rock music

REVIEW: Ratt – Infestation (2010 Japanese and iTunes editions)

RATT – Infestation (2010 Roadrunner Japanese and iTunes editions)

Ratt needed a comeback. Lineup changes galore, deaths, poorly-received changes in sound — forget all that stuff.  The band has since stabilized.  Pearcy’s back on lead vocals, and Carlos Cavazo (ex-Quiet Riot) has taken over guitar duties from John Corabi. Corabi’s a rhythm player, not a soloist (and that’s not a knock on Corabi).  Cavazo rocks out quite a few solos on this album. The difference is noticeable, and it’s a welcome return to something like the Ratt sound of yore. Do you like twin leads? Cavazo and Warren DeMartini rip out a few, each with his own distinct sound, but meshing well like they’ve been doing this forever. Cavazo also contributes strong co-writes to about half the album. Surely, you can’t imagine a better match than this for Ratt.

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[Note:  Since this release, original bassist Juan Crocier has also come back, replacing Robbie Crane.]

Pearcy’s in great voice, the passages of time disguise-able. But be forwarned, if you never liked Pearcy’s style before, this album is not going to change your mind. His vocals are augmented by some nice, but not overdone, backing vocals from the band. Longtime bassist Robbie Crane supplies backing vocals while holding down the bottom end.

INFESTATION_0005The sound of the album is pure Ratt, but modernly produced; surely the best sounding record they’ve done so far. Picture a heavier Out Of The Cellar. There are nods and winks to other eras of Ratt as well: I hear a little bit of “Way Cool” here and there, and damned if “Best Of Me” wouldn’t have fit right in on Detonator. Yet this is no retro-fest, as much as it does echo the 80’s. There are still sounds here that sound tougher and more modern, like the fast and heavy opener “Eat Me Up Alive” (my second favourite song).  There’s filler here, but even the filler is worth holding your finger off the skip button.  All except perhaps the dreadful “A Little Too Much”.

There Japanese bonus track is a cool slow groove rocker called “Scatter”, with a great memorable chorus. This is the best song to me.  Itunes got the track as well, but because I always prefer a physical edition, I bought the Japanese for my physical copy.  You will have to judge the value of that expenditure yourself, however I deemed it worthwhile.

There are also three live bonus tracks on the iTunes version, worth getting. These songs are “You Think You’re Tough”, “Tell The World”, and “Way Cool Jr.”, all previously unreleased and with Cavazo on guitar, “Live from the Rockline Studios”.  “You Think You’re Tough” is my favourite song from Ratt EP.

If you have ever liked Ratt, pick up Infestation if you’re curious what the band sounds like 25 years later. This is a solid Ratt album, not classic, but song for song among their better records.  They’ve retained their signature “Ratt N’ Roll” sound, but also what dignity and integrity a bunch of Ratts have. Well done.

3.333/5 stars

REVIEW: Alice In Chains – Jar of Flies / Sap (Double EP)

Click if you missed my review of the new Alice in Chains album, The Devil Put Dinosaurs Here!

ALICE IN CHAINS – Jar of Flies / Sap (1994 double Columbia EP edition, originally 1992 and 1994)

For a little while, Alice In Chains were in the habit of releasing an EP before each studio album (We Die Young preceded the Facelift album albeit it was a promo). This ended after Layne’s death, but these two EPs — 1992’s Sap and 1994’s Jar of Flies — represent some of the best work of this pioneering band. Acoustic in nature, these two recordings are crucial to rock fans who need to know more about one of the most interesting bands of the 1990’s.

I snagged a European import of this set many years ago, for less than the price of either of the two EP’s separately.  Great score, and it was in great condition.  It even contains all the artwork from the original releases.  Although Jar of Flies is the first disc in the set, I will review Sap first since that’s how they came out.

JAR OF SAP_0004Sap is very low key. I remember reading an interview in RIP Magazine with drummer Sean Kinney.  He stated that they were writing songs for the next album (Dirt), but all this acoustic music started pouring out instead.  He had a dream about it one night, and told the band, “Guys, we have to release these songs as an EP, and we have to call it Sap.”

The opening track, “Brother” is sung by Jerry Cantrell with Ann Wilson of Heart on the choruses. Very powerful understated song. Both “Brother” and the next song, “Got Me Wrong” (another standout) were released live on the band’s Unplugged CD. These songs are followed by “Right Turn” by Alice Mudgarden: essentially Alice In Chains with Chris Cornell of Soundgarden and Mark Arm of Mudhoney on guest vocals! It is a great contrast: Cornell screaming at the top of his lungs, and Arm down low. Great song.  I remember Jerry Cantrell once said that Mark Arm’s vocal on it “scares the shit” out of him every time he hears it.

Layne Staley’s “Am I Inside” follows, another understated and mellow slow-burner. Everything goes to hell though with the final track, the unlisted “Love Song”. The band switched instruments for this chaotic joke song, with Sean Kinney on megaphone/vocals. Hilarious track, but it must have taken people by surprise.  “Rae Dawn Chong…Rae Dawn Chong…”

JAR OF SAP_0003Jar of Flies was written and recorded rather spontaneously in just a week. When I first heard it, I felt like some of these songs were under-written, that they could have used more work. As you listen to it more, that feeling disappears.  It feels more complete. Just about every song on Flies is a total winner, but the best thing about it is that it grows on you. As a result, it has a longevity that similar EPs sometimes lack. Here I am, still playing it 19 years later and loving it just as much.

“Rotten Apple”, which is one of the best tunes anyway, kicks off the CD.  It’s hypnotic, even though the lyrics really feel unfinished.  Who knows what Layne was trying to express at the time, perhaps it’s with intent. It just feels like the fragment of a lyric. Perhaps that’s what makes it so hypnotic to me.  None of this changes the fact that this slow one is both warm and forboding at the same time; a cool thing.

The opener is followed by “Nutshell”, which I like even better.  It’s my personal favourite tune on Jar of Flies. It always takes me right back to summer 1994.  The single “I Stay Away” features strings to emphasize the powerful chorus.  It’s a cool tune because it has sections that sound like they don’t go together, yet they make it work.  Alice seem to ignore songwriting convention most on songs like “I Stay Away”.

“No Excuses” was another single (the first one, actually).  It’s an almost-happy sounding song with some sweet rolling basslines from Mike Inez. The instrumental “Whale and Wasp” is up next, so named because Jerry felt it sounded like whales and wasps talking to each other. That should put you in the ballpark.  Jerry wrote it when he was in highschool, finally recording it on Jar of Flies.

“Don’t Follow” is probably the least experimental of the songs. It is a straight acoustic ballad with some nice harmonica.  After five tracks  of music that doesn’t always follow the beaten path, “Don’t Follow” feels like a reprieve.  The final song is the pretty wild “Swing On This”.  It’s the only song that tends to lose me, but some people I knew held it as their favourite. From the most conventional song to the least conventional; such is a journey on planet Alice.

Commenting specifically on the version I own, the dual EP, I bought this at my own store used several years after initially owning both releases.  My logic at the time was that T-Rev and I were usually always trying to own the “coolest” or “most complete” or “rarest” version of things.  When I traded up the two separate EPs, I broke even, plus I made space for one for more disc on my shelves!!  Space is always a rare commodity to a collector.

Together, these two EPs together create a fantastic listening experience. The cool thing is that although both are acoustic, they are really nothing alike. Listen and you will see.

5/5 stars

REVIEW: Electric Joy by Richie Kotzen (1991)

Classic Kotzen! For a look at the new album by his new supergroup The Winery Dogs, check out Jon Wilmenius’ excellent review.

RICHIE KOTZEN – Electric Joy by Richie Kotzen (1991 Shrapnel)

Albums by Richie Kotzen were impossible to find in Canada.  My only exposure to his music was “Dream of a New Day”, from his second album Fever Dream.  Fever Dream was his first vocal album, but Kotzen returned to instrumentals on his third, Electric Joy.  I’d seen his picture in dozens of guitar magazines, but hadn’t heard his tunes until “Dream of a New Day” was included on the Bill & Ted’s Bogus Journey soundtrack.

His debut album was a hit with the shredders, but three albums in, Kotzen had already delivered three completely different pieces of work.  Electric Joy has some of the playfulness of the debut, but is mostly a jaw-dropping collection of intricately composed pieces that skirt multiple genres including funk, country, bluegrass, jazz, fusion, and blues.  If I had to pick out an influence, I would say that Electric Joy sounds like Richie had been listening to a lot of the “two Steves”:  Vai and Morse.  His technique is top-notch.

I first got this on a trip to Frankenmuth, Michigan.  My parents made a point of going there every spring and I started tagging along, and then later on my friend Peter joined us as well.  We’d stay at the Bavarian Inn and on the way back to Ontario, we’d stop at the stores in Port Huron, where I found this as well as old rare Savatage cassettes.

“B Funk” opens the album with some light-speed bluegrass-y licks, but it keeps changing, from a funked up rocker with shredding, to a melodic “chorus” section.  Then it’s back to the bluegrass from space.

At this point I’ll point out that Kotzen plays all the instruments except drums, himself.  That’s Richie’s standby Atma Anur on drums.  What this means is, that incredibly dexterous bassline you’re hearing on “B Funk” is also performed by Kotzen!  And it’s almost every bit as stunning as the guitar!

“Electric Toy” begins ballady, with some lyrical Vai-like moments.  Of course, Kotzen can’t help but do what he does, so there are different sections, some at lickity-split tempos.  This is followed by “Shufina”, which is essentially a blues jam.  Kotzen’s deep bends are appropriate, but before too long he’s harmonizing with himself on some unconventional melodies.

A smoking hot riff ignites “Acid Lips”, little lightning licks flicker in and out, but this one has a solid groove.  (It can’t be easy grooving with yourself on bass.)  “Slow Blues” contains some of Richie’s most lyrical lead work.  If you can imagine the lead guitar taking on the role of a singer, then “Slow Blues” is probably the most accessible song on the album.

The next song “High Wire” is uncatagorizable, suffice to say that like all of Electric Joy it combines quirky notes with shreddery, funk and groove.  My favourite song is “Dr. Glee”.  It sounds like it seems it should – gleeful.  I find this pleasant melody to be very summery.  Kotzen guitar has so many different sounds and shades, even just within this one song.

“Hot Rails” is another one that sounds like advertized…a train racing down the track.  Kotzen’s slide work is anything but simple.  This one’s so fast it’s hard to keep track of all the cool different guitar parts.  It almost sounds like Kotzen wrote a blues shuffle, and then decided to hit fast forward on his tape deck and learn it at that speed!

Electric Joy closes with “The Deece Song”, which thankfully is mid-tempo allowing us to catch our collective breath.  It’s another great performance, similar in style to “Dr. Glee”.  It has its sweeping Satriani moments as well.

The production on the album is very dry, which is different from what a lot of the other instrumentalists were doing at the time.  While this means it might take some more time to penetrate an album that is loaded to the brim with dense ideas already, it is a worthwhile endevour.

In a bizarre turn of events, Kotzen briefly put his solo career on hold.  He received a phone call from Bret Michaels.  The Poison frontman was looking for a replacement for the departed CC Deville.  The fact that Kotzen was from Pennsylvania, not already in a band, and wrote and sang original material caught Michaels’ eye in a magazine article.  Having a shredder, but one with some feel too, might garner Poison some respect in the tough 1990’s.

Kotzen did succeed in co-writing (and in some cases, writing entire songs himself) their most accomplished album, Native Tongue.  Of course, it did not sell.  The Poison relationship imploded because of another relationship: the one that Kotzen was secretly having with drummer Rikki Rockett’s fiance!  Kotzen eventually married her, and he was replaced in Poison by another shredder, Blues Saraceno (who was in the running with Kotzen in the first place).

As for Electric Joy?

4/5 stars

ELECTRIC JOY

It’s Canada Day Up Canada Way: Lil’ Shit Part II

In the continuing saga of all the pets in the greater LeBrain clan, you may recall that Lil’ Shit was the most recent addition to the family.  Bass clarinetist extraordinaire Kathryn Ladano recently acquired Daisi aka Lil’ Shit, below.  I finally got to meet Daisi this past Canada Day weekend!

It was a great weekend full of bonfires and awesome Canadian scenery too.

Stompin’ Tom Connors – “It’s Canada Day, Up Canada Way”

REVIEW: AC/DC – Stiff Upper Lip (2000)

Part 1 of a 2-part series on this album.  Part 2 will come when I acquire the version with the bonus live disc!

AC/DC – Stiff Upper Lip (2000 Warner)

One doesn’t so much review an AC/DC album as just tell the listener what the songs are called.  Stiff Upper Lip is a bit of an exception to that rule for me, as it seemed to be a really solid return to an early-1970’s form.  Just listen to the irresistible “Hold Me Back”.  Can’t you imagine Bon singing this one?

STIFF UPPER LIP_0004My first AC/DC album was Dirty Deeds Done Dirty Cheap.  I grew up listening to Bon, and Stiff Upper Lip is the most rock n’ roll sounding AC/DC album since his death.  It seems they dropped some (but certainly not all) of the heavy riffing, leaving room for Malcolm and Angus to weave together some tasty guitar lines into song.  Phil Rudd’s simple metronomic rhythms are perfectly suited to this approach.

When they do get their riff on, it’s on tracks like the relentless “Safe in New York City”.   Yet I keep coming back to the laid back picking style of tunes like “Can’t Stand Still”.  It doesn’t get much simpler nor satisfying.

The album was produced by Harry Vanda and George Young, much like the classic of old.  They captured great performances, clear and uncluttered. Not every song here is a winner, most Johnson-era albums have filler.  Stiff Upper Lip‘s filler ratio is remarkably low.

A European/Australian exclusive “tour edition” contained a bonus CD with an unreleased track (“Cyberspace”) and five live tracks.  Most of this material is also available on the massive Backtracks box set.  But we’ll talk about that bonus disc another time…

4/5 stars

When I need to hear some more recent AC/DC, 9 times out of 10, I reach for Stiff Upper Lip.

REVIEW: Twisted Sister – Stay Hungry (25th Anniversary Edition)

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My Twisted reviews: “We’re Not Gonna Take It” single, Under the Blade, Live at the Marquee

TWISTED SISTER – Stay Hungry (25th Anniversary Edition, Atlantic, 2009 originally 1984)

Fact:  When I was a kid, I used to think that Jay Jay French might in fact be blind; I never saw him without his dark shades!

25 years of Stay Hungry?  Actually 29 years at press time!  I don’t want to believe it.  Anyway, this reissue was a pretty big deal because Stay Hungry was out of print on CD.  For whatever reason (legal, contractual?) when Twisted issued their series of remasters with bonus tracks back in 1997, Stay Hungry was not one of them. Then in 2004, the reunited band recorded an album called Still Hungry, which was all of Stay Hungry re-recorded “the way they originally wanted it to sound” (cough). As a fan, I only enjoyed it for the new and unreleased bonus tracks. I was underwhelmed by the re-recording. It’s impossible to duplicate a specific recording, especially when the singer can no longer hit the high notes in “The Price”.  And it just didn’t sound good.

That was then, this is now, and Stay Hungry has finally been remastered and beefed up with a bonus disc of unreleased material and one brand new song! (None of these unreleased songs were even heard on Still Hungry, but a couple were remade by Dee on a solo album.) The album itself remains one of Sister’s best, although my preference is to You Can’t Stop Rock N’ Roll.  The bonus disc sheds light on what else the band was writing at the time.

IMG_00000189_editThe remastering and liner notes are excellent. The album sounds like it should, the way a pristine vinyl copy would sound back then. Still Hungry was mastered way too loud; this is much better.  The liner notes reveal friction between the band and producer Tom Werman. Werman rejected a lot of what the band had written, which makes up disc two. However, he was also a big supporter of their heavier songs such as “Burn In Hell” and “Horror-Teria: The Beginning”, while disliking “We’re Not Gonna Take It”.  Dee Snider, in fact, wanted to save “Horror-Teria” for a rock opera he was composing, but Tom Werman wisely insisted it go on this album.

The special thing about the original Stay Hungry album was that there was not one bad song on it. From all three smash hit singles (“I Wanna Rock” and “The Price”), to album cuts like “Don’t Let Me Down” and “S.M.F.”, every song here is a classic. And only one ballad!

Twisted Sister appeared in the 1985 comedy, Pee Wee’s Big Adventure

Highlights include the opener “Stay Hungry”, which smokes the speakers immediately.  “Burn In Hell” (seen performed by Twisted Sister in the 1985 film Pee Wee’s Big Adventure) turns up the scare factor with some unholy Snider vocals.  Snider’s epic “Horror Terria” is split into two parts.  “Captain Howdy” (later to become Snider’s character the film Strangeland) is a warning to stay away from the title character.  It’s ominous, Snider obviously hamming it up as Captain Howdy.  As a kid I never fully appreciated exactly what the song is depicting, unfortunately this kind of thing is now in the news on a weekly basis.  Part two is “Street Justice”, an angry song that inspired scenes in the film.

The man was caught, and brought before a judge,
who had just returned from a three-drink lunch.
His lawyer screamed, “You must set him free!”
And off he went, on a technicality.

Side two commenced with two of the big singles, “I Wanna Rock” and “The Price”, but equally good was “Don’t Let Me Down”.  This would have been another single as far as I’m concerned.  “The Beast” is evil and Sabbathy, but the album ends with the TNT blast of “S.M.F.”  At this point you are blown back into your seats.

TS SH R_0006The sound quality on the bonus disc varies from track to track, as is bound to happen with demos this old. Don’t let that spoil your enjoyment. These are some of the heavier songs that Twisted were writing, that Werman simply did not feel were strong enough. Perhaps with some fleshing out and proper studio time, tracks like “Death From Above” or “We’re Coming On” could have stood proud on the album as well. Clearly these demos are unfinished, most are very brief and unadorned. Some are a bit too similar to stronger songs that did make the album. Listening to the whole disc makes you wish that they had been fleshed out and released on B-sides or albums, as some are pretty good.

The highlight of this disc is the brand new Twisted Sister song, “30”. Finally, somebody has written an anthem for older rockers! It’s about time! And it’s a great tune, as well! “30 came and went a long long time ago,” sings Dee, with absolutely no shame, and rightfully so!

If you’re a new fan, or an old fan who has heard Stay Hungry a million times, this is a compulsory purchase. It renders the original release obselete. Still Hungry pales to this reissue. Well done, if only all reissues were put together with this much care and effort.

5/5 stars

Part 208: Flashback 1995

RECORD STORE TALES Part 208:  Flashback 1995

November/December 1995 was freakin’ busy.  We sold a lot of discs that Christmas.  What we didn’t do was listen to a lot of discs!  No; our boss really, really liked Don Henley and TLC.  He played them ad-nauseum.  Like on repeat three times in a row.  I’m not kidding about that.  I distinctly remember the repeat.  Here are the Top Three Discs I Had to Listen to Until My Ears Bled, December 1995.

3. Boney M – Christmas Album

2. Don Henley – Actual Miles

1. TLC – CrazySexyCool

Trevor on the other hand was introducing me to Oasis and managed to get a few cool discs into rotation:

3. The Beatles – Anthology Vol. 1 (usually just disc 2)

2. Foo Fighters – Foo Fighters 

1. Oasis – (What’s the Story) Morning Glory?

We were also working with this new guy, Donnie, and we let him pick Dance Mix ’95 a few times.  Unfortunately, the Big Shiny Tunes series hadn’t begun yet.

I didn’t get to pick as many discs as the others — the boss didn’t like my picks.  When I did, I chose the new Def Leppard – Vault (Greatest Hits 1980-1995).

Looking back, there were also a few albums that I found utterly disappointing that season.  They included:

3. AC/DC – Ballbreaker

2. Lenny Kravitz – Circus

1. Savatage – Dead Winter Dead

All three were albums that I was solidly looking forward to, but largely disappointed me.  I never did buy Circus.  I own the other two, but only because I’m a completest (and I got AC/DC for $3).

Finally there were three albums that really got me through that season.  I had just been dumped by my first serious girlfriend and I was really angry about it.  Away from work (my boss didn’t want these ones played in the store) these three albums totally spoke to me that Christmas:

3. Alice in Chains – Alice in Chains

2. Ozzy Osbourne – Ozzmosis

1. Iron Maiden – The X Factor

Let me tell you something people:  I still fuckin’ hate TLC.  I’ll never go chasin’ waterfalls, ever again.

Next time on Record Store Tales…

A long time ago, in a galaxy far, far away…

REVIEW: David Lee Roth – Skyscraper (1988)

 

DAVID LEE ROTH – Skyscraper (1988 Warner Bros.)

Changes were afoot in the land of Roth after the success of Eat ‘Em and Smile.  Keyboardist Brett Tuggle was hired in as a full-time member.  Steve Vai was promoted to the rank of co-producer for the next album.  Billy Sheehan was put on a leash, his busy bass stylings reduced to typical pop rock lines on much of the new material.  One song even had a programmed bass instead of the real thing.

It seemed like a sudden about-face.  David Lee Roth had left behind the Van Halen-nouveau trappings of the last album in exchange for a much slicker and more commercial sound. What resulted was Skyscraper, a synth-heavy odd duck that nevertheless spawned a massive hit single still getting radio play today. Revisiting it, this almost (only almost!)  sounds more like a Vai album than a Dave album. That’s not a bad thing, depending on how you feel about the 6 (soon to be 7) string master. Certainly, his loopy noodling was reaching an early peak here, but his stylings are not for everyone.

My biggest complaint would be the sidelining of Billy Sheehan.  I mean, you’ve got possibly the best bass player in the universe in your band:  Exploit that!  Don’t keep him playing 1/4 notes.  In a 1988 Hit Parader interview, Sheehan said that he had to leave the band in order to express himself.  He referred to the “note police” (Roth) who ordered him to play it simpler.  After Skyscraper, he was replaced by drummer Gregg Bissonnette’s brother Matt (no slouch).

The opening rocker “Knucklebones” is a great song, but falls a little limp.  Skyscraper‘s production is cold, sterile, and digital; like in that 80’s way before the technology had really come along.  It does boast complex guitar riffing mixed in with idiosyncratic Dave lyrics. Dave has acknowledged that Vai was in the driver’s seat for this album, and its complexity is a testament to that.

Elsewhere there are some progressive moments (the title track, “Hina”), stage-ready rockers (“Perfect Timing”, “Hot Dog and a Shake”), good time ballads (“Damn Good”) and whatever-the-hell (“Three Fools A Minute”). All of this is surrounded by a fun, party-like atmosphere courtesy of Dave as the band’s hoots n’ hollers along.

I consider this album to be a brave experiment, and Dave’s highest artistic achievement. Not his best album, but his most artistic.  While not as instantly likable, rocking, or consistent as Eat ‘Em And Smile, it is endlessly ambitious, layered, and most importantly fun. Dave is the ringmaster of the greatest party in town. Skyscraper is the party where the smart dudes stop in for a beer.

Craig Fee at 107.5 Dave FM, the world’s biggest Van Halen (not Van Hagar!) fan has this to say:

I still have a soft spot for “Just Like Paradise,” “Stand Up” (the more you do it the less you fall down!) and “Hot Dog & A Shake.”  With Steve Vai on lead guitar, this album is a killer follow-up to EEAS.

I’m glad I asked Craig for his comment because our song likes and dislikes on this album are almost opposite!  My faves?  “Skyscraper”, “Hina”, “Just Like Paradise”, “Knucklebones”  My filler: “Stand Up”!  So there ya go.  Maybe this record has something for everyone?

4/5 stars

“Promo only!  Not for sale!”

WTF SEARCH TERMS: Pol Rodgers Edition

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WTF SEARCH TERMS III:  Pol Rodgers Edition

WTF Search Terms is a new feature here at LeBrain’s, where I reveal some amusing words that people typed into search engines, ending up at my site.  Today I’ve gathered 10 of the funnier Rock-related search terms!  If you missed the last one, click here.

10.  “show me all of iron maidens art dra”  “Show me”?  Pfft.  Show me your dra first.

9. “pol rodgers fire and waters”  He  knew how to spell Rodgers, but not Paul.

8.  “band acting like a puppet”  My best guess is Supergrass.

7. “jonbonjovi phoyoes never seen”  If you’ve never seen it, neither have I.

6. “where was montly crew attacted in saskatchewan”  He spelled Saskatchewan right.

5. “deep purple songs about nature appreciation”  This thought had not crossed my mind once before now.

4. “when will def leppard be on itunes”  Perhaps the answer is, like my old Psych 301 prof used to say, “On the 12th of Never.”

3. “why does burke shelley sound like a woman”  Maybe because his last name is Shelley, huh-huh, huh-huh.

2. “paul di anno teh beast”  Teh.

1. “does sebastian bach really like model trains”  Yes, him and Sheldon Cooper!

REVIEW: Queens of the Stone Age – …Like Clockwork (2013)

QUEENS OF THE STONE AGE – …Like Clockwork (2013 Matador)

Yeah, I’m one of those jaded pricks who “only liked Queens when Nick was in the band.”  I bought the other albums too, but of those only the live CD really did anything for me.  Until now.  I really …Like Clockwork!  It succeeds completely at taking the Queens down a somewhat quieter and more mature road, while maintaining every ounce of their integrity.  They are still sometimes heavy, experimental and haunting.  But now they are almost always melodic, too.

Opener “Keep Your Eyes Closed” starts off somewhat slowly, but morphs into a bizarre Queens-meet-Alice in Chains concoction.  It’s actually the one song on the album that I didn’t like on first listen.  Imagine my delight in finding that I liked the rest of the album much more!

The most immediate song is second:  “I Sat by the Ocean”.  I put it in a category with songs like “If Only Everything”; it’s memorable on first listen.  “The Vampire of Time and Memory” is a space-age blues, but with some Queen-like moments (Queen, not Queens).  Josh’s understated vocals are classy and the keyboards create atmosphere rather than distract.

Next, the strangely-titled “If I Had a Tail” could have been released in 1981, or 1983, some time during the New Wave movement.  If I heard this on the radio, I’d think it was an 80’s band.  Only the occasional blasts of electric guitar remind me that this is 2013.  Here’s the cool thing — this track reunites the Songs For the Deaf lineup in a way.  Homme is joined by Dave Grohl on drums (who appears on several tracks), as well as Mark Lanegan and Nick Oliveri on backing vocals.

“My God is the Sun” is one of the tunes that sound the most like vintage QOTSA, and it is also one of the songs featuring Dave Grohl on drums.  It has some serious heaviness to it, as well as that stuttering, stammering Queens vibe.  All topped by the smoove as glass Joshe Homme vocals.

“Kalopsia” is a weird underwater easy jazz slow dance.  Trent Reznor duets, and suddenly its an explosive Bowie number.  Great tune.  “Fairweather Friends” has piano.  O, it has piano alright — by Elton freakin’ John!  There’s also lots of rich guitar.  It even feels Zeppelin-y at times.  Maybe JPJ rubbed off on Josh a bit?  Then things get funky on “Smooth Sailing”, but it’s a heavy funk with Homme in vocal falsetto.  Fucked-up Disco?  Sure, why not.  The guitar solo is pure noisy heaven, but Grohl’s heavy hitting keeps it in the world of rock.

Soft guitars and a whispery Homme introduce a song called “I Appear Missing”.  It’s hauntingly powerful, and dramatic. The guitar work here is incredible and intense.  It’s also perfect as the penultimate track on a strong album such as this. And when your second last song is as intense as “I Appear Missing”, then it’s often wise to end the album with something quiet.  “Like Clockwork” exists as simply piano and Homme for a couple minutes, Josh using his voice is ways I’ve never heard before.  Instruments build, and it’s a beautiful sunset-stained closer.

I don’t know what Josh was thinking in terms of the packaging.  I know he likes the colour red.  I got that part.  But all you get is a slipcase, a jewel case and a little card cover inside with minimal credits.  It says to go to quotsa.com for “extended credits”.  I paid for a physical copy, you’d think they could at least print the credits.

Musically?  5/5 stars.  With this and Sabbath already upon us, I have two contenders for album of the year so far.

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