", "Deixa Morrer" and "Notícias do Fundo" are melodic indie-pop, gaining from the lyrical string arrangements. "Fim da Canção" is excellent indie pop with traces of REM, Posies and even bossanova (or am I imagining it because of the language?). In any case, this CD makes for a great introduction to the Portuguese alternative rock scene. It's every bit the equal of popular indie US and UK albums of the period but it misses that something that would distinguish it from the rest - other, of course, than the Portuguese lyrics of which I don't understand a single word. Funny how that incomprehension doesn't impede on our enjoyment of the fados or bossanova, but bothers us in pop and rock. Well, don't let that put you off. As the album title says "O Monstro Precisa de Amigos (The Monster Needs Friends)", so give it a try!

**** for Chaga, Dia Mau, Ouvi Dizer, Capitão Romance, Fim da Canção

*** forTanque, Para Nunca Mais Mentir, Pára de Olhar Para Mim, O.M.E.M, Coisas, Nuvem, Deixa Morrer, Notícias do Fundo

Lisbon Record Shops

I spent a few days in Lisbon lately and, like always, visited as many record shops as I could. Walking around in Lisbon is somewhat different than what I got used to in the Low Countries, too many hills to make this a pleasant experience (especially when it's hot and damp) despite the evident beauty of the city and the exotic tiled house facades. Yet I'd rather walk under any circumstances than use the tourist buses and trams - for me the only way to experience a city is on foot. At nights the city center is teeming with people enjoying themselves, restaurants and bars full with locals and tourists alike. Glad to see that 5 years of troika austerity haven't ruined the people's appetite for partying. The neighborhood I stayed in (Bairro Alto) is a very touristic one, and filled with bars and live fado joints, Fado being of course Portugal's biggest musical export - a 100-year old emotional and mournful musical idiom that used to be the music of the underworld, the sailors and prostitutes around Lisbon's harbor. Like Argentinian tango, it slowly crossed over and became internationally reknowned to the point of being synonymous to Portuguese music. Which, while I honestly love this kind of music, is just wrong. My visit here made me realise that Portuguese must sometimes look at fado as we Greeks look at syrtaki and Zorba - though, of course, fados do have deep roots in Portuguese tradition while syrtaki is pseudo-folklore for the tourists. In any case all stereotypes tell lies, so one should approach fados as one of many components making up a nation's cultural identity rather than the key to its soul. But the international success of the fados and Lisbon's touristic development constantly pose us the question of whether we are witnessing the real thing or a recreation playing to the tourists' stereotypes of what the original would look and sound like. When I'm in Greece I can instantly tell the real thing from imitations, but here it's much more difficult. For starters, I'd advise visitors to avoid the joints around Bairro Alto. Maybe 20 years ago they were still authentic but today they cater only to the tourists. "Povo" at the city's pink street, a nightlife hot spot, offers good food and fados with no extra charge: you only pay for the -reasonably priced- food and drinks. Also, being in the city's old red light district, you feel you haven't strayed too far from the genre's seedy beginnings: there's still a strip-joint opposite, and the bar next door is painted with erotic graffiti and has a small sex shop inside. Trendy it all may be, but still nowhere as gentrified as, say, London's Soho. If you do end up in Povo, try the octopus salad, steak sandwich, bacalhau a braz, or pica-pau: all traditional and yummy. And the pasteis de bacalhau (codfish muffins) of course: The absolute must-try Portuguese snack.
Back to our subject and the city's record shops, the single most important advise is check the opening hours. Unlike everywhere else in the world, they don't keep normal shop hours. Some open at 11:00, others at 12:30, 14:00 or 17:00. Some open and close at different times every day of the week and may work for 4, 5 or 6 days per week - I'll try and give some info on opening times, but that won't do much good as they change from one day to the next. Time limitations and irregular opening times meant I didn't get through my list. For example Vinil Experience (Rua do Loreto 61, 1st Floor) was only 400m from the apartment I stayed, but I couldn't catch it open. Too bad, since it's supposedly a good place for garage/psych/prog (mostly used vinyl and CD) and these are my favorite genres.

Thank God, then, for Groovie Records (Rua de São Paulo 252) a stylish record store with a big selection of garage and psych vinyl, some used but mostly quality reissues. UPDATE: New address is Rua Angelina Vidal, 80A. Pretérito Perfeito (Rua Sampaio Bruno 39) is another shop with folk, psych and prog but it's off the beaten path and open only on Wed-to-Fri, 15:30-19:00. Now, when I was in Lisbon I saw posters advertising the Communist Party's campaign for a 35-hour working week (as if!) but these cats have gone way beyond and instigated the 11-hour week. Good for you, guys! (UPDATE: This shop is now permanently closed). Near the Bairro Alto, on Rua da Misericórdia no.14 you can find Espaço Chiado, a luxe shopping/cultural center in a state of disarray. Most shops inside were vacated or closed (could it be a sign of the financial crisis? If yes, it was the only one I saw. It seems the Portuguese made it through relatively unscathed, compared to Greeks at least). Here are 3 record stores: Carpet and Snares on the mezzanine is specialized in dance music, while on the same floor you can find the (vinyl shop) Sound Club. Most (used) LP's cost €15-20 but there are also some offers for €2,5-10. CD's are on their other shop on the 1st Floor. UPDATE: Another record store in Espaço Chiado is Peek-A-Boo, also with funky/dance stuff. Not far from there, on the nice but uphill pedestrian street Calçada do Duque, you can find Discolecção at no. 53.

A great source for used vinyl of all kinds, mostly priced between €10-20. Too often I'm exasperated when I'm in a vinyl place going through LP after LP of Tom Jones, Demis Roussos or Madonna. You can recycle vinyl, you know. Just give it an honorable death and make way for the good stuff! Like what they have here. When I visited, July was playing on the turntable. Respect! A bit further down on no.17 you'll find Magic Bus, probably the smallest record shop I've ever seen yet definitely worth a visit. CD's cost  €5-10 (used) or €7-15 (new) and LP's usually €10-20 (rare ones €30-50). If the ever-changing opening hours of Lisbon record stores drive you crazy, there's always fnac on Baixa/Chiado (Rua Do Carmo 2) open from 10 a.m. to 10 p.m. It's got the usual books, DVDs and technology stuff, but also a good selection of (new) CD's and some LP's. As always with these chain stores you can have variety, listening stations and special offers. I came away with some Fado and Portuguese prog and indie CD's for €5-€7,90. On a pedestrian street round the corner (Escadinhas do Sto. Espírito da Pedreira 3) there's Louie Louie a big LP/CD shop with a variety in pop, fados and Brazilian music. Lots of CD's for €5-10, LP's typically €10-15 (special offers €2,5 and new vinyls €20+). Both this and fnac have a bigger selection of fados than Discoteca Amália, a shrine to Amália Rodrigues which is mentioned in many tourist guides but whose inventory of fado, classical and pop seems not to have been renewed since the diva's death in the 90's. CD's cost an average €15, while the store also sells cassette tapes - either they're super hip or, more likely, a few decades behind.

Descending Rua Das Flores on my way to Povo, I stumbled into Clockwork. Apparently primarily a tattoo studio, it also offers "Urban Culture" items, including punk clothing and CD's. Spotted lots of tattoo'd and pierced alternative guys and gals in the region, too. The last of the shops I visited was Carbono (R.Telhal 6B, close to the Avenida metro station and Av. da Liberdade). It's the biggest and best of the ones I've seen in Lisbon, with a huge selection of used records and CD's of all kinds in unbeatable prices. I left with 15 or so CD's, some of which were rare and out-of-print and others just plainly too cheap to pass on. Lots and lots of CD's for €2,5, a big metal section €5, and the rest €5-10. I didn't have space for vinyl in my suitcase so I didn't take a good look at the LP's but the average prices were €10 (used) and €20 (new). Also some offers between €1-5. I especially liked their wall of matching record covers (originals and tributes), so I'm posting a photo of that, here. Also on the upside, for once, it's a shop with regular hours (11:00-19:00). Not far from there (Rua Cecílio de Sousa 76) you can find Twice records. It looks like a regular house with a green door and was closed when I visited (supposedly open 17:00-20:30, a 20-hour working week for them). A record shop I was looking for but must have passed right by was Flur near Santa Apollonia (Avenida Infante D. Henrique, Armazém B4 Cais da Pedra) by the dockside. Supposedly the right place for indie/alternative music. Then, there's Crew Hassan (Rua Andrade 8A, indie and reggae), punk-metal joint Glam-O-Rama on Rua Viriato 12, and TNT (Tό n' Ticha) on Rua de Campolide 54 C (Hard Rock). Didn't have time to check these out but, according to internet sources, they're worth a visit. 

I didn't get as far as Benfica (kind of far from the city center), but apparently it houses one of the biggest 2nd hand CD and vinyl stores in the city (Mau Génio, Estrada de Benfica 731A/Shopping Center Nevada) - not to mention the stadium of the same-named football team who won the championship last Sunday, prompting a night of celebration all around the city. Hope this little walk around Lisbon's record shops will be useful to the city's visitors. Just remember that info and prices are current as of May 2016 and don't forget to check opening hours on either googlemaps or lisbonrecordshops, an indispensable guide not just to the city's record shops but foremost to live music happenings. Of which there doesn't seem to be a shortage: at least 5 concerts every day, including (in a space of two weeks) AC/DC, Peter Murphy, Queen, Bruce Springsteen and Adele. Not bad!

Guns N' Roses "Use Your Illusion I" 1991***

When Guns N' Roses' Use Your Illusion Tour hit my hometown of Athens in '93, I was having an acute attack of my chronic monetary deficiency and could therefore not procure a ticket. Knowing that sometimes halfway through the show guards allow a few fans in, I nevertheless took the bus to the city's Olympic Stadium to try to worm my way into the 80,000-seat venue. Support act Brian May (Queen's guitarist) was long gone when I arrived but, one hour after their projected appearance, there was still no sighting of Gn'R. The crowd became restless and the guards, sensing they were in for some unpaid overtime, were less than zealous in their duties and allowed me to enter the arena. There I coincidentally met a friend who had paid good money for the concert (I tried hard not to rub it in his face) and was getting more and more agitated. It would be another hour before the band took the stage and, despite giving a good performance, lost themselves thousands of fans. I, and many others, missed a big part of the show because I had to be on the last train, slightly after midnight while the band were still on stage. Things were worse the next day when the papers reported the reason for the delay: Apparently Axl was playing a game of mini-golf at the hotel and enjoyed himself too much to break it off and go to the venue. I'm pretty sure his Greek former fans have contributed to the Roses' subsequent decline from being one of the world's greatest rock bands to a music business joke. Word to the wise: don't mess with Greek fans. Our grandmothers can cast a mean curse on you. At least Axl had one redeeming moment that day: his piano playing in "November Rain" was much better than what one could normally expect of him and an unexpected highlight of the concert. The album it originally came from, "Use Your Illusion I", was part of a then unheard-of gesture: the simultaneous release of two double LP's. A risky and megalomaniac move, but Gn'R were able to pull it off, amassing combined sales of 35 million. In my own opinion, the albums are good but would benefit from some editing and a single CD/double LP would be preferable. On the bright side, there is musical progression and variation, as hard rockers rub noses with majestic ballads. For starters, look at how different the first half of this CD is: Opener "Right Next Door To Hell" is a breakneck-paced punk/metal number, followed by the Izzy Stradlin-sung Doors-like "Dust n' Bones", and then by a epic take on Paul McCartney's "Live And Let Die". Out of nowhere we get the sweet and sensitive (two words not usually associated with Gn'R) ballad "Don't Cry". "Perfect Crime" is pure metal a la Judas Priest, "You Ain't The First" is a country singalong and "Bad Obsession" is an Exile On Main Street-style blues romp with harmonica by Hanoi Rocks' Michael Monroe. "Back Off Bitch" and Izzy's "Double Talkin' Jive" are a couple of bad-boy-rockers and "November Rain" (with the piano intro that impressed me in concert) is the album's absolute highlight, an epic 9-minute ballad, overburdened with lush strings, choirs and guitar solos. Who said "Meat Loaf?" C'mon man, it's better than that, honest. Unfortunately, the album goes downhill after that. "The Garden" sports a theatrical performance by Alice Cooper but is otherwise a mess of different styles. Granted, so is the closing "Coma", but at least at 10+ minutes, it can afford to take some twists and turns. On "Don't Damn Me" Axl is candid about the reasons behind his bad-boy-antics but, this being him, he's defiant rather than apologetic. "Dead Horse" has a whif of country and "Bad Apples" is a decent Aerosmith-style rocker but, to be honest, most of the 2nd half of the album is filler. Guns n' Roses went on after that, with diminshing results: neither covers album "The Spaghetti Incident?" nor "Chinese Democracy" ($14 million and 15 years in the making) gained them any new fans. Maybe the recent return of Slash on lead guitar will reverse the band's downfall. In the meantime, Axl just made his debut as a temporary replacement for AC/DC's Brian Johnson who's in serious danger of losing his hearing if he continues touring. Now that's a band that never lets up: Lead singer dead? Rhythm guitarist suffering from dementia? Drummer incarcerated? New lead singer incapacitated? No matter - as long as the Riff Machine is functioning, they'll soldier on. If they even survive Axl Rose as the lead singer, there's no stopping them!

***** for November Rain

**** for Dust N' Bones, Live And Let Die, Don't Cry

*** for Right Next Door To Hell, Perfect Crime, You Ain't The First, Bad Obsession, Back Off Bitch, Don't Damn Me, Bad Apples, Dead Horse

** for Double Talkin' Jive, The Garden, Garden Of Eden, Coma

Mother's Finest "Another Mother Further" 1977****

Just finished watching another episode of HBO's Vinyl series. You might have guessed I'd be a fan, although I'm still not convinced by the plot. I just enjoy the music and period detail, a guaranteed highlight of any Scorsese production. His recreations of rock stars antics and live performances are absolutely top-notch. This particular episode ended with a fantastic disco rocker by Barrabas which got me in the mood for some living room DJ'ing. Out came long-forgotten LP's (the survivors of the great vinyl purge) including this mother here. I'd bet 3-to-1 that this album's "Mickey's Monkey" will appear in one of the next seasons of Vinyl - if you're willing to take my bet, talk to my bookie. It would be a slight anachronism, but it wouldn't be the first in the series. For those who've never heard of them, Mother's Finest are a predominantly black funk group augmented with white hard rock guitarist Gary Moore. Before you hit Wikipedia to see if I'm messing with you, let me rephrase: Gary "Moses Mo" Moore from the USA, not the Irish Gary Moore. This one also being a very fine guitarist, indeed.

Yep, that's Gary Moore!

The album starts off with a Sly Stone-meets-Aerosmith cover of the old Motown chestnut "Mickey's Monkey", sung by the male vocalist Glenn "Doc" Murdock. Joyce "Baby Jean" Kennedy takes the lead on the album's lead single "Baby Love", a Funkadelic-like number with powerful vocals and a smokin' moog solo. "Thank You for the Love" is a soulful ballad, while "Truth'll Set You Free", "Piece of the Rock" and "Burning Love" take the middle road between funk and southern rock. The last two tracks represent the two different sides of the band: "Dis Go Dis Way, Dis Go Dat Way" is (you guessed it) a disco piece and "Hard Rock Lover" is -let me see if you can figure this out- hard rock (right again!). Mother's Finest kept making records but have, above all, built a tremendous reputation as a live band. For anyone interested in checking them out there's a great live album out there. Better yet, catch them when they're playing somewhere near you. They're still touring the world!
**** for Mickey's Monkey, Baby Love, Thank You for the Love, Truth'll Set You Free

*** for Piece of the Rock, Burning Love, Hard Rock Lover

** for Dis Go Dis Way Dis Go Dat Way

The (English) Beat "You Just Can't Beat It. The Best Of..." 1979-1982(rec) 2008(comp)****

I recently caught The Beat (known in the U.S. as The English Beat) live at a festival in The Hague. These free festivals are held on 5/5 in many cities in commemoration of the country's liberation from Nazi occupation. They feature a number of local and international bands who are playing for an audience usually more interested in the beer and fries than the music. When The Beat (led by a super-fit Ranking Roger but missing vocalist/guitarist Dave Wakeling) went on stage, it was obvious that the crowd didn't know their songs or even who they were. So it's a testament to their prowess that they engaged the young crowd in non-stop dancing and hopping for the whole duration of their show. Well, if any of them was convinced to buy one of their albums, he could hardly do better than this budget compilation here. It manages to cram almost everything the band recorded in 2 CD's, starting with their debut 7' single from 1979, Tears Of A Clown b/w Ranking Full Stop. Smokey Robinson's soul ballad is unrecognisable played as a fast soul/ska party anthem. Perverse idea, to sing of broken hearts in such a happy manner. "Ranking Full Stop" though, was  the perfect dance number: fast beat, infectious chorus and enthousiastic vocals describing dance steps in a Jamaican accent by the (British-born) Jamaican Roger. It still is a highlight of their live set. The single was released by the Two Tone label and reached No.6 in the charts. 

(Rankin Rogers') Beat live at The Hague 5/5/2016

It was followed by 1980 by the I Just Can't Stop It***** LP, which is included here in its entirety. "Hands Off...She's Mine", "Twist And Crawl", "Mirror In The Bathroom" are ska classics full of manic energy and fun. There are some mid-tempo reggae and rocksteady tracks like "Jackpot", the politically charged "Stand Down Margaret" (Thatcher, obviously), Prince Buster cover "Rough Rider" and soul ballad "Can't Get Used To Losing You". Then there's a third bunch of songs that veer close to The Buzzcock's punk-pop: "Two Swords", "Click Click" and "Noise In This World". "Big Shot" reminds me of the Stranglers and "Best  Friend" has a 60s garage/ Undertones feel. It's a fantastic debut, not a bad or average song in it. Unsurprisingly, it still forms the backbone of their live set.

***** for Ranking Full Stop, Mirror In The Bathroom, Twist And Crawl, Stand Down Margaret

**** for Tears Of A Clown. Hands Off...She's Mine, Two Swords, Click Click, Big Shot , Can't Get Used To Losing You,  Best Friend, Jackpot

*** for Rough Rider, Noise In This World

Their second LP entitled Wha'ppen?**** (1981) was as lyrically sharp and furious as their debut, albeit musically less aggressive, eschewing punk angst for more exotic musical landscapes. This compilation omits only the anti-nationalist "I Am Your Flag" but more than makes up for it by including the fantastic "Too Nice to Talk To" single with its funky bass and sax and sped-up dance rhythm. The album opened with "Doors of Your Heart", a feel-good call for love, peace and unity featuring some prime Ranking Roger toasting. Unlike other 2-Tone bands, The Beat were not content with being Ska revivalists: for example, "All Out to Get You", "The Limits We Set" and "Over and Over" are an edgy marriage of New Wave and World music similar to what the Talking Heads would try a few years later. "French Toast (Soleil Trop Chaud)" is a francophone salsa piece, "Monkey Murders" is Latin ska introduced with a Spanish guitar part, "Drowning" and "Cheated" are sinister dub reggae, "Get-A-Job" a manic ska number, "Walk Away" sounds like Elvis Costello doing reggae and "Dream Home In N.Z." reminds me of Gang Of 4's punk/funk style. In their sophomore album, The Beat certainly displayed a wider palette than ever. The only thing I miss here is a bit of "Click Click" aggressiveness.

***** for Too Nice To Talk To

**** for Doors of Your Heart, All Out to Get You, French Toast (Soleil Trop Chaud), Dream Home In N.Z., Get A Job

*** for Monkey Murders, Drowning, Over and Over, Walk Away, Cheated, The Limits We Set

1982's Special Beat Service**** was The Beat's last LP. Ironically, their most overtly pop record had the lowest UK chart placing. "I Confess" and "End Of The Party" are pure pop, with stylish piano and hints of Brian Ferry at the vocal - presaging the direction that guitarist Andy Cox and bassist Dave Steele would go with their next group, the Fine Young Cannibals. "Jeanette" keeps on the adventurous path of the previous album, mixing ska and zydeco. "Sorry" and "Sole Salvation" are closer to soul, while "Spar Wid Me" and "Pato And Roger A Go Talk" provide the indispensable reggae vibes and "Save It For Later" is jangly guitar pop with another Brian Ferry-like vocal. "She's Going" and "Ackee 1 2 3" are party dance songs set to an African beat and "Sugar & Stress" a fast ska/New Wave number. Once more a song ("Rotating Head") from the album is omitted in favor of a single, this time a saccharine cover of 60's crooner Andy Williams' "Can't Get Used To Losing You". It was to be The Beat's last one. Dave Wakeling and Ranking Roger continued as General Public and today lead different versions of The (English) Beat. The more political and pop-minded Wakeling is based in the U.S. while the band's party animal Rankin' Roger is leading the U.K. version which I saw last week in The Hague. Based on my experience of the one and youtube clips of the other, both are great. Don't miss them if they come your way...

**** for I Confess, Jeanette, Save It For Later, She's Going, Ackee 1 2 3
*** for Sorry, Sole Salvation, Spar Wid Me, Pato And Roger A Go Talk, Sugar & Stress, End Of The Party, Can't Get Used To Losing You

Q Magazine: 100 Best Albums Of The ‘90’s

I've said it before, I'm a sucker for all these "All-time Best" lists. Of course they're completely subjective, but it's fun to see which albums everybody agrees in, and how many albums from the list you already own. A few months ago, Q Magazine published a list of the Best Albums Of The ‘90’s and I was pleased to find out I had most of them in my collection. Today I was going through the magazine again and had the idea to publish the list on my blog. Gradually, as I keep presenting albums from my collection, links to my reviews of the relevant records will appear here. So, for example, today 2 of the albums are linked to a review on my blog, after a couple of months there will be more links and, eventually, more than 70 items of this list should open a new window with a review. Since I'm working through my collection in a more or less random order, though, that may take a few decades.

1. Radiohead – Ok Computer

2. Tricky – Maxinquaye

3. Nirvana – In Utero

4. Jeff Buckley – Grace

5. Beastie Boys – Ill Communication

6. Bjork – Debut

7. DJ Shadow – Endtroducing

8. Oasis – Definitely Maybe

9. Pulp – Different Class

10. The Chemical Brothers – Dig Your Own Hole

11. Missy ‘Misdemeanor’ Elliott – Supa Dupa Fly

12. Blur – 13

13. Portishead – Dummy

14. PJ Harvey – To Bring You My Love

15. Spritualized – Ladies And Gentlemen We Are Floating In Space

16. Massive Attack – Blue Lines

17. Black Grape – It’s Greate When You’re Straght… Yeah

18. Genius/GZA – Liquid Swords

19. Supergrass – I Should Coco

20. Bonnie ‘Prince’ Billy – I See Darkness

21. Aphex Twin – Richard D James

22. Nick Cave And The Bad Seeds – The Boatman’s Call

23. Mercury Rev – Deserters Songs

24. Pavement – Crooked Rain, Crooked Rain

25. Primal Scream – Screamadelica

26. A Tribe Called Quest – The Low End Thory

27. Boards Of Canada – Music Has The Right To Children

28. Public Enemy – Fear Of A Black Planet

29. Nirvana – Nevermind

30. Super Furry Animals – Fuzzy Logic

31. Beck – Odelay

32. Lauryn Hill – The Miseducation Of Lauryn Hill

33. Daft Punk – Homework

34. Madonna – Ray Of Light

35. The Flaming Lips – The Soft Bulletin

36. The Beta Band – The Three E.P’s

37. Elliott Smith – Either/Or

38. Underworld – Second Toughest In The Infants

39. Suede – Dog Man Star

40. The Prodigy – Music For A Jilted Generation

41. R.E.M. – Automatic For The People

42. Ol’ Dirty Bastard – Nigga Please

43. The La’s – The La’s

44. Sonic Youth – Goo

45. Wu-Tang Clan – Enter The Wu-Tang (36 Chambers)

46. The Verve – A Northern Soul

47. My Bloody Valentine – Loveless

48. Blur – Parklife

49. Nas – Illmatic

50. Manic Street Preachers – The Holy Bible

51. Air – Moon Safari

52. Screaming Trees – Dust

53. The Charlatans – Tellin’ Stories

54. Orbital – Orbital (Brown Album)

55. Radiohead – The Bends

56. Weezer – Blue Album

57. U2 – Achtung Baby

58. Teenage Fanclub – Bandwagonesque

59. Fugees – The Score

60. Belle & Sabastian – If You’re Feeling Sinister

61. The Notorious B.I.G. – Ready To Die

62. Urge Overkill – Exit The Dragon

63. Shack – Waterpistol

64. PJ Harvey – Rid Of Me

65. Metallica – Metallica

66. The Breeders – Last Splash

67. Smashing Pumpkins – Siamese Dream

68. The Afghan Whigs - Gentlemen

69. Massive Attack – Mezzanine

70. The Black Crowes – The Southern Harmonony And Musical Companion

71. Leftfield – Rhythm And Stealth

72. Eminem – The Slip Shady Lp

73. D’Angelo – Brown Sugar

74. Pulp – His ‘N’ Hers

75. Cornershop – When I Was Born For The 7th Time

76. Pet Shop Boys - Very

77. Pixies – Bossanova

78. Beastie Boys – Check Your Head

79. Mazzy Star – So Tonight That I Might See

80. Manic Street Preachers – Everything Must Go

81. Paul Weller – Heavy Soul

82. Nine Inch Nales – The Downward Spiral

83. Raekwon – Only Built 4 Cuban Linx…

84. Mogwai – Come On Die Young

85. Basement Jaxx – Remedy

86. Denim – Back In Denim

87. Elastica – Elastica

88. Happy Mondays – Pills ‘N’ Thrills And Bellyaches

89. Goldie – Timeless

90. The Boo Radleys – Giant Steps

91. Morrissey – Vauxhall And I

92. Sparklehorse – Good Morning Spider

93. Dr Dre – The Chronic

94. Oasis – (What’s The Story) Morning Glory

95. Rage Against The Machine – Rage Against The Machine

96. Hole – Celebrity Skin

97. Bjork – Homogenic

98. Talk Talk – Laughing Stock

99. Saint Etienne – Foxbase Alpha

100. Neil Young And Crazy Horse – Ragged Glory

Beck "Mutations" 1998****

My initial impression of Beck was that he was another smart lo-fi studio artist, updating folk and rock's past with electro and hip hop influences. His "Loser" was an anthem for the slacker generation, but his nonchalant singing style wouldn't take him far. Indeed his vocals remain his biggest weakness, but over time he's proved a master of assimilating influences from various sources and creating something idiosyncratically modern. Though not devoid of studio wizardry, "Mutations" is definitely a song-based collection. Opener "Cold Brains" is a druggy folk song embellished by electronic sounds, chiming glockenspiel and a desolate harmonica solo. "Nobody's Fault But My Own" is an acid folk ballad with a prominent sitar giving it a strong 60's feel - one of his best. Radiohead producer  Nigel Godrich proves once again a master of atmospherics and Beck's vocal, however understated, conveys emotion well. The Kinks-like "Lazy Flies" is followed by the countrified "Canceled Check" with old-timey pedal steel guitar and New Orleans horns. "We Live Again", "Dead Melodies" and "Sing It Again" are more country-tinged ballads. "Bottle of Blues" is a relatively upbeat whimsical 60's number, once again reminiscent of the Kinks, while "Static" and "O Maria" sound like the work of a jazzier Syd Barrett. Bonus tracks "Diamond Bollocks" and "Runners Dial Zero" aren't bad but kinda don't really belong here, the former being a loud fuzzy piece and latter a drunken lo-fi ballad. That leaves us with "Tropicalia", the album's lead single. It's got an infectious bossa nova beat, playful trombone and funny electronic bleeps, inviting us not to take it too seriously and join in the fun. Which we can't help but do...

***** for Tropicalia

**** for Nobody's Fault But My Own, Canceled Check,  Dead Melodies, Bottle of Blues,

*** for Cold Brains, Lazy Flies, We Live Again, O Maria, Sing It Again, Static

** for Diamond Bollocks, Runners Dial Zero

Coldplay "Mylo Xyloto" 2011***

I've quite liked Coldplay ever since I heard their debut album "Parachute" around the turn of the century. Miserable as they sounded though, I never imagined they'd be destined for stardom. They were just another Brit band following on the footsteps of Oasis and Radiohead. They were included in countless compilations called "alternative" or "acoustic" together with the likes of Starsailor, Doves, Stereophonics, Travis, Idlewild, etc. I know because I have a bunch of those compilations and a bunch of those groups' CD's, too. Point is, the music industry needs stars. So what happens when Oasis slip into decadent repetition and Radiohead turn their back to mainstream? Other bands step through. Of the Radiohead soundalikes, Muse had the bombast and Coldplay the soft melodies that allowed them to sell the CD's and fill the stadiums. And I have to say Coldplay tried hard to hang on to their alternative credentials while indulging their pop instincts, enlisting for this reason heavyweight producer Brian Eno who had previously pulled the same trick for U2. He put his stamp on their previous album "Viva La Vida" but on "Mylo Xyloto" he's only there to offer an art rock wrapping for Coldplay's amiable pop. Yep, Chris Martin doesn't sound so miserable anymore. And why should he? After selling out stadiums, topping the charts on both sides of the Atlantic, and a happy marriage with the beautiful and sophisticated Gwyneth Paltrow? If I was him, I'd be euphoric. And, right enough, that's how he sounds in the album's hit "Paradise" with its infectious oh-ooh-oooh football chant and para-para-paradise chorus. Then he must have thought "as long as I dabble in R&B why not go all the way and get Rhianna to duet with me?". Which is what he did in "Princess Of China", mixing commercial pop, rock and electronica in a mush. A tasty mush perhaps, but an artificial one you regret eating after a few seconds, promising yourself you'll only eat healthy food from now on. But this is what pop is, which is why I only listen it in small doses. Rock I can listen to all day long, no problem! To preserve their status as a serious and intellectual art rock group, Coldplay presented Mylo Xyloto as a concept album: There's a SF back story connecting all the songs, something about a bleak dystopia under a totalitarian regime - but don't worry: In the end love saves the day! The album yielded 7 singles, it was that full of prospective hits! "Hurts Like Heaven" which opens the album (track "Mylo Xyloto" is an instrumental intro) has a fast rhythm and an urgency to it: imagine Manic Street Preachers covering Bruce Springsteen. It's followed by "Paradise" and "Charlie Brown", another energetic anthem reminiscent of U2 and The Arcade Fire as well as Coldplay's own "Clocks". "Us Against The World" is an acoustic folk ballad, a refreshing intermission from all the falsettos and big choruses. After an instrumental bridge ("M.M.I.X.") it's on again with the stadium rock songs: "Every Teardrop Is A Waterfall" (U2-ish) and "Major Minus" (Muse/Radiohead-ish). "U.F.O." is an acoustic ballad with strings and "Up In Flames" another ballad with piano, electronic drums and a Prince-imitating falsetto. Not that great, but a welcome change of pace before another Coldpay-by-numbers song, "Don't Let It Break Your Heart". The CD closes with "Up With The Birds", one of those "cathartic" ballads that directors use for their closing credits. How did Radiohead put it? "Exit Music For A Film"? That's the spirit!

***** for Paradise

**** for Charlie Brown

*** for Hurts Like Heaven, Us Against The World, Every Teardrop Is A Waterfall, Major Minus, U.F.O., Princess Of China, Up In Flames, Up With The Birds

** for Mylo Xyloto, M.M.I.X, A Hopeful Transmission, Don't Let It Break Your Heart

Lisa Gerrard "The Best Of" 2007(comp)****

I made my acquaintance with Lisa Gerrard's music as a first year student in '88 - '89. Two fellow students and friends were fans and taped their Dead Can Dance records for me. I spent a lot of time listening to these cassettes -and, later, my own DCD records- especially while studying my textbooks or doing other work that requires concentration. For the most part it's calm and introspective music, good for emptying your mind and refocusing - despite the fact that it didn't help produce any favorable academic results in my case. DCD consisted of singers/ multi-instrumentalists Brendan Perry and Lisa Gerrard, of whom the latter was to find greater fame as a film music composer. This compilation is divided equally between DCD tunes and her later solo and soundtrack work. As such, it's way too short to provide a decent introduction. On the other hand this compilation (compiled by Gerrard herself) may be a good entry point for new fans who want that elegiac music piece they heard in the movie and are eager to discover more of the same. Or for DCD fans like me, who already have most of that band's output and want a sampler of her soundtrack work. I won't get into the DCD tracks, as we'll get back to that band often, unless to say that the likes of "Yulunga (Spirit Dance)", "Cantara" etc. are a breathtakingly beautiful mix of classical, goth and world music and that there's plenty of that where they came from. You only get the tiniest of glimpses into the world of DCD here. The solo pieces, often produced with the help of fellow Australian musician/producer Pieter Bourke, are not much of a departure from that sound. Possibly downplaying the world music elements in favour of a more neo-classical sound. Gerrard's vocals are still the main attraction: ethereal, mournful and quasi-operatic, with an exotic Arabic flavour. The voice is used as an instrument, singing often wordless or indecipherable lyrics. This CD opens with "Wheat" and "Elysium", two cuts from Gerrard's most successful release, the Soundtrack to the movie Gladiator, co-written with Hans Zimmer. These are atmospheric and classical-sounding, while "Now We Are Free" from the same movie is slightly more rhythmical and even features an African-style chorus. "Sacrifice" comes from the Insider soundtrack and features a majestic vocal performance halfway between opera and Celtic lament. The version of "Sanvean" included here is a live DCD recording rather than the one from her solo debut "Mirror Pool". From that album we get "Swans", a relatively upbeat number reminiscent of Eastern devotional music. The last two songs are more electronic (but no less atmospheric) than the rest of the album. "Go Forward" from Whale Rider is the more experimental of the two, incorporating world music elements in keeping with the movie's maori theme. "See The Sun" from Ali is closer to a pop ballad, as can be probably expected from a big budget Hollywood production. As a compilation, "The Best of Lisa Gerrard" has both strengths and weaknesses: while it offers 75 minutes of heavenly music, as an introduction to the artist it only scratches the surface: it's representative enough, but many of her best songs are left out while others seem to have crawled in by random selection. It'd make much more sense to just compile her best soundtrack/solo moments in one CD. If you want a concise but comprehensive introduction to DCD, I'd suggest double CD "Wake" as the bare minimum. 

***** for Elysium, Sacrifice, Sanvean, The Host Of Seraphim, Cantara, Yulunga (Spirit Dance), Now We Are Free

**** for Ariadne,  The Promised Womb, Indus, Persephone (The Gathering Of Flowers), See The Sun

*** for Swans, Go Forward