duff mckagan

REVIEW: Slash’s Snakepit – It’s Five O’Clock Somewhere (1995)

SLASH’S SNAKEPIT – It’s Five O’Clock Somewhere (1995 Geffen)

Somewhere in the multiverse is an alternate reality where Axl Rose did not reject Slash’s songs for the next Guns album.  In that version of history, the new Guns N’ Roses was not titled Chinese Democracy; perhaps it was called Back and Forth Again.  And it would have sounded a lot like It’s Five O’Clock Somewhere, the debut album by Slash’s Snakepit that we received in our reality’s year 1995.

As it went down, Axl said “no” to the songs Slash had finished, so Slash put them out as his first solo album.  And then Axl wanted them back.  In 1994, on the VHS The Making of Estranged: Part 4 of Trilogy, you can hear Guns working on one of these songs.  In the background, the music that would eventually become Slash’s “Back and Forth Again” is playing with Axl whistling overtop.  In the alternate reality, somebody’s listening to it right now as a Guns N’ Roses song.  In ours, it will only be Slash’s Snakepit.

Although Slash was enthused about his new music, and was eager to make a raw bluesy rock n’ roll album, Axl had other plans.  Who was right in the end?  It’s hard not to see Axl’s point of view.  Slash’s 14 songs had just one hit and 13 fillers.  Most of the best GN’R tracks were not written by Slash; they were written by Izzy Stradlin.  Left to his own devices, Slash’s batch of songs here lack memorable hooks.

Let’s start on a positive note at least — the lead single “Beggars & Hangers-On”.  Written by Slash n’ Duff with lead singer Eric Dover, this is a song that any band from Skynyrd to the Crowes to Zeppelin to Guns N’ Roses would have been proud to play.  Check out that riff — it’s as regal as the blues gets.   Powerful and soulful aching vocals from Dover.  The chorus roars, bright and bold, and you could only imagine what Axl could have done with it.  Matt Sorum’s drums splash at all the right moments, in his trademark fashion.  It’s a damn perfect song.  And it made people really excited for the album that was to come, Guns or no Guns.

Well, there were some Guns.  Slash had been working with Matt Sorum and the recently fired Gilby Clarke.  On bass was Mike Inez from Alice in Chains.  Though not in the Snakepit lineup, Slash also imported Dizzy Reed and Ted “Zig Zag” Andreadis from GN’R.  With those players, it sure sounded like Guns.  Only Dover really differentiates them.  Dover…and the songs.

There are fragments of brilliance through the whole record.  The acoustic intro to “Neither Can I” for example.  The circular snaky riff to the manic “Be the Ball” (not to mention Slash’s lyrics, which seem to be his personal life philosophy).  The boogie-woogie of instrumental “Jizz Da Pit”.  The wicked Inez bass on on Gilby Clarke’s “Monkey Chow”.  The Aerosmith vibe to “I Hate Everybody (But You)”.

And it’s a long album.  70 minutes of solid rock without a lot of variation.  Which is one reason why Slash’s 14 songs wouldn’t have cut it for Guns in 1995.  Appetite for Destruction had a variety of different songs on it, even if all shared a go-for-the-throat ferocity.  Slash did get the straightforward live sounding rock album he desired.  The guitars sound absolutely thick and offer a hint of what Slash and Gilby would have sounded like together on an original Guns studio album (like naturals).

It’s just a damn shame Slash’s solo debut is so disappointing.  It bears witness that Axl might not have been wrong.  You could make a hell of a GN’R album* out of the best tracks its members came up with.  But this isn’t it.

2/5 stars

* Alternate 1995 Chinese Democracy:

  1. Chinese Democracy (GN’R)
  2. Beggars and Hangers-On (Slash)
  3. Better (GN’R)
  4. Dead Flowers (Gilby/Axl – Stones cover)
  5. I.R.S. (GN’R)
  6. Street of Dreams (GN’R)
  7. Tijuana Jail (Gilby/Slash/Matt)
  8. Madagascar (GN’R)
  9. Absurd (GN’R)
  10. Six Feet Under (Duff/Matt – Neurotic Outsiders)
  11. This I Love (GN’R)
  12. Back and Forth Again (Slash)

REVIEW: Guns N’ Roses – “ABSUЯD” (2021 single)

GUNS N’ ROSES – “ABSUЯD” (2021 single)

“Listen motherfuckers to the song that should be heard!” bellows W. Axl Rose, cocky as ever.

Guns N’ Roses like to drop bombshells and they did this week when “Silkworms” returned to the setlist after an absence of almost two decades.  It had been reworked and retitled “Absurd”, now augmented with Slash n’ Duff’s involvement.  In another surprise bombshell, they just released a studio version.  The first new Guns N’ Roses music since Chinese Democracy and first with Slash and Duff since 1994.

“Silkworms” is am interesting choice to release as the first new song with the old legends back in the band.  It’s always going to be associated with the Chi-Dem era.  The version I knew had Robin Finck and Buckethead on guitar.  Brain on drums.  Tommy Stinson on bass.  A lot has changed!  Slash is audible but more Slash-y sounds would be have appreciated.  Duff sounds brilliant.  Why not an actual new song?  I don’t know…but at the same time, I’m glad “Silkworms” finally got a release as “Absurd”.  It was always deserving of a proper studio release.

Axl sings in that punky “Down on the Farm” character, and the lyrics are as venomous as they were in 2001.  “Parasitic demons sucking acid through your heart!”  He sounds quite good; better than the concert versions we’ve heard thus far.  The vocal is mixed to sound like a megaphone because, hey, it was the Chi-Dem era.  There’s a disorienting quiet section in the middle that also hearkens back to that quaint time.

Good tune, but those of us who have craved “Silkworms” for 20 years are biased to a good impression.  Those who didn’t like it won’t be turned, and those who want something more like Appetite and Illusions won’t get it this time.  If you love Chinese Democracy, add a mark to my score.  If you hate it, subtract one or two based on your level of venom.

4/5 stars

REVIEW: Guns N’ Roses – Dramas & Traumas (5/29/91 bootleg)

“November Rain” was played live for the first time by Guns N’ Roses on this day in 1991.

GUNS N’ ROSES – Dramas & Traumas (Deer Creek Music Center, Noblesville, IN, May 29 1991 – Deep Records bootleg CD)

The market is littered with live Guns N’ Roses bootlegs from the Use Your Illusion tour.  The band’s own official Use Your Illusion World Tour Live in Tokyo VHS tapes are an ideal source of live music from their biggest tour.  But what many fans seek is an earlier show, before Izzy Stradlin went his own way and was replaced by Gilby Clarke.  Nothing against Gilby, but Izzy only lasted about six months and has been missed ever since.  This bootleg is from the seventh show on the tour, when the material was new, unheard, and rough.  Some of the songs were dropped or rarely played later on.

Audio is average as far as bootlegs go; it’s an audience tape job with some occasional issues.  The set is complete.  “Double Talkin’ Jive” is unlisted, hidden within the larger “Patience” track.  It is also the historic live debut of “November Rain”.  Opening with “Right Next Door to Hell”, which was dropped by the start of ’92, the energy is high.  Axl takes no mercy on the demanding song, giving 100%, especially on the obligatory “fuck you”!

Guns wisely played familiar songs mixed in with the new stuff.  The albums would not be out for over three months.  Axl asks if the audience wants to go dancin’, which means “Mr. Brownstone” is up next, a low energy version comparatively.  It might be too easy to blame the new guy Matt Sorum, but you do notice the lack of Steven Adler when you think about it.  Back to new tracks, it’s the bluesy “Bad Obsession” which Axl explains was written long before “Brownstone”.   Slash rips out the slide guitar and Axl gets distracted by a hottie.  It’s the first audible appearance of another new member — keyboardist Dizzy Reed on piano.  Later on, Axl makes a big point of announcing that Dizzy is, contrary to some media reports, “a goddamn a-fuckin’ official member of the band!”

Regarding live debut of “November Rain”, Guns didn’t have a setlist.  Axl just called out the songs, feeling out the crowd.  According to Matt Sorum and Duff McKagan in a later interview by Dan Gallagher of MuchMusic:

Matt “Axl said ‘November Rain’, and we hadn’t played it since we recorded it…in July!  In front of 20,000 people, we’re going, ‘Uh, do you remember how that goes?’  Damn near a year ago we cut this track.”

Duff“And he has this grand piano, that raises up out of the stage.  And all of a sudden the piano raises up and we’re going, ‘What the hell is that…’

You can almost hear the fear.  Sorum tentatively taps the cymbals, but doesn’t miss his cue when it’s time to come crashing in.  Axl mentions he can barely remember the words, but only flubs a couple.  Slash’s first solo nails most of the big hooks, while the second is more improvisational.  They all struggle a bit on the outro, but damn — they did it!

After “November Rain”, a microphone catches Slash saying, “A fucking curve ball, man!”

The two most significant tracks are the two sung by Izzy that were necessarily dropped when he left:  “Dust N’ Bones”, and “14 Years”.  Both feature raspy, Keef-like lead vocals from the guitarist.  These two tracks are very good reasons to want an early set like this.

There are long solos, intros and outros, and all the stuff you expect from a Guns N’ Roses show.  The solos had yet to evolve into the forms they would take by the time they hit Tokyo, though the “Godfather” theme has its place.  They play a bit of Rod Stewart’s “I Was Only Joking” as part of the “Patience” intro, and of course “Only Women Bleed” before “Heaven’s Door”.  The “Voodoo Chile” lick always works well going into “Civil War”.  It’s also interesting to hear how the songs started out early on tour.  “Civil War” seems a bit shaky in the start, but goes nuclear by the end.

The main set ends on “Perfect Crime” and the encores consist of “Estranged”, “Sweet Child”, “Jungle” and “Paradise”.  A pretty slam-dunk way to send ’em home.  Unlike “November Rain”, “Estranged” was already humming like a well-tuned car by this time.

The two bonus tracks are interesting curiosities from the 1989 MTV music video awards.  Tom Petty & the Heartbreakers performed “Free Falling” and “Heartbreak Hotel” with Axl Rose.  They are here as a little bit of added value, but make no mistake — it’s just Axl from the band, nobody else.

As mentioned earlier, there are some sonic anomalies of the type that usually come with bootlegs.  The disc goes silent for very brief moments during “Right Next Door to Hell”.  Not a deal breaker considering the rest is very listenable.

4/5 stars

VHS Archives #99: Duff & Matt from Guns N’ Roses backstage in Toronto – with an Axl Rose cameo (1991)

Use Your Illusion wasn’t even out yet, but Guns N’ Roses were two solid weeks into a tour chock full of new and old music.  MuchMusic’s Dan Gallagher talked with Duff McKagan and new member Matt Sorum before their show on June 7 in Toronto.  Was there an album really coming?

MuchMusic was into adding strange visual effects to their videos in the early 90s.  That choppy visual is not mine.  That is from the source broadcast.

Axl Rose had hurt his ankle and was giving the injury a stretch, riding around backstage on a bike.  Stay tuned to the end!  I hope that was gum.

Topics discussed:

  • “Popping the question” with Matt Sorum.
  • The broad appeal of Guns N’ Roses.
  • Unexpectedly playing “November Rain” for the first time in a year in front of 20,000 people.
  • Rock In Rio.
  • Punk covers recorded for a future album.
  • Tattoos.

 

REVIEW: Ozzy Osbourne – Ordinary Man (2020 Japanese import)

OZZY OSBOURNE – Ordinary Man (2020 Epic Japanese import)

Expectations were low at LeBrain HQ for a new album by Ozzy Osbourne.  In that regard, Ozzy delivered.  Ordinary Man is an ordinary album.  It is Hard Rock 2020 distilled down to 50 minutes.  Nothing on this album comes close to challenging anything from the first six Ozzy albums.  It’s most comparable to 2001’s Down to Earth, an overly-modern affair put together by suits.

This time out, the suits assembled a band consisting of Duff McKagan (GN’R) on bass, Chad Smith (RHCP) on drums, and Andrew Watt (California Breed) on guitar.   These guys, plus a smattering of strangers, are responsible for the songwriting.  The melodies are very deliberate and calculated rather than natural sounding.  While things with Zakk Wylde were getting stale, at least Zakk tried to keep Ozzy on track.  I’m not sure Ozzy is on track here.  “I’ll make you scream, I’ll make you defecate.”  Who wrote that?

The glossy production covers up some pretty stellar playing.  Watt is fantastic when soloing, but sounds a bit like he’s trying to ape the Zakk vibe.  In the vocals department, you can hear some telltale signs of autotune, which I guess is OK now in 2020.  If Paul Stanley can lipsynch live and get away with it, then Ozzy can autotune his albums.  I suppose.

Some of the better tracks include the ballads, and the surprising “Scary Little Green Men”.  This one features some awesome lickity-licks from Tom Morello.  Slash appears elsewhere, not sounding at all like Slash.  The single “Under the Graveyard” is not bad.  The worst track has to be “It’s a Raid”, possibly an outtake from Blink 182’s Neighborhoods CD.

Elton John sings on one track, and it’s not bad at all, sounding like a classic Ozzy ballad from the 1990s.  I didn’t recognise Reginald Dwight’s voice at first.  It’s deeper these days.  Regarding Post Malone, he’s fine, has a decent voice albeit also autotuned.  I don’t know what the guy sounds like without enhancement, but he sounds like he’s probably a better singer than Ozzy recently.  I could do without his song “Take What You Want”, but at least the Japanese edition of the album ends on a better note.  A blues track called “Darkside Blues” is brief, but actually sounds like something more real, more genuine.

Think about your favourite Ozzy albums.  How often to do you spin Blizzard, Diary, or Tears?  Now think about how often you play Down to Earth, Black Rain, and Scream.  In two years’ time, you’ll be spinning Ordinary Man about as often as Black Rain, but you won’t be getting Wylde.

2/5 stars

REVIEW: Guns N’ Roses – Appetite For Destruction (Super Deluxe 2018)

GUNS N’ ROSES – Appetite For Destruction (Originally 1987, 2018 Universal 4 CD/1 Blu-ray super deluxe edition)

Of course Axl Rose would be late for his own 30th anniversary.  And why not?  This set obviously took time to prepare for release so it’s better we have something that is not rushed out.

As Appetite is one of the most influential rock albums of all time, a super deluxe expanded edition is expected by now.  This album launched a million bands back in the 80s and 90s, most of whom looked and sounded like knockoffs.  Now you can deconstruct the album and hear how simple the formula actually was.  (Liberal doses of Aerosmith with punk sprinkled on top.)

The first disc in this well-stuffed box set is the 5.1 Blu-ray.  Why just listen in stereo when you can go full-bore with a surround sound mix?

This disc answers that question.  It’s because you can tinker too much with a 5.1 mix, and come out with something that is too different for a beloved classic original like Appetite.  This album was the roughest sounding thing Guns ever released.  Unfortunately the 5.1 mix sounds clean.  Too clean.  An artefact of not having to cram all that music into just two channels?

“Welcome to the Jungle’s” guitars come from behind.  Slowly turning, Axl surrounds you.  Then the mix plays it straight, though backing vocals are more prominent.  Hear Steven Adler’s reckless abandon up close and personal, the ride cymbal like his accelerated heartbeat.

It’s a good mix but some will find it too gimmicky and inconsistent, with guitars and vocals jabbing you unexpectedly from here and there.  It varies from song to song and it’s all a matter of taste.  You want to hear the 5.1 mix, but not so much that it changes parts of what you liked in a song.  Some tracks are a mixture of both approaches.  The intro to “Paradise City” is immaculately layered and laid out around you.  Then things consolidate when it’s time to rock.  Man, can you hear those guitars though!  Every Les Paul can be noted clearly and separately in your mind.  So can every vocal track; and there are a few.

There are even 5.1 bonus tracks.  “Shadow of Your Love” is one of them, being the big song they were promoting for this box set. “Patience” benefits from the 5.1 re-examination.  It’s a gimmick-free mix with sparse arrangement that sounds natural and familiar — like a band jamming on acoustics in a room with you.  This makes it the best one on the whole disc.  Even “Used to Love Her” has more prominent differences from the stereo mix, as does the acoustic “You’re Crazy”.  The last bonus track is “Move to the City”, also acoustic, and sounding like a big party jam.

Finally the Blu-ray disc includes all the music videos and even one for “It’s So Easy” that was made just for them and not MTV!  It could be the first documented appearance of Axl Rose in a kilt.

Unfortunately the 5.1 mix will most likely get less play than the good old stereo version, remastered on CD 1.  What can be said about Appetite for Destruction that hasn’t been said before?  All that sonic power is on the verge of overload in just two channels.  If you imagine yourself back in 1987, you can hear why this album made the impact it did.  It steered rock and roll back into a less cartoony, more dangerous direction.  Classic single after classic single still command the airwaves today.  In an unlikely twist, the back-to-basics, loose guitars of Slash and Izzy Stradlin are studied now like old Stones riffs.

The second CD (“B-Sides N’ EPs”) is brimming with extra value.  Most of the followup EP, GNR Lies is included…all except “One In A Million”, that is, which Axl promised he’d delete approximately 20 years ago.  With that EP still in print, nobody misses the track here.  Adding the Lies material as bonus tracks is cheating a little bit, but I suppose that EP was part of the Appetite album cycle.  Even though one track is deleted, the Lies stuff is expanded with bonus songs.  A sharp “live” version of “Shadow of Your Love” follows “Mama Kin”.  There’s also an alternate acoustic take of “You’re Crazy”.  Once you’re past the acoustic songs including “Patience” you’ll get some vintage live B-sides.  “It’s So Easy” is more vicious than the original, and sounds really live unlike the previous Lies songs like “Nice Boys”.  The rare “Knocking on Heaven’s Door” is especially cool since it’s pre-Dizzy Reed and has no piano.  Otherwise the style of the eventual Illusions version is sketched out, right down to the “high, yai, yai yai yai” vocals.  Last on the CD is the live cover of AC/DC’s “Whole Lotta Rosie”, foreshadowing Axl’s future as frontman of the Australian institution.  This classic version has been heavily bootlegged, but remastered on CD, it sounds so fresh.

The final two discs are all unreleased sessions from the legendary Sound City (and other studios).  Most of the Appetite songs are present in demo form but some, like “It’s So Easy”, “Brownstone” and “Sweet Child” are not.  The shape of the album was already arranged down to most of the guitar solos.  It’s less frantic and more rehearsed but it’s there in very close to final shape.  Elements that wouldn’t make the final cut, like some of Axl’s scatting a-la Steven Tyler on “Jungle”, are here to examine.  In the 1970s these Sound City sessions would have been good enough to release as an album!  In the 80s, they needed Mike Clink to make the album stand out and they did that.

Non-album material is here a-plenty.  The Sound City version of “Shadow of Your Love” on CD 3 is the B-side from the old “Live and Let Die” CD single, my personal favourite version for its reckless abandon.  The cleaner one on CD 4 is the one released as a single in 2018.  Then there’s a trashy punk metal version of Elvis’ “Heartbreak Hotel” which could have been a fine B-side as well.  “Jumpin’ Jack Flash” on CD 3 is faster and different from the familiar bootlegged version (still unreleased).

The 4th CD is a mixed bag of demo sessions and unreleased songs, jams and acoustic versions.  Instrumental “Ain’t Going Down No More” sounds like an Aerosmith outtake riff, with cowbell out the wazoo.  “The Plague” has vocals but it’s quite clear why it was never released.  It could be the worst Guns N’ Roses song heard yet.  “New Work Tune” is just an acoustic riff that didn’t make it into anything.  There are, however, a couple tunes that did.  “Back Off Bitch” was reworked on Use Your Illusions, as was “November Rain”.  This old demo of “Back Off Bitch” is probably better than the final version because that’s Steven Adler on drums.  “November Rain” is particularly interesting because it’s present in both acoustic and piano forms.  You can hear how the song grew, but also that it wasn’t ready yet.

Three more versions of “Move to the City” (electric and two acoustic) are here in case you ever wanted a studio version of that song.  There are also studio takes of “Mama Kin” and “Reckless Life”.  It’s a bit much in terms of repeat, but at least all the versions are notably different from each other.  You’ll also have to hear an acoustic “You’re Crazy” one more time, but “Jumpin’ Jack Flash” is pretty cool and jam-like in acoustic form.

A box set at this price point always has paper extras inside:  replica posters, tickets, even Axl temporary tattoos.  Nothing of any particular value.  There are some posters and glossy photo prints.  There is even a reprint of the original controversial Robert WIlliams artwork.  What are you going to do with all this stuff? You’re not going to tape it to your walls. You’ll keep it safe and unseen in the box, of course.  That’s why it’s valueless to most of us.  There is also a massive hard cover photo book, in which you’ll find the CDs and Blu-ray.  It’s light on text but heavy on glossy photos and memorabilia scans.  (Within those scans, there’s plenty to read.)

The super deluxe Appetite For Destruction is of value to those who are going to listen to and appreciate all the different versions inside.  The 5.1 mix is disappointing but there will be those who love how different it sounds.  It’s not easy to consume all five discs in quick succession, but these bot sets rarely are.

4/5 stars

VHS Archives #38: Slash N’ Duff (GN’R) interview (1988)

MuchMusic’s Laurie Brown took over the Pepsi Power Hour in 1988, and for me personally, a lot of their best shows were from her era.

This interview with the young rockers named Duff McKagan and Slash (from some band called Guns N’ Roses) is definitely an anachronism.  Cigarettes lit, the guys seem fairly sedated though refreshingly authentic.  Their naivete is interesting in hindsight.  They clearly did not see themselves becoming the mega-phenom that they are.  “Guns N’ Roses is five kids, who pretty much don’t have a whole lot of influence on the rest of the world, as far as we know.”

Duff and Slash offer insight about their early years, getting signed, and touring with Iron Maiden.  It’s quite obvious they are not having a good time with Iron Maiden!  Laurie also asks them about the original cover to Appetite For Destruction.  “We didn’t see any rape thing going on,” insists Duff.  “Her bra fell off, what?” laughs Slash.  Slash mockingly relents.  “OK, alright fine.  We were generally promoting rape…I mean come on.”

What do you think of this old Guns interview?

#729.1: Best of 2018! by J from Resurrection Songs

There is no way just one person could sum up the best music of the year by themselves.  That is why, every year, we bring you as many annual lists as possible! 
First up with his Best of 2018 is J from Resurrection Songs.   

Here we go. It’s that time where I tell you all about the albums that made my 2018.  I haven’t numbered them or picked an outright favourite, cause I just couldn’t…these have all lit up my year.  Truly outstanding albums.  There might be a few surprises here and some may be surprised by what’s not here.  Or maybe you won’t be surprised by anything at all and you’ll say to yourselves – or out loud to those sitting next to you or whatever – “well, that was just a little predictable, eh?”
So, here goes.

Kurt Vile – Bottle It In
Man, there’s something special about Kurt Vile.  Quirky, smart tunes… a voice that’s welcoming and familiar. The meandering is purposeful and it all comes off like Bob Dylan if his hero was Stephen Malkmus and not Woody Guthrie.  This is the real-deal-genuine-brilliance type stuff here….

 

Mister Hughes & the Crow Bone Chorus – Seeing Ghosts
I’ve been a fan of Craig’s stuff for near enough 10 years. In that time I’ve gotten to know him pretty well, so it pleases me no end that’s he’s released something like this.  It combines all his influences and passions from what I can hear – blues, rock, Richard Thompson subtleties and ZZ Top swagger…and dare I say a bit of prog.  At its best it’s some of the best music I’ve heard this year – the second half being particularly outstanding with “Sweet Little Incision” and “Made a Thing” highlights.

 

Walking Papers – WP2

The last album recorded by the ‘classic line-up’ (I know, I know), WP2 had sat on the shelf a wee bit due to the GNR 3.0 reunion and Barrett Martin’s schedule.   Whereas Duff McKagan was only on a handful of tracks on the hugely impressive debut album, he was a fully-fledged member by the time the band got to work on WP2.  The songwriting is consistently brilliant and Angell remains engaging.  He’s one of the best front men out there – loads of personality and swagger.  This album rocks and rolls and it gets better with every spin.  It was worth the wait.

 

Mark Lanegan & Duke Garwood – With Animals

For those that don’t know Garwood, he’s something of a rustic and spiritual alternative bluesman.  His tunes a wee bit off kilter, ethereal, intricate…he has a specific sound unique to him.  I can’t describe it, really.  This is his second album with Lanegan and it builds on the foundations laid on the brilliant Black Pudding.  This won’t be instant for most folks, but my word is it worth giving this one some proper attention, cause it really reveals itself to be an album of deep beauty and spirit.

 

Mythic Sunship – Upheaval

I’ve been listening to this a whole lot over 2018.  This is a real cracker.  Heavy and uplifting.  When I make a Kaiju movie this is my soundtrack. It swaggers with all the intent of a slinky dog and the coils rattle and grind as it, eh, slinks, down the stairs.  Let’s do battle at the breach, evil alien Kaiju!

 

Earthless – Black Heaven

This has been the album I’ve listened to most this year, I think.  I’ve listened to a lot of Earthless this year, actually, as they galloped straight to the top of my favourite bands list.  For the uninitiated, Earthless are the most rockingest grooviest of bands.  Big guitar workouts without ever sounding boring or cliched.  On Black Heaven the explosive cosmic jams are replaced by some tight song structures that kinda sound like Blue Cheer and Black Sabbath… Jamming with Jimi Hendrix.  Seriously, the guitar scorches the earth.  It’s incredible.  My favourite album this year.  Absolutely no question.

 

Billy F. Gibbons – Big Bad Blues

There’s nothing new here for fans of Gibbons, but that’s just perfect for me.  See, I was a bit disappointed with Perfectamundo with its mild spice flavours and kinda lightweight song design.  This here is more robust and smoking.  A real classic burrito with big bad blues riffs.  It might not set the world alight, but it’s a great album with some of that classic Gibbons boogie and guitar.  It’s a perfect accompaniment to ZZ Top’s La Futura, if you ask me.

 

Emanative – Earth

Have you heard this?  Seriously.  It’s so good.  Cosmic jazz right here, folks.  Favourite tune being “Spice Routes”, but this is more than the sum of its parts… this is why albums are so important.  It blew my mind…still blows my mind as I hear new textures on each listen.  There was a point where I thought it was my album of the year.  Into jazz at all?  It doesn’t matter.  It transcends genres.  It lifts the spirit.  It heals the soul.  This is the kinda stuff that Miles would be doing.  It’s Miles and Sun Ra.  It’s maybe my third favourite jazz record of ever ever.

 

The 1984 Draft – Make Good Choices

I’ve spoken about this at length before and all I can say is that it just gets better with each listen.  There’s so much about this album that connects with me… “Lately” and “Honest” speak loudly, but I can relate to Joe and I dig the music he and his band are making.  It’s very similar in tone to The Hold Steady, so if you like them I’d recommend hitting them up.  And get a load of “Miss Ohio”…a bit darker, but it’s one of my tracks of the year.

 

Bennett Wilson Poole – Bennett Wilson Poole

There was me still soaking in the brilliant light of the last Danny & The Champions of the World LP when Danny goes and hooks up with a couple of pals to make one of 2018’s highlights.  There’s obviously a bit of the CSN about the album cover, but we’ll stray from drawing any other comparisons, will we?  Bennett Wilson Poole is a cracker.  Tightly woven positive jams that circle the line between the likes of The Byrds and The Kinks.  Well, that’s what I hear anyway.

 

Jim James – Uniform Clarity

Jim James is bloody good, isn’t he?  Even when My Morning Jacket weren’t at their best (Evil Urges) they have produced some really outstanding pieces of music.  I’ve been on the fence about his work outside of that particular band, but on this one, he really caught my attention.  The music and how it’s recorded are perfect and sparse in comparison to My Morning Jacket’s output.  I love the slight distortion of the vocal, James’ phrasing and his words.  This is a beautiful album…tender…bright…lifting….

 

Sleep – The Sciences

Ah, right, okay.  This one.  My favourite album of 2018?  It really depends on the day.  Seems like I waited an age for the vinyl to arrive.  By then I’d been streaming the album daily.  Over saturated?  No way… I still love it.  It’s everything I hoped for.  Oh, and before you start barking on about it being disappointing cause the songs aren’t exactly new, etc. etc. Don’t.  Good for you.  You don’t need to like it. I do.

 

Mythic Sunship – Another Shape of Psychedelic Music

So, I was thinking “can I have two albums by Mythic Sunship here?”… then it hit me.  I thoroughly enjoyed Mythic Sunship’s early year release and I was still soaking those heavy vibes in when El Paraiso said “hey look there, Mythic Sunship are dropping a new album”.  Where Upheaval was the perfect soundtrack as humanity battled against Kaiju, this one is a whole different cup of coffee and pack of cookies.  There’s all sorts of textures here and I’m wondering how the heck a band can be this consistent and powerful.  This is all Coltrane jazz with slabs of cosmic riffage.  Think that sounds a bit too mental?  You might be right…but it’s also sounding like the best album of 2018.

 

Sungod – Wave Refraction

Sun-bloody-good-god this is amazing. Do you like driving rhythms with guitars and all that good stuff? Well, you might just like this…unless you’re not big on synth and some cosmic jams, cause there’s lots of that here, too. Still, this is all sorts of amazingly dense melodic rocky space jazz goodness. The opening track sets the tone…and it’s all sorts of awesome from then on in.

 

JP Harris – Sometimes Dogs Bark at Nothing

Right, okay, this is my favourite album.  I’ve been trying to think if there is an album I like more than this and, well, I honestly don’t think there is.  Last time I felt this enthusiastic about a country album was when I heard Sturgill Simpson’s Metamodern Sounds in Country Music.  I’ll be honest, I was initially cautious of his hipster credentials (check out the beard and tattoos, y’all), but forget that shit… he’s the real deal.  Harris has serious country chops.  Jerry Reed meets Kris Kristofferson here.  Get into it and tell me that this isn’t some of the best country music you’ve ever heard.

REVIEW: Guns N’ Roses – “Patience” (1989 12″ single)

GUNS N’ ROSES have announced an APPETITE FOR DESTRUCTION deluxe edition coming in June.  While “Rocket Queen” will certainly be on it, it’s highly unlikely the interview track below will.

GUNS N’ ROSES – “Patience” (1989 Geffen 12″ single)

Fans of vintage Guns N’ Roses (what other kind are there?) should always be alert and eyes open for old singles.  Whether CD or vinyl, some of those old Guns singles have buried treasure on them.  One is “Patience”, released several months after the Lies EP from which it sprang.

Here’s some truth for you, and it’s rather strange.  “Patience” simply sounds better with the crackle of vinyl.  I can’t explain it but I sure can testify.  Just a little bit.  Just enough to transport you back in time to 1989 when people were spinning Lies on vinyl (or at least cassette tape) nightly.  The delicate strum of acoustics accentuate one another, and hot-damn, it’s hard to deny the timelessness of “Patience”.  The missus and I played it at our wedding reception and it was a highlight of the evening.  Almost every couple dancing to it that night is still together.  Magic, people!  It’s real.

But no, the real treasure is on side two, and it’s not “Rocket Queen”.  Don’t get me wrong!  “Rocket Queen” is an amazing showcase and could still today be the best tune Guns have ever laid to vinyl.  It’s heavy, it’s soft; it has a bit of everything.  I’d put it in my top five.  But you already have Appetite for Destruction, so you know this already.  What you have probably never heard before is the second track on the B-side, a vintage interview (7:44 long) with the elusive W. Axl Rose himself.

Conducted in his apartment among his broken platinum albums, Axl is asked some point-blank questions.  Did you know Duff had his own comedy version of “Patience” that could have come out at some time?  Axl even dropped lyrics from a new Izzy Stradlin song still two years down the road.  “Double talking jive, get the money motherfucker, ’cause I got no more patience…”  He also revealed they had a lot of ideas…anything from “10 songs to 30 songs”.  (Turns out, it was 30.)

Axl confessed that his violent streak comes from frustration and stress, and that he has always smashed his things.  It’s clear that this guy, sitting at the very top of the rock pile, needed some mental health care.  Bon Jovi, after all, didn’t smash his platinum albums.  He even went as far as to warn psycho fans to stay away or deal with the consequences of getting in his face.

It’s an odd interview, and revealing.  That’s why it’s a treasure worth seeking.  A single like this is valuable to fans who need to know these bits of trivia and minutia.

4/5 stars

REVIEW Round-up: Guns N’ Roses “Not In This Lifetime” Tour (Guest editorial)

GUNS N’ ROSES “Not In This Lifetime” Tour

By David Martin

A little while ago we reached back to the late-‘80s with a review of a Guns N’ Roses live session in New York. It wasn’t a perfect recording, but it’s a nice glance back to the early days of a band that’s become one of rock’s truly iconic groups. Another interesting thing about looking back at this time is that Guns N’ Roses has, against the odds, become something of a modern sensation.

Our first hints ought to have been when GNR started showing up anew in non-music pop culture. The band put out a vague teaser trailer before screenings of Star Wars: The Force Awakens for instance, and also partnered with an online developer to produce a video game in 2016. The latter was particularly random, though it makes sense when you look at the industry. An Australian gaming resource site states simply that presentation is a huge factor on betting and gaming sites, and part of that means introducing visually and sonically interesting games – like a slot reel based on an iconic rock band, in this case.

Neither a teaser trailer nor a video game tipped us off to what would actually start in the spring of 2016 – one of the most surprising tours, arguably in all of musical history. The band took the stage at Coachella – with Axl Rose and Slash sharing the stage for the first time in years – and kicked off an international slate of shows that ultimately extended into 2018. The tour, dubbed “Not In This Lifetime,” has become one of the most successful in modern history from a financial standpoint. And while reviewing it in its entirety isn’t easy (or necessarily possible) we can look at a roundup of reviews for particular shows along the way.

Coachella (April ’16) – “The magic was absent.” This was a take from Vice, building on a headline suggesting that Guns N’ Roses had shown its age at the Coachella show. The review noted hints of pleasure when the band played the hits, as well as Slash’s enduring skill, but ultimately pointed to a lack of chemistry and the simple ravages of time as reasons for an underwhelming reunion.

Detroit (June ’16) – “This was history being made.” This comment came from none other than Rolling Stone, in a piece that directly refuted some of the earlier reviews. Citing a straightened out lineup and an Axl Rose out of the foot cast he’d appeared in for Coachella, it painted the picture of a reunion tour that had found its groove.

London (June ’17) – “You can’t blow the roof off a stadium that doesn’t have one, but they damn well tried.” So said The Guardian after one of GNR’s European shows, painting a picture not only of an electric performance, but of the thrill for an original fan seeing the band back in action again.

Cleveland (October ’17) – “Guns N’ Roses have no intention of coasting to the finish line.” This was a take offered on one of the tour’s later dates. Not only was it yet another positive review, but it was one with the perspective to mention the almost universally positive response to the tour – as well as growing hopes of fresh material from the group.

All in all the impression left by the “Not In This Lifetime” tour is that while there are occasional frustrations stemming from the simple fact that the band’s members have aged, it’s been good to have them back. And on some occasions, they’ve absolutely wowed all their old fans.