Retro Reviews: Van Halen: Van Halen II

        I decided to launch a new series to imagine myself as a critic at the end of the 70s and start of the 80s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

Van Halen II (1979)

****

Producer: Ted Templeman,

Musicians: Edward Van Halen, David Lee Roth, Michael Anthony, Alex Van Halen

Songs and Music: You’re No Good, Dance The Night Away, Somebody Get Me A Doctor, Bottoms Up!, Outta Love Again, Light Up The Sky, Spanish Fly, D.O.A., Women In Love, Beautiful Girls

Reviewed By Matthew Anthony Allair

    Van Halen’s debut was such a significant release in the field of modern rock music, some of my peers have been reluctant to admit it. Much of this is similar with the backlash against Lex Zeppelin in 1969, even though most people privately admitted that that band would define music for the next decade. It is safe to say that Van Halen will define the next decade. Edward’s guitar work is unique and exceptional; the Anthony and Van Halen rhythm section is solid and steady once again. Roth’s vocal, while not perfect, are just full of charisma and he manages to carry the mantle well as a frontman. Ted Templeman has returned and the sound is pretty identical to the prior album, then again, if a formula is working, why change it? While no one could claim this hard rock band has any relation to the Punk scene, it did share similar spirits, keep it short, focused, direct, and give the songs punch, something that the band does in spades.

    The album opener is the sole cover – the Dee Dee Warwick song, written by Clint Ballard Jr. “You’re No Good”, the song had been a hit single for Linda Ronstadt a few years earlier. Michael’s flanged bass solo eases into a grove with Eddie’s guitar swells. Roth plays with the body of the song, Edward displays his dazzling technique with a touch of guitar harmony at the end. It’s not much of a surprise that “Dance the Night Away” is the single, it has an infectious feel along with some nice guitar embellishments. The more muscular “Somebody Get Me A Doctor” has an appealing refrain, and flamingo change, it also demonstrates with the solo that Edward has some real compositional craft. “Bottom’s Up!” opens with a bluesy refrain before a shuffle shifts gears, and Roth has a good call and response with Eddie. “Outta Love Again” opens with buzzsaw guitar feedback on par with Hendrix, Alex’s shuffle work just brings home how good he is, overall, a good dose of swagger. 

    The second half opener “Light Up The Sky” opens with some playful guitar and bass counter point, before moving into a dramatic groove. The instrumental “Spanish Fly” acts as the acoustic companion to “Eruption”, very brief and informal. “D.O.A” is probably one of the more ominous numbers on the album. Roth’s vocal nearly channels Jim Morrison. Things take a lighter turn with “Women In Love..”, Ed’s delay and thick chorus sets up some brighter playing, before it shifts into a melodic tempo, and this is probably another single The album closer “Beautiful Girls” ends the proceedings with an up sentiment, and likely another single, it offers some whimsy and swagger. Yes, I admit, the album art feels like a corporate brand by now, but it’s no different than Queen’s logo or The Beatles drum riser brand, this aspect of rock music has always existed. 

    Peers like Lester Bangs have been dismissive of the band for pandering too much towards its audience, but I don’t read any pretense with Van Halen, it doesn’t feel self-conscious and the band seems to know exactly who they are. The band is designed to appeal with rural and urban kids, it’s designed to have fans play their albums on cassette or eight track, while cruising the weekend streets. Not everything has to be a profound statement. The kids need something to follow or believe in; the critical adults seem to forget that. 

Retro Reviews: The dBs: Repercussion

 I decided to launch a new series to imagine myself as a critic at the end of the 70s and start of the 80s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is a lesser-known album.

The dBs – Repercussion (1982)

***1/2

Producer: Scott Litt

Musicians: Chris Stamey, Peter Holsapple, Gene Holder, Will Rigby, Andy Clark, Chris Gower, Dick Hansen, John “Irish” Earle

Songs: Living A Lie, We Were Happy There, Happenstance, From A Window To A Screen, Amplifier, Ask For Jill, I Feel Good (Today), Storm Warning, Ups and Downs, Nothing Is Wrong, In Spain, Neverland

Reviewed by Matthew Anthony Allair

    The dBs second album has been released, soon off the heels of the first. It’s hard to access if this will have a niche audience or not. The band is signed and distributed by Albion Records, there’s a great proliferation of smaller, independent labels, but their limited distribution systems can affect of reach of good or great bands. Yet Scott Litt has helmed the project and strikes a balance between their more polished numbers and the raw, unwashed pieces. Chris Stamey and Peter Holsapple are the driving force of the band. The ethos of Punk has always been about adolescent rebellion, but new wave has helped pull back in more nuanced ideas within the song craft, teen age angst can only go so far before one looks around and starts to ask questions.

    The pop instincts of the band are in full force with the opener “Living A Lie” with keyboards and a full horn section, with an honest, self-aware lyric. With “We Were Happy There”, the drums and bass are really accented, and in spite of keyboarding coloring, there’s a rawer feeling yet palatable, while having an odd resolve. “Happenstance” takes a darker direction with a relationship song and parental dependence with an interesting turn, as well as dysfunctional manipulation. Things are brought down with the quieter and atmospheric “From A Window To Screen”, this also has some of the best harmony vocals, and moody lead guitar work. “Amplifier” has a great rhythm that belies the darker lyrics, but one can’t tell if this is based on a true story, or if the self-pity is satirical Either way it has some of the most vibrant playing. There’s some more jagged guitar work on “Ask For Jill”, with a bass that acts like a great counterpoint. The added keyboards and bells give it some sheen with the sarcasm of the lyrics. The challenge is, how does the second half holds up?

    The more acoustic “I Feel Good (Today)” has a lot of coloring, either guitars or cello, and manages to shift in some interesting directions, and ir almost takes a nod to Syd era Pink Floyd at moments. “Storm Warning” takes things in a fresher direction with shifting rhythms and great dynamics. Their ethos returns with the cynical “Ups and Downs”, but the playfulness keeps it interesting which is just enforced from the keyboards. The slower “Nothing Is Wrong” has a kind of lament within the harmony’s, this is the closest they get to a blues dirge in spirit, but not really. “In Spain” crashes in with a dynamic edge, and interplay between the drums the band has a synergy The closer “Neverland” has a true thrift and a great hook and brings the album home. 

    Is the band Punk, New Wave, power pop, or new hybrid? hard to say, but this feels different and maybe a little ahead of the trends. While some of the lead vocal work is a little uneven, and they work best in harmony, the sum is greater than the parts. This could have a great impact on the music scene, possibly in the way that the Velvet Underground held an impact, but time will tell if they find an audience. This is worthwhile for anyone seeking something catchy yet different. 

Retro Reviews: The Call: The Call

     I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is a lesser-known album.

The Call – The Call (1982)

*** 3/4

Producer: Hugh Padgham

Musicians: Michael Been, Tom Ferrier, Greg Freeman, Scott Musick, Garth Hudson

Songs: War Weary World, There’s a Heart Here, Doubt, This is Life, Fulham Blues, Who’s That Man, Upperbirth, Bandits, Flesh and Steel, Unbearable, Waiting For the End

Reviewed by Matthew Anthony Allair

    In the Pantheon of what is considered new wave, the band The Call has managed to find a new sound that connects to the traditions of the past, while offering up something fresh. But it’s a little deceptive with how to get there – it’s a slow burn, based on one’s initial impression. Producer Hugh Padgham has given the band an impressive sonic sheen to offer with this material. There’s a simplicity and directness on certain tracks and a complexity with other tracks, and a lot of nuance. Lead singer Michael Been has a passion that is equal to U2s Bono, but a dramatic edge that might even rival Bono – it’s hard to say. Tom Ferrier’s work runs the gambit as a lead player and seems to serve the material well. One of the most notable aspects in the inclusion of guest keyboardist Garth Hudson from The Band – it is a testament to the quality of this new band that Hudson would even be involved. But make no mistake, this is a guitar driven band.

    The opening track “War Weary World” sets up the tone after a Segway of ominous tones, Been’s vocals are passionate, desperate,  while the chorus is complacent, jaded. We have seen this all before. At the start of the new decade and we are no closer to ending the cold war. The next track opens with the line: “I’m at Odds with this World” as Been delivers “There’s A Heart Here”, a conflicting relationship number with an interesting middle section break. With “Doubt” there’s a moody, simple groove as Been excoriates everything in front of him. There’s a hint of Nihilism, but a fight to not give into it.  The gradual build-up of keyboards really keep this compelling. The clever waltz shuffle of “This Is Life” feels like an Irish folk number in spirit. “Fullham Blues” is the closest to feeling like a punk number, but with far more contrast and drama. “Who’s That Man” has a reggae feel with a heightened paranoia lyrically, before switching towards a bolero, all is which is refreshing to see such risks. 

    The side two opener “Upperbirth” keeps up the energy with some great drama from Been, as much as it isn’t the strongest track. On “Bandits” there’s a real rhythmic drive between the bass and drums and interplay between the guitars, and a real disgust for ‘collateral damage’. With “Flesh and Steel” Garth really is showcased and offers some fascinating flavors. The fast tempo of “Unbearable” again connects to the punk ethos, but Been sounds tormented, with a push and pull between the guitars . The ominous closer heightens an apocalyptic sense of  dread  from the character if a vagabond who confronts a passer- by, but the track distills that sense of fragmentation that is looming in society. Some guitar trade- offs and keyboards bring the track, and there’s a kind of venomous agonist from Been closes out the proceedings. 

    One might be tempted to compare this to the pop leanings of The Cars, or the experimental adventures of Talking Heads, but that would be erroneous, they are their own band. I don’t know if this will find enough of an audience, but it distils social conscience and spiritual justice in the best sense of what new wave should represent. All is not right in the world and this is a plea for figure it out. Recommended.   

Retro Reviews: The Replacements: Hootenanny

    I decided to launch a new series to imagine myself as a critic at the end of the 70s and start of the 80s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is a lesser-known album.

The Replacements – Hootenanny (1983)

**1/4

Producers: Paul Stark, Peter Jesperson, The Replacements

Musicians: Paul Wetserberg, Bob Stinson, Tommy Stinson, Chris Mars

Songs and music: Hootenanny, Run It, Color Me Impressed, Willpower, Mr. Whirly, Within Your Reach, Buck Hill, Lovelines, You Lose, Hayday, Treatment Bound

Reviewed By Matthew Anthony Allair

    This album is a contradiction. On one hand there’s a talented band in there, but they seem like a band conflicted between their punk ethos and their melodic instincts, I am not really all that convinced by the punk material itself, but Paul Westerberg shows real ability as a composer when he is focused. There’s a devil may care feeling with much of this material along with informal chatter, and that chatter doesn’t always work. Aside from do-It-yourself sensibility, within segments of the punk scene there’s a ‘anti music’ instinct with some acts, and this band feels like they are trying to embrace that. Yet their love of The Beatles and acts like Badfinger betray that ethos. This is their second album for the independent label Twin/Tone and so the stakes aren’t very high, they can create music for it’s own sake without commercial pressure. They have aways to go.

    The opening number “Hootenanny” feels like a ragged pastiche of a blues number, a parody, but it is a little amateurish, I can’t really tell if this is intentional. The next track, “Run It” a more punk number is an improvement, but not by much. But the next track “Color Me Impressed” is the strongest number and the likely single, Paul reveals his real potential here. At least, the more ambient “Willpower” allows the bass and drums to drive it, while the guitars weave around, and Paul’s delay vocal is eerie. “Mr. Whirly” is mostly a revved-up nod to “Strawberry Fields Forever” and “Oh, Darling!” with some original inserts. There’s a certain rock n roll shuffle from Westerberg on “Take Me Down To The Hospital” and outside leads from Bob Stinson that make it interesting, but John Lennon had already covered the screams on his “Cold Turkey” track over a decade before. Paul pretty much plays everything on “Within Your Reach”, a beat box, several flanged guitars and a simple synth part make this a fairly interesting piece, and reveals his song writing focus once again.

    The second half opens with the surf rock of “Buck Hill”, an instrumental that is pretty standard issue, some of this material feels like things you’d hear in a club, and there’s no shame in that. Bob Stinson’s guitar work on “Lovelines” is outside as Paul offers some off kilter spoken muses. While “You Lose” feels standard, there’s some adept and good guitar work. With “Heyday” Bob offers up some interesting guitar work. The closer and acoustic “Treatment Bound” feels like a Stone pastiche from 72’ Exiles, it’s ragged and falls apart, but it’s commendable and interesting. Tommy and Chris are a solid rhythm section.  

    The problem with the album is the sequencing: Certain songs like “Color Me Impressed, Within Your Reach,” and “Willpower” should have set the tone, as this undermines the overall impression at first listen with the running order. While the band has a way to go, their spirit feels refreshing as this decade is uncertain with where trends will go. My problem with the current punk aesthetic is that Punk isn’t really designed to last in its purist form, already, by the end of the 70s, The Clash were accused of ‘Selling out’, and the Sex Pistol’s imploded, this band is more accurately comparable to The Ramones than anyone else. If the band can follow their musical muses, they could really be something impressive. I await the next release. 

Retro Reviews: R.E.M. Murmur / Chronic Town

 

I decided to launch a new series to imagine myself as a critic at the end of the 70s and start of the 80s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums.

Murmur (1983)

***3/4

Producers: Don Dixon, Mitch Easter

Musicians: Michael Stipe, Peter Buck, Mike Mills, Bill Berry, Don Dixon, Mitch Easter

Songs: Radio Free Europe, Pilgrimage, Laughing, Talk About The Passion, Moral Kiosk, Perfect Circle, Catapult, Sitting Still, 9-9, Shaking Through, We Walk, West Of The Fields

Review By Matthew Anthony Allair

    As this decade is unfolding, it is difficult to know where the music scene is headed, or where we might be in ten years. A few trends seem to be codifying, for example, the Metal scene seems to be trending into a formula, the progressive elements with metal from the seventies seems to be waning. The impact of punk is still being felt, but we seem to be in a post punk phase, the evolution of what is not considered new wave seems to be morphing into it’s own formula, and the exciting trends pf synth music seems to also codify into a set form. Right now, the UK band, The Cure seems to be offering the most exciting type pf music that feels fresh. Yet, the US, a new band from Georgia, might be the band that offers more new ideas and alternatives – if they can find their audience. The last years E.P. Chronic Town, revealed R.E.M. to be full of promise, their single from the year before that, “Radio Free Europe” was another delight. Their debut album, Murmur offers up the beginning of fulfillment of such promise. There’s a new rerecording of “Radio Free Europe” and the forth song, “Talk About The Passion” feels like the other perennial single.

    I can’t say that the re-recording of “Radio Free Europe” is any better, it’s still a great song, and there seems to be some new piano colorings with this new take, but for the uninitiated, the song is a good tone setter. “Pilgrimage” opens with a eerie vocal before the core of the band sets in, the verse section is a little unsettling before the pop lift of the chorus shift the tone. The McGuin influence with Buck is pretty self-evident a few fracks in. “Laughing” has an interesting bass and drum opening before Buck sets the tone. The afford mentioned “Talk About The Passion” has an almost transcendent quality to it. “Moral Kiosk” feels like it’s following the same tone as “Europe”.  The first half closer “Perfect Circle” is a lovely piano number where the keyboard gives it a haunting quality.

    “Catapult” is an interesting tone opener for the second half with a lifting chorus. “Sitting Still” is catchy but not very consequential and sounds like something they would have played in the clubs. “9-9” has some interesting musical passages but doesn’t distinguish itself. Things come back to life with “Shaking Through”, and there’s a certain whimsy with “We Walk”, the album closer with “West Of The Fields” is amid tempo, moody number with some good organ textures. I’d have to say that the sum of parts with the first half of the album is stronger, it’s not prefect, but this does reveal more of what they are capable of, and the next R.E.M. follow up looks promising.  This band may offer something different for those who hunger for it – if they can find an audience. That remains to be seen.

    I am a little leery over the deification of this band by some music peers, it reminds me of how Dylan was propped up as a messianic figure in the early 60s, he was just a song writer, as much as he was a great one. I'd advise against any sycophantic adulation of R.E.M. Let them find themselves, they may be around for a while.  

Chronic Town (1982)

***1/2

Producers: Mitch Easter, R.E.M.

Musicians: Michael Stipe, Peter Buck, Mike Mills, Bill Berry

Songs: Wolves – Lower, Gardening At Night, Carnival Of Sorts (Boxcars), 1,000,000, Stumble

Reviewed By Matthew Anthony Allair

    After last year's refreshing, technically post punk single debut “Radio Free Europe”, this new band based from Georgia, has put out their first E.P. and it’s of an exceptional quality. Normally I don’t write reviews on E.P.s, but this was so well executed, and such a bell weather with how this decade might shape up to be. Rumor has it that their demo caught the attention of the heads at IRS records. A sort of ominous carnival organ opens “Carnival of Sorts (Boxcars)” and some odd drumming segways into the main body of the song, it has a similar college club vibe as “Europe”, the mix of Stipes vocals are a little buried by a fraction, but it builds into something unsettling. “Wolves / Lower” has the spry vigor of Byrds guitar work, but there’s an uneasy tension with the number even without following the lyrics. “Gardening At Night” is easily the most accessible track, and likely the single, there’s a nice layering of guitars and Mills bass work jives. The opening of “Stumble” has a nearly new wave feel before it shifts into the body of the song. The middle section, with it’s talking and ambient noises makes one feel like you are listening to a British band. The up tempo track “1,000,000” rounds out this set, but it’s merely pleasant and the least interesting. Five tracks in and I am left curious to see what their debut album will have to offer.

Retro Reviews: The Velvet Underground: White Light / White Heat

     I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums.

The Velvet Underground: White Light / White Heat (1968)

****

Producer: Tom Wilson

Musicians: Lou Reed, John Cale, Sterling Morrison, Maureen Tucker

Songs: White Light / White Heat, The Gift, Lady Godiva’s Operation, Here She Comes Now, I Heard Her Call My Name, Sister Ray

Reviewed by Matthew Anthony Allair

    After the departure of Andy Warhol as a creative presence, and the departure of Nico, The Velvet Underground stand at an interesting cross-roads, can they manage a follow up to their debut from last year? What other interesting ideas do they have to offer. For that small percentage of people who listened in 67, their debut album was a shock to the system, it didn’t have the sensibility of California and it didn’t have any aesthetic like the British rock scene, it was unique. It is ironic that Verve Records, a label known for jazz innovation, would risk supporting bands like the Velvet’s or Zappa’s Mothers of Invention that stand in stark contract to their past, and yet both acts are truly innovative.

    For the bulk of the opening track and name sake, “White Light / White Heat” it manages to be accessible until it trails off at the very end, and should be the bell weather that this is going to be different, if not aa little difficult. The lyrics to “The Gift” is delivered as a spoken tone people behind a heavy two chord riff that evolves, the prose sounds like it’s taken from some semi experimental novel. “Here She Comes Now” is probably the second most accessible track alongside the title track, and it’s probably too short.

    The second half opens with the frantic “I Heard Her Call My Name”, parts of it sound like some R&B rave up. Yet Sterling’s feedback laced lead guitar jumps into some strange atonal and modal jumps. The final track “Sister Ray” opens with a heavy groove, and due to it’s sprawling ambition moves into interesting directions, Cale’s viola is about as distorted as the guitars, he also jumps to a Vox Organ to add coloring. Sterling’s guitar wails and trades with Cales Organ, the instrument’s distortion blurs into another. Before you are even half way through the organ sounds even more out there than anything Manzerek has attempted with the Doors, and that isn’t meant to diminish The Doors, just that the Velvet’s are reaching something that the Doors has been striving for. The lyrics are indeed gritty and crass and they don’t reflect person’s who are to be idealized. Once you are past the half way point “Sister Ray” sounds unrelenting. The noise of the organ and Sterling’s lead is chaotic. Something should be said about Maureen Tucker’s drumming, which while never elaborate, is steady and she serves the goals of the other players.

    This album isn’t as shocking for me as it might be for others, if you have followed the evolution of the free jazz movement from Ornette Coleman to John Coltrane. Or even the work of artist Gutav Metzger, there’s merit in the idea of noise as its own form of expression. The album seems to be attempting to break down the barriers of what is possible with rock music, and Lous Reed is such an astute lyric writer and observer of human nature – even when that nature is on the darker side. I could see the Velvet’s being a significant band for those who are receptive to it, and I could see others following their lead moving forward. This won’t be for everyone, but worth a few listens, and for the patient, something that could be captivating. Recommended.

Retro Reviews: Iggy Pop and the Stooges: Raw Power

 

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

Iggy Pop and the Stooges: Raw Power (1973)

****

Producers: Iggy Pop, David Bowie

Musicians: Iggy Pop, James Wiliamson, Ron Asheton, Scott Asheton

Songs: Search and Destroy, Gimmie Danger, Your Pretty Face Is Going To Hell, Penetration, Raw Power, I Need Someone, Shake Appeal, Death Trip

Reviewed by Matthew Anthony Allair

    This album is about as liberating as one could expect, it is brash and fun within the darkness, New guitarist James Williamson who replaced Ron Asheton who takes over on bass, he brings a freshness and a different groove that their prior, James offers some incredible and firey lead guitar work throughout. The album opener, “Search and Destroy” is the mission statement, even if some could argue the lyrics seem nonsensical, this is glorious. The second track, “Gimmie Danger” is as close to a ballad as one can expect with some acoustic guitar and, Iggy playing a moody piano. “Your Pretty Face is Going to Hell” is another savage number and just demonstrates that the Stooges are one of those rare street bands, they always went against the grain of Hippie idealism. “Penetration” has a clever guitar hook, they aren’t just playing hard down strokes, and Iggy plays a celesta which manages to give it an additional menace.

    Side two’s “Raw Power” has some more moody piano by Iggy, one issue has to do with the mix where the drummer and bassist tend to get drowned out in the mix, and this is self-evident with certain numbers.  “I Need Somebody” is one of the more interesting cuts on the album, the other bluesy ballad with some menacing chords and a good vocal from Iggy. While new, “Shake Appeal” manages to have a retro fifties spirit in it’s vibe. “Death Trip” has a great groove for an album closer but probably runs a little long, which is my only complaint.

    David Bowie is listed as co producer, but it doesn’t feel like he had much interference here, whereas with ‘Transformer’ Bowie and Mick Ronson were very present, it sounds like Iggy and the band were given free reign here. I don’t know if this album could be considered ‘glam’ as it is heavier than what you’d expect, and the band has less restraint than would see with later period Velvet Underground. There are enough musical innovations within the writing and playing that this album feels a few years ahead of its time, but perhaps it is of its time and we just haven’t caught up yet. Recommended.