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Metallica
St. Anger
Another Metallica album, another crowd of old-skool Metallica fans hoping against hope that this will be their return to form.
Lets get one thing straight: there were always people who were going to hate this album. Nothing but a by-numbers, but slightly superior remake of Master of Puppets is going to appease some Metallica fans, and even then, they would insist on James Hetfield growing back the long hair and handlebar mustache.
I'm sorry to have to deliver the sad, yet somehow inevitable news, that this is not that album. Speaking as a person who, while acknowledging that Metallica's best material lies on those sacred records that preceded 'Load', isn't actually that offended by that album or those that followed it, I have to say that there is much that dismays me about 'St Anger'.
The first prevailing gripe that came to my attention was Lars Ulrich's drumwork. He seems to have opted for a hard, clangy style on this album, presumably to exude some kind of harsh, metallic feeling. Unfortunately, I just found it to lack power, often coming across as a tinny din. Indeed, there are a few moments on St Anger that suggest that Fear Factory's mechanical, raw-steel influence may have provoked this move, as opener Frantic sounds like a poor man's attempt at emulating said band, while the hammering crescendos of 'My World' and fast pace drumwork of 'Dirty Window' tip a much worthier hat in their direction. Even when the riffs are going right, which is one thing that is consistant about this album, there's always an approximation of a man banging pots and pans in the background, just tainting things slightly.
Indeed, much of St Anger provokes the contrasting feeling of hope for the future, laced with stark and worrying reminders of a somewhat weak present. The riffs, as I say, are there in abundance. There's scarcely a track on the album that doesn't lift your anticipation, hinting that Metallica of old are about to come blaring out of those speakers. Alas, the symptoms of the bands current ills are all too regularly at hand to quash such excitement. Firstly, the lyrics have to be among the worst I've heard from Metallica. I'm not saying Hetfield and Ulrich are poets in the vain of Bob Dylan, but they've always been steady enough in the past. Indeed, I am not one who is given to obsessing about lyrics and will happily let the occasional, desperate rhyme slip through without the slightest hint of acknowledgement. Here however, I cannot. It isn't restricted to the occasional, fleeting fo-par - like the drums, it is present throughout. 'Hear my world shake/like an earthquake' from the title-track is typical of the 'Cat sat on the mat' school of songwriting employed here.
Then there's the cheesiness. I've oft guffawed at the opening seconds of 'Fuel' - 'Gimme Fuel/Gimme Fire/Gimme that which I desire...ooh!' - but until now, this had always been an isolated incident in an illustrious career. This record however, is teeming with such moments. 'Some Kind of Monster' runs along very promising lines with low murmuring guitar shooting off into a typically good metal riff, which accordingly gives way to some interesting, fuzzy blues and funk style riffs. Then it happens. James Hetfield starts to rap. Now I'm not saying he has no right to rap. If he'd carried it off, I'd be applauding him now for a brave stab at a new direction. Unfortunately, he sounds like the stereotypical 'cool dad', trying to impress his childrens teenage friends. It's horrible. It's also a shame as it detracts massively from what is otherwise a good song. Of course, you could brush
that off as a simple, experimental misadventure. But then he starts yelling "It's my world...SUCKER!" on 'My World', itself something of a throwback to 'Through The Never' but with a few slower moments thoughtfully applied. "Shoot Me Again, I ain't Dead Yet" he gruffly, amusingly Invites us on 'Shoot Me again', 'don't tempt me', I thought in reply. This in itself was another track that without the cheesiness could have been excellent - A pacey solid riff, giving into slow Alice In Chains style harmonised vocals, before hitting the aforementioned block of cheddar and a forgettable chorus. It then picks up again towards the end as it slips into Pantera-esque guitar, only to slip back into the abyss as Hetfield chips in with yet another rap-break.
It's not all awful. In fact, there's often as much that promises in each track as there is that detracts. The first seven tracks seem to battle against themselves, entertaining and then disappointing from one moment to the next. Then, as 'Shoot Me Again' manages to scrape home, just overcoming it's numerous ailments with it's assorted strengths, things start to get more consistent. Interchanging between mellow moments, and galloping frenesis, 'Sweet Amber' compares admirably with the best of Metallica's post 'black album' Material. 'The Unamed Feeling' is a slow-burner that teases the listener with restraint, before throwing out an occasional shift in pace, then slipping back into a slow, but effective chorus. It has to be said that decent choruses are somewhat lacking here, but another immediately follows on 'Purify', a straight forward, thundering metal track, with an atmospheric chorus, that while no classic in itself, would be welcomed on many a classic album. Here, it transcends it's natural place of making up the numbers. Then it ends on a high. 'All Within My Hands' exhibits many of the songwriting traits that have long been Metallicas appeal. A sprawling 9 minuter (8:47 to be precise), it starts with a very good riff, slows right down and injects some atmosphere (there even seem to be some well-used effects here) and a bit of impressive vocal harmony. Hetfields vocals ride a rollercoaster as he goes from slow, poignant verses, to raging, to slowing down to sneering and seething. They even go into something approaching a guitar solo. A very good track, but just to remind you what the rest of the album has offered, they decide to end it with Hetfiled squealing 'kill kill kill kill kill' in yet another cringeworthy moment.
If you're an optimist, there's plenty here to suggest that Metallica aren't a spent force. If you're a pessimist, you'll probably weep at the chest-beating cheesiness, the regular lyrical weaknesses and consistantly clangy drums. As a whole, I'm afraid that in my opinion, Metallica have plummetted to new depths. Almost everything of merit is routinely nobbled by the above issues. The album also sounds laboured, as if they're trying too hard. They need to stop pandering to the current market and do what they do best. The implementation of new ideas in tracks like 'Shoot Me Again' and 'All Within My Hands' show that they are capable of progressing, while also suggesting that these ideas would be best combined with their much missed old-school style.
Bazzatron.
6/10
Something Corporate
Leaving Through The Window
Pop-Punk by numbers? Not a chance. Something Corporate are something special indeed. See what Drive-Thrus latest export have to offer.
At first glance, and judging by the two singles, SoCo could easily be dismissed as another regular bubblegum pop-punk outfit that fail to shed new light on the murky depths of the pop-punk scene. Fortunately, this assumption couldn't be too much further from the truth. With melodies and soaring choruses that are all too rare from most bands, Something Corporate are indeed something to sit up and take notice of.
Before I start, I have a major wrong to point out - 'What no 'Konstantine'?' - It does seem slightly unusual that the band decided not to put their best song by quite a distance on the album, instead opting for the similar (if nowhere near as good) 'Globes and Maps'. I can only assume either temporary insanity or that they ran out of room, as Leaving Through The Window weighs in at a hefty 67 minutes long for 16 tracks, chucking a 9-minute ballad on there might be overkill. But I digress.
The opening track, 'I Want To Save You', is one of the better opening tracks Ive heard for some time, gradually easing you into the chorus, where the real meat of the song is hidden, something in this song (and most of the other songs) implies that a lot of thought has gone into this album.
The two singles 'Punk Rock Princess' and 'If You C Jordan' are two of the less inspiring tracks on the album, perhaps this has something to do with them being the most mainstream tracks on the album. A shame, really - theyre good enough tracks, but they fall into the trap of being too generic, with 'If You C Jordan' and later on '(I kissed a) Drunk Girl' bearing an alarming resemblance to label-mates New Found Glory. Not a bad thing in itself, but to be honest, Something Corporate are better than that, and '...Jordan' falls some way short of the rest of the album. 'Punk Rock Princess' is a different story, though an excellent sampler of what the band are capable of, 'PRP' is upbeat, lively and just generally good fun to listen to, what Pop-Punk should be.
If you had to define Something Corporate by a single track, 'Hurricane' is probably the track youd choose. You know those songs that just sound better loud? This is one of these songs. 'Hurricane' is head and shoulders above any of the other songs on the album. The piano interlude is perfectly placed, and leads seamlessly into the crescendo of the song, at which point youre overcome by the urge to leap around like an epileptic meercat. On Speed.
Following on from this gem is a complete change of pace. It might take seven tracks to get there, but this is the side of SoCo that grabs you by your musical balls and forces you to sit up and pay attention. 'Cavanaugh Park' is a well thought-out ballad that kicks any remaining NFG ties into orbit. With just the piano and vocals to start with, it provides a welcome change, whilst simultaneously luring you into the chorus, where the song really takes off, with cymbals crashing and barely a power chord in sight, 'Cavanaugh Park' leaves the competition standing. The lyrics border slightly on the verge of over-sentimentality, and the second verse (the one about Adam) is almost raw stilton, but all can be forgiven, as the song loses you in its epic chorus.
'Fall' switches back up through the gears, and while it doesnt stand out that much from the rest of the album, its not really that similar to anything else, its just a good track on an excellent album, and as a result tends to get forgotten, which is a shame really.
The last few tracks lean less towards pop, and more towards the unique sound that SoCo have, with 'You're Gone' and 'Not What It Seems' bringing another level to an already multi-layered album. The closing song 'Globes and Maps' is a good track, but having listened to and been blown away by 'Konstantine', this just doesnt capture the listener in the same way. Still a good ballad though, well worth a listen if youve just been dumped, anyway.
considering this is a debut album, Something Corporate have a musical maturity that few bands possess, but the poor choice of singles has probably damned them for now, which is a crying shame, because even the casual punk-lover should give this album a listen, because it really does have something for most tastes.
Jason Jones
8/10
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Strereophonics
You Gotta Go There To Come Back
In my opinion, the Stereophonics have been off form of late, so I wasn't sure what to expect from 'You Gotta Go There To Come Back'.
The album kicks off with 'Help Me', the longest track on the album, which is an instant improvement on most of, if not all, of 'JEEP'. It is far more rocking than their moderatly dull and forgetable last outing. It does have its faults though, like a few of the songs, it drags out a bit too long. The seventies guitar and Kelly's voice sound cool, though (if you like seventies style guitar and Mr. Jones' voice that is).
'Maybe Tomorrow' slows things down. The song is a possible mellow, summer single. Again the seventies influence twaggy guitar is back. The song does have annoying backing vocals - a repeatitive hum.
The first single, and their best single since 'Just Looking', 'Madame Helga' is sadly followed by three similarly dull tracks, that remind me of 'JEEP', though, maybe if not piled right next to each other, might be better - the best of the three being 'You Stole My Money' which sounds like an Oasis B-side.
'Nothing Precious', 'Madame Helga' and the slightly Black Crows-esque 'High as the Ceiling' are the highlight of the album.
The album has some good songs on but too many fillers. Also, there is a lack of inspiring/ catchy chorus' on the album ('aaaaah aaaaaah aaaaaahmalright' - touching? I think not) and some over enthusiastic backing singers (notably on 'Jealousy'). However, it is held together nicely by some great guitar music and the incorporation of the occasional violin and trumpet.
Krow
7/10
Finch
What It Is To Burn
Another Drive-Thru band? Before you click next you should know that this band isn't pop-punk or ska.
It may surprise some of you that Finch have been around for a while, launching themselves into the hearts of the hardcore Drive-Thru enthusiast with their 'Falling into Place' EP. Now, with 'What It Is To Burn', they make a bid to be known in their own right, rather than That band that are on the same label as New Found Glory and Home Grown. And if there was any justice, theyd make it. Its little secret that Im no fan of heavy music. I dont own any Metallica albums, and Slipknot hold marginally less appeal to me than Britney Spears. (At least, in a musical sense.) So when I was shoved this album and told listen, I was tentative to say the least. The opening track, coincidentally titled 'New Beginnings' is an impressive slice of music indeed. Matching out-and-out screaming with a surprisingly good singing voice, lead singer Nate Barcalow tears into the song with alarming passion, his vocals complimented by those of Randy Strohmeyer, the bands rhythm guitarist. Together, the two provide the perfect building blocks on which to base the songs. The only downer really, is that the song is about a minute too long, with unnecessarily long intro and outro sections. In fact, the outro is 40-50 seconds of nothing really. Most annoying.
The bands first single, 'Letters To You' is possibly the least heavy song on the album, excluding the semi-acoustic track, 'Ender'. Thats not to say its dull, however, and once again, the vocalists passion shines through, most notably in the chorus. This is certainly a good track to be introducing potential fans to the band with, but heres hoping for a third single, because as good as 'What It Is To Burn' is as a song, the band need to try and kick the audience in their proverbial bollocks with a really aggressive song like 'Three Simple Words' or 'Perfection Through Silence'.
'Grey Matter' starts out as a real ear-splitter, with Barcalow really screaming his lungs out, and then cools down a little bit to become a little more like a regular Finch track. There are certainly shades of Emo in Finch, but dont let that scare any emo-haters away, because Finch are almost polysemic by definition. Touches of Metal are fused with Punk, Emo and plenty of other genres to boot. Its almost a shame that Finch are on Drive-Thru, as many elitists will simply disregard them as straight punk or emo, which is unfair, as it is difficult (not to mention inaccurate) to pigeonhole them into a single genre.
Moving on, 'Perfection Through Silence' is another trademark Finch song, effortlessly combining Melody with raw noise, singing with screaming. Thwack the volume right up, and the walls will probably start moving.
The middle of the album is possibly the weakest element of 'What It Is To Burn', if there is such a thing, 'Without You Here' being the only memorable effort between tracks 5 and 9. Not that theyre bad tracks by any means, but the others are simply of a higher standard than these. Track 9, 'Project Mayhem' is an interesting one. It borders on that dangerous ground called experimental music. It uses what I assume are drum loops (Either that or drummer Alex Pappas has twelve arms) and seems to get carried away, letting the song drag on for nearly six minutes, whereas it could happily have been slotted into three and a half. Shame, because the bits that dont go on forever are quite good.
Not ones to buck the trend of having to have a song called 'Untitled', Track 10 is probably the best song to not have a name since the Smashing Pumpkins effort a few years back. A shame really, because its completely overshadowed by its successor 'Three Simple Words'. Its not easy to find the right words to describe this song, but I could quite happily throw superlatives at it all day. Heres a few: Better, Louder, Faster, Darker, the list goes on. To be honest, it really is miles ahead of anything else on the album, possibly excepting the title track, but that is down to personal taste.
The final track, 'Ender' is a cool track that serves nicely to just cool the mood following the past 45 minutes of speaker-bashing. Also a nice touch how the song shifts from acoustic back into normal towards the end. Its touches like this that make the album such a treat to listen to.
The strangest thing about 'What It Is To Burn' is that its title track, also the second single and one of the better songs on the album has simply been chucked onto the end, almost as an afterthought, which is really verging on madness. Having said that, at least they put it on the album, instead of doing the Drive-Thru trend of leaving your best songs off the albums.
All in all, Finchs second attempt would most definitely put them on the map if there was any justice in the music industry, but in a world where Robbie Williams has a multi-million record deal and One Stop Earnest aren't even signed, such dreams are just that, and Finch will more than likely still be known as That band that supported New Found Glory on tour for a few more years.
Best Tracks: Three Simple Words,What It Is To Burn, Perfection Through Silence
Worst Tracks: Project Mayhem, Awake
Jason Jones
8/10
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Oleander
Joyride
With the current Post-Grunge movement proving to be commercially explosive but artistically still-born, Oleander look to make amends.
Post-grunge. Possibly, the least fashionable genre of the present day. For some, bands such as Staind, Creed, Nickelback et al, represent a calloused desecration of the sacred tombs of Seattle pioneers, such as Nirvana, Soundgarden and Alice in Chains. For others, they plunder the fundamental trademarks of such bands, while diluting them with inane simplicity and adding nothing of artistic merit. However, for a significant number of casual, less cynical listeners, they efficiently fill a large gap.
While sharing traits with the above bands, such as failing to break new ground, and of seeing no shame in the occasional radio-friendly chorus, journeyman rockers Oleander have certainly learnt their lessons better than most. Unlike those that they share the modern day scene with, this is a band that incorporates the small details and intricacies that elevated those key to the original Seattle movement, above mere angst-inspired spleen-venting. In short, this is a band with a noticeable quantity of musical ability.
Its probably fair to say that, unlike most of Americas rock chart players, Oleander move closer towards their apparent influences by not sounding like a generic member of an existing sub-genre. Soundgarden and co were, and still are central to arguments of whether grunge encompassed an actual genre, or if it was a certain dirty sounding taint that linked a diverse collection of bands and typified the cultural outlook of the time. To simply dismiss Oleander as an exponent of the quiet verse/loud chorus formula would be wrong. Joyride is a very diverse collection of tracks.
Opener 'Hands off the wheel' belts out a mouthy chorus that would feel as comfortable coming out of Dolph DeDatsuns mouth as it would traversing the wailing larynx of Chris Cornell. '30 60 90' emits the subtle aura of possible Alice in Chains influence, with droning, atmospheric guitar being the order of the day. 'Dont Break My Fall', 'Off & On' and 'King of Good Intentions' boast spiralling, anthemic choruses that could be well appreciated by the modern emo crowd, while 'Rainy Day', 'Better Luck Next Time' and 'Leave it All Behind' see the reins being pulled back on the tempo, resulting in the kind of emotive rock track that is received more warmly in the states than in the UK. Closer, 'Runaway Train' (no, not a cover version) drops things down a notch, with acoustic guitars and violins being produced, with the electric-guitar being held back briefly, only being allowed to build toward the end of the track, before exploding impatiently for the close of the album.
The prize for weakest track though, is not merely claimed, but hungrily seized by title-track 'Joyride'. A rowdy repetitive dirge, whose continual claim of 'Youve gotta get it to give away' would be more tolerable, if not valid, if applied as a ranting crescendo to a song, as regularly utilsed by the Foo Fighters. As it is, each repetition of that line just rises the excruciating irritation up a little more, until you eventually find yourself diving in a frenzied scramble for the skip button.
All in all, this is a consistent and well delivered album that demonstrates a skilful use of various rock-moulds, while never striving to break them. The most negative criticism that can be levelled at Joyride is how overwhelmingly derivative each track is, though the quality of the implementation just about transcends this niggle to make it a strong example of the genre. Its just a shame that Oleander don't seem to stamp their identity onto their songs, thus denying them a potential classic.
Bazzatron
8/10
Radiohead
Hail To The Theif
I'm not a fan of Radiohead, especially their recent releases so I was a bit tentative about reviewing this. I was pleasently
suprised....
I won't pretend I was blown away by this album but it was better than I was expecting. I have nothing against experimental music, it is just 'Kid A' and 'Amnisiac' did not entertain me.
The album kicks off with '2+2=5'. Thom Yorkes whine is their as always (everyone knows what their opinion of Mr. Yorkes voice is so you'll know whether or not this is a good thing). It is an alright opener, but listeners will glad to know things get better.....but not before they get a lot worse.
'Sit Down. Stand Up' is quite frankly dancey pap. If you like a
bit of dance music and a whiney voice, you'll love this. For me
it is the worst track on the album. The next track is a nice one. It is a enjoyable (if rather forgettable) piano based track. But it is back to what I was excpecting after this, sadley. 'Backdrifts' is a typical bad Radiohead track. As I said before, I'm not a Radiohead fan...
...but what is this? After considering pressing the stop button 'Go To Sleep' starts. A highlight of the album and it is followed by a track that fits snuggley. 'Where I End And You Begin' ends at exactly the right time (ie before it gets too repetative).
'We Suck Blood' isn't bad and has interesting hand claps - the hand claps being the most memorable thing on the album. Sadley, 'The Gloaming' is a weak track that seems to suggest that Radiohead have no 'quality control'. The album is very hit and miss - as the next track shows. 'There There' is the new single and it is of a higher standard than a fair few of the tracks on the album. When I listened to the album the first time I found myself jigging to it - unusual for a Radiohead song!
'I Will' is a dull filler. 'Scatterbrain' is okay and 'Myxomatosis' is, what I hope will be refered to as, 'electro-misery'....not bad for what it is. 'A Punchup At A Wedding' and 'A Wolf At Your Door' are my two personal favourites though the album is better as an entire piece. This album will make Radiohead some new fans, as it has mixed their experimental side with something more entertaining, without them losing any.
Krow
6/10
Blur
Think Tank
Bye bye Mr Coxon! Good old Krow asked me to write some sort of review for his site. 'Oh' says McGee, 'ok'. So here it is, a review of the most recent release I've personally bought.
Blur have had a strange old ride in reaching this, their seventh studio album. The whole Britpop thing, its not good for a bands credibility is it? But somehow (with a little self-titled album and a short snappy song used in every advert everalmost) Blur pulled themselves out of it, and have managed to surpass Oasis. Easily. Sorry Mr Gallaghers, its true (ed- in your opinion - we are reviewing Blur not slating Oasis. lol). Anyway, where am I?
....Oh yes, 'Think Tank'. 13 tracks of post Britpop, post Coxon melody. Much has been made of the departure of Coxon in the music media but if the truth be told, no matter what that strange guy with the Lennon glasses sitting in the corner of your local pub says, Albarn was and is the driving force behind Blur. The proof? 'Think Tank' itself. Where '13' meandered into self wallowing and a desire to be separated from the mainstream, 'Think Tank' collectively combines the so called new Blur (post 'The Great Escape') with the melody-laden tunage (yes, tunage) of old, albeit via an average first single, 'Out of Time'. In fact, I can honestly say its my least favourite track on the album.
Crikey, where do I properly begin? Im going to start with the song Im currently listening to, and the latest single (as at 13/06/03), 'Crazy Beat'. Cor blimey, its almost as if we have the Blur of old here, and with Coxon gone Alex James bass lines become so much more noticeable, which is a wondrous treat! Featuring classic 'yeah yeah yeah yeah yeah!' lyrics, this track is an energy-filled stomper of a song. And theres a few of them on this album. Oh sod it, I cant write like this, I need some sort of coherence, some order. Back to the beginning we go!
Opening track 'Ambulance' is a rather sombre affair really, but Albarn reassures us that he aint got nothing to be scared of which is completely true he has nothing to fear. Theres simply no need for Coxon if Albarn can construct melodies as charming as this. Ok, ok, Ill cease with the Coxon bashing. Hes a talented guy. It's just I had an argument with someone about this album he claims its shit because Coxon is missing. I disagree. Im sure Coxon is having a nice time whatever he is doing. Back to the album. I've covered the opener, the two singles. Ok, lets go to one of my favourites, the song that grabbed me on the first listen 'Jets'. A gorgeous little guitar ditty leads us into a rumbling bass line, with pert little 'yeah' sounds. It sounds better than I describe, honestly. 'Jets are like comets at sunset' is the one lyric, repeated over and over, before at around 6 minutes or something the song flows into a jazz ending. Its gorgeous, so gorgeous. The accolade of most gorgeous song, however, goes to the album closer, 'Battery in your Leg'. In fact, this is one of the most beautifully haunting songs Ive heard all year and is a firm reminder to those Gallagher twits that no matter how much you saunter about proclaiming yourselves to be bloomin' 'ard, it doesnt mean youre as good as Blur. Cuz you're not. Dammit, Im getting all opinionated now (ed- indeed you are young madam). Anyway, so yeah. 'Battery in your Leg'. One of those songs that sends a shiver down your spine. Yep.
Now for the criticism. There are some, lets say lesser tracks here. 'Out of Time' being one of them. Its still a good track though, so I dont know what to believe anymore. 'Good Song' seems to float by somewhat, but well, other than that this album is pretty much the best thing Blur have ever come up with. 'We've Got a File on You' is another carefree rock stomper which leads into the originally titled 'Morrocan Peoples Revolutionary Bowls Club', which is, kinda scary, to be honest. Cool though, most definitely. Catchy, thats an apt word. Yeah.
Ok, Im going to try and draw some sort of conclusion, and give this album a rating.
Blurs steps for success:
Dont be Oasis.
Dont give in to Coxon.
Mix experimentation with the odd floor-filling rock-out.
Manage to be emotional without becoming emo.
Generally just write an amazing album which surpasses the previous six youve written, and could quite possibly be McGees album of the year. (ed- a coverted accolade in the music world, I think we all agree.)
Standout tracks: Crazy Beat, We've Got a File on You, Jets, Battery in your Leg.
McGee
9/10
The Small Faces
Ultimate Collection
The Small Faces to some it means nothing, to others it means legend. What is more correct?
Well, The Small Faces had The Beatles and The Rolling Stones to compete with, so its understandable that some youngsters may not know much about The Small Faces. But take heed, as they are as cool (if not cooler) than The Beatles and The Stones!
However, by the tenth track (out of fifty in total) on this compilation you will probably be thinking, This is good but it needs something extra. A classic. Understanding is the first glimpse of something a little cooler than normal but casual fans will be longing for 'Itchycoo Park' at this point. 'I Cant Make It', 'You Need Loving' (a brit-pop Whole Lotta Love) and 'Just Passing' are the only other songs on disc one that leave you with any hope for the next 25 tracks. Not that it is a bad disc it is just lacking something. It all sounds very retro and nice but it is missing the 'Kaboom!' of something like 'Forty Licks' by The Rolling Stones. The best thing about this CD is the vocal talent that Steve Marriott possessed.
Then there is CD Two...
'Here Comes The Nice' - about time too! Fantastic! An all time classic song. It feels like a weight has been lifted off your shoulders. You can relax now. Here come the classics! 'Talk To You' is another well known track and it is pure retro-cool. It makes you wish you were around in the sixties (if you werent!).
'(Tell Me) Have You Ever Seen Me' is not the best Small Faces track but this song is different. It has some interesting noises in this one! This is a nice addition as the first CD did get rather samey. 'My Way Of Giving' slows things down a bit before 'Green Circles' kicks in. I'm not a fan of that particular song, but it is not a bad track, it is just over shadowed by some real classics, such as 'Get Yourself Together' which follows it and is an amazing track. 'Eddies Dreaming' is cool and then we finally get what most people came here for. 'Itchycoo Park' is an all time great musically and lyrically.
The Small Faces influence on Blur is clear on this album. 'The Universal' is a great track (TSFs version, that is. Blurs song of the same name is one of their best) and 'Happydaystoytown' is the kinda thing Blur where trying to do with their woeful 'Country House' and 'Park Life' tracks. However, TSF pull it off perfectly.
'Mad John' is an enjoyable busker-esque track. 'Ogdens Nut Gone Flake' is an impressive instrumental. 'Lazy Sunday' is a sing-a-long classic, much in the mould of 'Itchycoo...' and the finale 'The Autumn Stone' is the perfect way to bring the 50 tracks to an end slow and chocked with great stuff (including pan pipes!)
The only real criticism is that the first CD only has 3-standout track whereas CD 2 has about 20. These top tracks have been compiled on shorter albums in the past. There is only one bad track ('Yesterday, Today and Tomorrow') which is amazing seeing as though there are 50 tracks. Some tracks however, are amazing which makes the not bad ones look out of place.
Personally, seeing as this is a double album, causing the price to be around the £15 mark, I feel people new to The Small Faces shouldnt feel bad going for a cheaper alternative. This is an album for completists really. However, if you intend on spending large amounts of money on a CD soon, check this out as it is worth £15 for CD 2 alone.
Krow
9/10
Gorky's Zygotic Mynci
Sleep/Holiday
Gorky's new album - my first review in ages...They're back, I'm back. Everybodies back, back.
Gorky's have changed a lot since their beginings. However, it is not a bad thing. Nor is it a good thing. It's just a thing. The more recent folk sound Gorky's have basically perfected is a thing of beauty. This album is amazing. Not perfect, but bloody close.
First off - if you hate folk music this probably ain't for you, though it is more appealing than most folk albums. I strongly recommend everyone give it a try. Give it a few listens and you'll love it....or hit me. But probably love it.
This album is not dull (well, for the most part). It has very catchy, lively songs with the usual GZM quirks. It starts off with the upbeat 'Waking For Winter' which is full of piano, harmonica and violin (a nice mix). 'Happiness' is a slower, more calm song. 'Mow The Lawn' is the single and is the nearest thing to old Gorky's on the album. Great song - silly song. 'Single To Fairwater' is probably lyrically my favourite song on the album. 'Country' is a nice short song - a favourite on the GZM messageboard. 'Eyes Of Green Green Green' is another fun, lively track. My favourite.
There are a couple of let downs - the last two tracks. 'Pretty As A Bee' is ok for what it is - for what it is meaning not much. The song is about 10 minutes long and pointless. 'Red Rocks' (if you are still awake after 'Pretty As...') staggeringly average.
On a whole though, this album is lovely....yes, lovely. It is the perfect album to snuggle up on your sofa with a cup of (insert hot beveage of choice) watching the people outside get drenched in the pouring rain to. I'm off to have a bath and listen to Kenny G.
9/10
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