The Random Ten #2

Hello folks, time for another Random Ten with Matt Steele, where I go through my entire iTunes library, hit "shuffle," listen to the first 10 songs that pop up, and write about them as I listen.

Iron Maiden "2 Minutes to Midnight" - Powerslave 1984

From their second album that featured their "classic" line-up (Harris, Murray, Smith, Dickinson, McBrain), "2 Minutes to Midnight" was one of the first "hits" for Iron Maiden, actually gaining a good amount of play on MTV upon its release in 1984. The video was about some weird arab-terrorist conspiracy from what I could gather, and it featured footage of the band playing the song on stage, I believe. Maiden were never known for their videos, but this one wasn't all that cheesy when compared to stinkers like "Can I Play with Madness?" and "Holy Smoke." Anyways, back to the song: this song isn't particularly heavy, but it's one of Maiden's catchiest riffs and choruses, and it remains a live favorite to this day. The mid-paced bridge and solo sections of the song are highlights, and the simplicity of the guitar riffs gives Steve Harris a lot of room for great, fancy basswork. The production is clean-yet-heavy, and they didn't have an album sound this good until 2000's Brave New World; that says something about the quality of albums released after Powerslave. Some say it's their last great album, but I disagree. Either way, "2 Minutes..." is a classic.

Judas Priest "Rock Hard, Ride Free" - Defenders of the Faith 1984

The verses and chorus of this song (with different lyrics) were demoed for a track on Hell Bent for Leather, but Priest must have been running out of ideas in '85, because they took those ideas and made them into another attempt at a singalong rock anthem, "Rock Hard, Ride Free." I must admit, I love this song's intro, and the dual guitar harmony runs throughout are definitely rocking and uplifting. While this song hasn't been played live too much until recently by Priest, I'd say it's one of their better "anthems," and blows away turds like "Heavy Metal" and "United." Halford's vocals are harsh and high-pitched, but in a good way, and the riffs are solid throughout. Back in '84, Priest were getting a little stale, as the faster, hungrier Iron Maiden were gaining popularity around this point in time, yet Priest were still mainstream icons in the American metal scene, whereas Maiden pretty much took over the world.

Agoraphobic Nosebleed "Strong Stench of Balance" - Pcp Tornado 1998

Industrial-influenced noise/grindcore that lasted about 45 seconds. By the time I looked up the title and the year the album came out the next song had already started. If you're into this sort of thing, ANb are the kings of it; if you're not, don't bother.

Kiss "Strutter" - Kiss 1974

Due to their image-and-cash-obssessed legacy, people tend to forget that Kiss were, at one time, an amazing hard rock band. "Strutter" is a great, catchy, hard rock song. Their songwriting would undoubtedly go downhill following their late-70s peak in popularity, but even on their debut they were polished and powerful in the studio, something they didn't necessarily have to be -- let's face it; they could have relied on their image and still been huge, but back before the money dominated their minds, Kiss were a hungry, solid rock band, and "Strutter" rules. I won't even argue if you disagree that "Strutter" is amazing.

White Zombie "I Am Legend" - La Sexorcisto 1992

This song is as close to doom metal as White Zombie ever got. I hear a lot of Sabbath in this song, particularly Sabbath Bloody Sabbath-era -- the beautiful clean guitar intro, the heavy, plodding riffs, exploding cymbal crashes. It's also refreshing to hear Rob Zombie's voice not so filtered and processed as it is nowadays, back when he actually sang from the gut and used his natural ability (not that he had much to begin with, but he sounds great on this). La Sexorcisto features a lot of samples and shenanigans that White and Rob Zombie have been long known for, but "I Am Legend" is stripped-down and raw, and probably the best song on the album, aside from all-time classic "Thunderkiss '65." J. Yeunger was a criminally underrated guitar hero of the 90s, and I wonder what the hell he's been up to since Rob Zombie went solo. This song proves that White Zombie the band was far greater than Rob Zombie the solo artist.

Pantera "Rise" - Vulgar Display of Power 1992

Starting as an all-out thrash assault before settling into the famous mid-paced Pantera "power groove," "Rise" is one of Pantera's heaviest and greatest contributions to the metal lexicon. I've seen Pantera live two times and never have I heard this song in concert, which is a shame, as I doubt I'll ever get that chance, due to the untimely on-stage murder of guitarist Dimebag Darrell Abbott in December of 2004 (side note: I cannot believe it's already been 4 years since Darrell's murder. I remember reading the news as it unfolded on sites like Blabbermouth.net back in '04 as it was happening, and it was simply unbelievable, and still is to this day). Darrell's inventive riffing and inversions of minor chords used throughout the verse riff were a Pantera staple, and Phil Anselmo's clear-yet-tough-as-nails vocal delivery shows us how much he could actually sing and scream with power before becoming a washed-up junkie. A metal classic, "Rise" is Pantera at their best.

Anthrax "Lone Justice" - Spreading the Disease 1985

Spreading the Disease started to cement Anthrax as one of the "Big Four" of Thrash Metal (alongside Metallica, Megadeth and Slayer), but the band had one element that the other 3 didn't really have at the time -- a singer who could truly belt it out, in Joey Belladonna. Some thought Anthrax were a little too "happy" or lighthearted as a thrash band, but musically they were as heavy and intense as it got in the thrash game. They made their share of missteps in their career, but Spreading the Disease and Among the Living were back-to-back thrash classics. This was the first album with their "classic" 80s line-up, and they sound as fine-tuned as any long-running band of veterans, held together nicely, no doubt, by Scott Ian's frantic riffing and Charlie Benante's speedy-yet-incredibly-tight double-bass drumming. One of the more mid-paced songs on the album, "Lone Justice" is like a mix of Metallica and Iron Maiden, and you can't really beat that. Not the best song on Spreading, but a great song.

Cream "Spoonful" - The Very Best of Cream 1995

A slow, bluesy number from Cream, Eric Clapton's guitar work on this song is phenomenal (come to think of it, what Cream song can't you say that about?). Jack Bruce sounds as soulful as ever on this song, both on the vocals and the bass. I love the harmonica vibrato and note bending, it compliments Clapton's similar runs on the guitar nicely. It's really amazing that this band always sounded so powerful with just 3 members. Ginger Baker's ride cymbal work on this song is also fantastic, as he lays back a swinging beat, but also experiments on the toms like he was famous for. Clapton's solo is raw and powerful, and his tone is out of this world. He had to have been playing a Gibson on this recording, because his Fender sound was never as loud or distorted as he is on this gem. Great band, great song.

Shadows Fall "Revel in My Loss" - Somber Eyes to the Sky 1998

The opening track from their debut album, "Revel in My Loss" showed that you didn't have to be from Sweden to make melodic, powerful death metal. Now, Shadows Fall sound pretty much nothing like they did on this recording, but at the time their mixture of melodic, European-tinged death metal and the ferocity and intensity of Massachusetts hardcore was groundbreaking. One of their darkest, heaviest songs ever, "Revel" was re-recorded on their first "real" album (I HATE when people say that), Of One Blood, but I prefer the version from the debut, due to then-vocalist Phil Labonte's (of All That Remains currently) incredibly death metal growling. It was clear, yet had that Phil Anselmo-ish clarity and emotion that Brian Fair never really achieved in Shadows Fall (but certainly did in his previous outfit, Overcast. Also, I'm not knocking Fair, I think the albums they've done with him since Of One Blood have been modern-thrash classics, it's just not the same sound or band, really, as the older stuff). I would recommend this whole album, but it's blatantly obvious that it was recorded piecemeal, as this song has the loudest, clearest production on the record, and some of the other songs' levels are way out of whack. They recently re-issued Of One Blood with remastered production; I wish they would re-release Somber Eyes..., as this would sound monstrous with clean, boosted production. Either way, this song rules, and it's no wonder that Shadows Fall are one of the biggest "mainstream" metal bands around today. The hardcore-ish breakdown at the end still gets my blood boiling, and used to send mosh pits into an absolute frenzy.

Cryptopsy "Crown of Horns" - None So Vile 1996

Cryptopsy are undoubtedly a death metal band through-and-through (well, they were until this year's debacle of a metalcore album that I won't even dignify by looking up the title), though it's easy to see why many labeled them grindcore in the early days. The sheer speed of songs like "Crown of Horns" and the unintelligible musings of vocalist Lord Worm definitely had grindcore-like tendencies, but the riffing and song structures are true death metal any way you slice it. This album is still one of the heaviest, most intense recordings I've ever heard, and this, the opening track (featuring a great Exorcist III sample -- "I do that rather well, don't you think?") really sets the tone for what amounts to a death metal classic. Flo Mournier has long been one of metal's most revered drummers, and "Crown of Horns" definitely shows why. I was always a fan of second vocalist Mike DiSalvo over Lord Worm, but his intense barking/yelping fits in better with the raw, chaotic style of None So Vile, I have to say. If you're not a death metal fan, you will hate this song and this band. If you are not a metal fan, you won't even call this band "music" because of the sheer speed and ferocity, but believe me, it takes a LOT of skill to sound so "un-musical," and Cryptopsy were masters at that. It's too bad they now try to be very "musical," and instead, are very "sucky."

Another metal-heavy entry in the Random Ten, but I assure you, that's not all I listen to. Not the most random selection this week, but it was most certainly 100% authentic and random. Of course, now that I'm done with listening to the Random Ten, I've heard a Wu Tang song followed by Death Cab for Cutie. Isn't that always the way?

Matt Steele

The Dailies: 12/21/08

Welcome to The Dailies! I watch a lot of movies, and lord knows I’m not going to do individual write-ups on each one; that would be downright nutty. Instead, this column will provide brief thoughts on the movies I’ve seen in the recent past. I guess I’ll write one every couple of weeks, once I’ve watched another four or five movies. I’m happy to take suggestions on movies to watch, so feel free to hit up the comment section with any ideas.

Role Models (2008)
Dir: David Wain
Principles: Paul Rudd, Seann William Scott, Christopher Mintz-Plasse, Bobb’e J. Thompson

Usually Seann William Scott sets off bad movie alarm bells in my head, thanks to his brilliant work in second rate efforts like Bulletproof Monk and the American Pie sequels. But here, he and Paul Rudd strike up a rather formidable comedy duo. Judd Apatow cronies appear left and right, and though Judd himself didn’t direct the film, his thumbprints are all over it. Snappy dialogue, characters learning life lessons, and an “everything is A-OK” ending permeate the film, but it is genuinely funny throughout, with great gags and hilarious one-liners.

Scott and Rudd are forced to work with children for their community service, and the kids do steal the picture. Superbad’s “McLovin” and Bobb’e J. Thompson provide entertaining foils for each other and their “bigs”. Though the novelty of an eight year old swearing at adults does lose its luster, the film is too smart to depend on that. We get some depth in these characters, and though the film is rather formulaic, it’s been so enjoyable that we don’t mind the sappy ending.

B+

Milk (2008)
Dir: Gus Van Sant
Principles: Sean Penn, Josh Brolin, Emile Hirsch, James Franco

Sean Penn is absolutely terrific in this biopic of the late San Francisco politician Harvey Milk, the first openly gay man elected to public office in the United States. Penn is being considered for a Best Actor Oscar nod, and it’s easy to see why. He perfectly conveys the manic, hopeful energy of the real Harvey Milk. There’s a constant gleam in Penn’s eye, even when things are apparently at their bleakest. Milk knew that the gay civil rights movement was bigger than he was and that it would carry on long after he was gone. Penn does a fantastic job of bringing that to the forefront.

The story is interesting mostly because it’s actually true. It gets a little repetitive at times, with the film following a “struggle-triumph-struggle-triumph” pattern until Milk is ultimately assassinated by a rival politician. I would have liked to see a little more evolution in the Milk character. At about the twenty-minute mark he largely becomes the gay rights crusader that he remains as until the end of the film. Penn is the one to watch here, but the other principles (Hirsch, Brolin, Franco) and the story do enough to make this truly enjoyable.

B+

Zodiac (2007)
Dir: David Fincher
Principles: Jake Gyllenhaal, Mark Ruffalo, Robert Downey Jr., Anthony Edwards

Another true story, also set in San Francisco, following the story of the infamous serial killer and the various attempts to discover his identity. There are some strong actors in Zodiac, but the shame is that Robert Downey Jr., the best actor in this, isn’t given enough to do. Downey plays Paul Avery and Gyllenhaal plays Robert Graysmith, San Francisco Chronicle reporters who attempt to solve the Zodiac mystery.

The film does a nice job of chronicling the Zodiac killings and the ensuing investigations into them. Some of the best moments in the film are the murders themselves, which are simulated dramatically and faithfully. Mark Ruffalo plays a nice part as the lead detective on the case.

Gyllenhaal takes it on himself to attempt and solve the killings, long after everyone else gives up, but we never really see his motivation for it. I understand it may wear on his mind that there is still a killer on the loose, but his character loses his sanity and puts his family in harm’s way in an attempt to solve the mystery. He’s just not fleshed out enough and believable enough to do this. The movie is a little long, too, clocking in at over 2 ½ hours. Not bad, not great.

C

The Royal Tenenbaums (2001)
Dir: Wes Anderson
Principles: Gene Hackman, Angelica Huston, Ben Stiller, Luke Wilson

Despite being a big Wes Anderson fan, I had never seen this before. The Royal Tenenbaums is off-kilter and oddly humorous like all of Anderson’s films, but this one might be the richest he has made.

The Tenenbaum family is brilliant, with each troubled child, parent and family friend wonderfully constructed. Gene Hackman plays family patriarch Royal Tenenbaum, and the flashbacks to his early days of parenting are hilarious. Luke Wilson, Gwyneth Paltrow, and Ben Stiller, as the Tenenbaum children, all perform their roles with gusto. Each has had their problems stemming from Hackman’s poor parenting and abandonment, and they all do well to convey that through their characters. Angelica Huston plays the loving but often clueless mother who is saddened that she couldn’t successfully raise the kids by herself.

Anderson has a flair for creating cheerfully strange moods in his movies, and Tenenbaums finds him in his prime in this department. The music, sets, and scenery all contribute to it, but the characters are the film’s bread and butter.

There is some confusion about Hackman’s motivation when he decides to get involved in his family’s lives again. This is never adequately explained, and there are points when you may yearn for a major plot point to develop. I think what I enjoyed, however, is the voyeuristic nature of the film. We’re not only watching a dysfunctional family, we’re also watching the individuals in it put their lives together. It’s a interesting experience.

B

Boffo! Tinseltown’s Bombs and Blockbusters (2006)
Dir: Bill Couturie
Principles: Various Hollywood actors/lowlifes

If you want to see a wankfest of epic proportions, you have to see this. A “documentary” put together by HBO, this promises to be a revealing look at the ins and outs of making a movie. I was drawn to watch it because I’ve always been fascinated by Hollywood flops and I thought this might delve into that territory.

It didn’t. What I got was Hollywood executives patting each other on the back for the great “risks” they took in putting together some of the biggest hits in history.

Example: Apollo 13 producer Brian Grazer goes on and on about that film. Apparently, they only expected it to take in $30 million, and they had “no idea” it would succeed. Sounds reasonable: after all, you only took the most bankable actor of the 1990s (Tom Hanks), shot him into space in a feel good family movie, surrounded him with dependable actors (Kevin Bacon, Gary Sinice, Ed Harris), and spent tens of millions of dollars to put it together. That’s a bomb if I’ve ever heard of one. Later, we see one of the producers of Titanic echoing these sentiments with a straight face.

I expected insightful commentary on movie-making. This was anything but. An absolute waste of time.

F

John Lacey

State Writes: TEXAS

I know what you're thinking, here comes another arbitrary and subjective "top ten" list. And, well, you're exactly right. But this one's got a theme. Over the next few months, I'll be posting some blog entries, entitled State Writes, focusing on the best of the best in American music (all according to the Hoss, of course).

I encourage all to hit up the comment section below.

In the first installment of State Writes, we're journeying to the Lone Star State for some whiskey, jumbo shrimp, and breakfast burritos. Wait a second...mind got off topic there. Anyway, let's take a look at the best of what Texas has given the world of music, from pedal steel to post-punk.


10. ZZ Top
Hometown: Houston, TX

Best known for their choppers, golf hats, beards, and the riff-riffic tune "La Grange", ZZ Top has been one of America's most dependable blues-rock outfits, with the original trio of Gibbons, Hill, and Beard staying together from their 1970 incarnation through present. Guitarist Billy Gibbons has established himself as one of the greatest blues guitarist of the genre, leaving an obvious mark on such bands as Van Halen and the Meat Puppets. The band is currently in the studio with Rick Rubin so keep an ear out for more good stuff to come.
Check out: "I Thank You"

9. Ben Kweller
Hometown: Greenville, TX

Kweller's career got off to a fast star at a young age, as he fronted Greenville, TX's most popular pre-pube rockers, Radish, who would gain popularity in Europe and Australia before the band could legally drive automobiles. Kweller's solo career showed even more maturity and promise with 2002's mall-pop release Sha Sha, where Kweller proved he could be an effective young singer-songwriter. Kweller's latest releases, On My Way and the self-titled Ben Kweller show an artist growing musically, but we're still not sure about that chest hair. Looking forward to hearing more from Kweller in the future, with rumblings of an alt-country focused release in 2009 (Yes, please).
Check out: "In Other Words"

8. Stevie Ray Vaughn
Hometown: Dallas, TX

What is a list about Texas music without the mention of Steve Ray Vaughn? After moving from his hometown of Dallas to the vibrant Austin music scene to form Double Trouble in the early '80s, SRV and Co. quickly signed to Epic Records. With fans such as David Bowie, Jackson Browne, Keith Richards, and Mick Jagger, 1983's Texas Flood marked a new page in the growing tradition of Texas blues. A few mediocre albums later, Vaughn was struggling to kick his whiskey and cocaine habits. Ultimately beating the odds and his addictions, Vaughn tragically died in a helicopter crash in 1990.

Check out: “Pride and Joy”

7. Butthole Surfers
Hometown: San Antonio, TX

Before Wayne Coyne was popping balloons while Juliette Lewis was making that stupid smirk in the audience, San Antonio avant-gards the Butthole Surfers were burning cymbals, disturbing film backgrounds, with a naked Kathleen Lynch on stage . Known for more of their stage show than their brand of psychedelic noise-rock, Butthole Surfers were some of the 1980's greatest underground pioneers. You can always depend on 1996's Electriclarryland, but check out 1988's Hairway to Steven if you're itching for something new.
Check out: "Pepper"

6. Old 97’s
Hometown: Dallas, TX

If I had a dime every time I heard Rhet Miller’s specious voice on some NPR interview or for every time I saw his boyish and sorrowful face on the shelves of the Starbucks music section, I’d be listening to Wreck Your Life in my Gold Coast flat. But, I’d still be listening to them. The above mentioned, along with 2001’s Satellite Rides, are about as fun as it gets in the land of flannel and corduroy. Backed by a great rhythm section, Miller is a brilliant wordsmith and the band’s ¾ love ballads are as good as it gets. Best heard through Fender tubes while gulping down LoneStar beers. Man, I love this band!

Check out: “Buick City Complex”

5. Okkervil River
Hometown: Austin, TX

No, despite his looks Will Sheff does not have down syndrome. However, his songwriting contains brilliant savant like abilities. He is as good as it gets when it comes to writing songs, and not too bad live either. These Austin via New Hampshire lit-rockers Okkervil River are the cream of the crop when it comes to relevant songwriting. Frontman Will Sheff's blends a mix of heart-on-your sleeve love-lusters while injecting a cerebral Daniel Johnston-like quality to OR's music. With a backing band which has blown away the likes of Lou Reed, and five stellar albums to date, this band isn't going anywhere. And neither is Will's annoying self-loathing stage banter.
Check out: "So Come Back I Am Waiting"

4. Roy Orbison
Hometown: Vernon, TX

Lacking the stage persona and the good looks of many of his era, Orbison made as much of a mark on the country-rock and the rockabilly genre than any before him. With his baritone voice and black shades, Orbison crafted a unique lonely-lover sound that is often replicated. His dark and haunting melodies would go on to heavily influence Chris Isaac, as well as those from the Beach Boys to the Boss to Bono. With rising popularity overseas and a stint in the supergroup Traveling Wilbury's, Orbison left us after a heart attack in 1988.
Check out: "You Got It"

3. Spoon
Hometown: Austin, TX

This band has been at it fifteen years and they only seem to get better with age. Frontman Britt Daniel dishes out jagged and addictive guitar lines while drummer Jim Eno has a nice balance of stop-start and dance rhythms to give Spoon a sound that makes them more than just a Pixies derivative. With the help of an Acura commercial and one-too-many magazine covers with Britt Daniel wearing those stupid glasses, we are recently facing a bit of a Spoon-over exposure. Still, nothing changes the fact that from 1996's Telephono EP to last year's Ga Ga Ga Ga Ga, this band hasn't lost a step, and maybe even picked up some hotter chicks on the way. Kudos to you, Britt!
Check out: "Lines In The Suit"

2. Blind Lemon Jefferson
Hometown: Coutchman, TX

I can't say I spent my formative years sitting around angstfully cranking the sounds of Blind Lemon Jefferson, but music owes a great debt to the father of Texas blues. Best known for his high pitched vocal arrangements, it is his precise and original guitar work which would go on to influence such blues-rockers as B.B. King and the White Stripes. The son of sharecroppers, Jefferson spent much of his 1920's youth writing and playing in the eclectic Deep Ellum section of Dallas with legends such as Leadbelly and T-Bone Walker. And you thought Seattle circa '91 was gritty?
Check out: "See That My Grave Is Kept Clean"

1. Buddy Holly
Hometown: Lubbock, TX

Along with Chuck Berry, Holly is one of the pioneers of rock 'n roll. With his unique hiccup-style vocal delivery and timeless boy-loves-girl harmonies, it is not often that pop music nails it the way Holly does on "Peggy Sue" or "Everyday". Inspiring generations of misfit-dorks and dead-beat professors to feel confident about wearing glasses, Holly certainly made his mark on the world before he left us at a young age. John, Paul, George, Ringo, along with Keith & Mic would agree with me on this one, it does not get any better than Buddy Holly. He is Texas' finest son.
Check out: "Not Fade Away"

HM: Lyle Lovett (Klein), Explosions In The Sky (Austin), Janis Joplin (Port Arthur), The Secret Machines (Dallas), Don Henley (Linden), Toadies (Fort Worth), C-Note (Houston), ...And You Will Know Us By The Trail of Dead (Austin)

- HOSS

Metallica - Death Magnetic

Metallica
Death Magnetic
2008 Warner Bros.

Full disclosure: I watched Some Kind of Monster and didn't come away thinking the band was full of douchebags; I came away thinking that my idol, the reason I started playing guitar, James Hetfield, was a douchebag, but not the rest of the band. I still listen to 4 of the songs on St. Anger on a fairly regular basis. Why am I saying this? Just so you know that you're not exactly reading the most objective, unbiased review of a Metallica album, as they were the band who got me into metal and playing guitar and pretty much influenced me more as a person than any other musical act going.

Now that that's out of the way, let's talk about their new album, Death Magnetic. The reactions to this album have been pretty humorous, I must say. I frequent heavy metal blogs and sites on a pretty regular basis and, surprisingly, the reactions to this album were split down the middle. Why is that surprising? I honestly thought that the metal community that turned its back on Metallica after Load (or Metallica, depending on who you ask) would never admit to liking the album, even if it were a masterpiece. While I did see a lot of posters on sites with that same outlook, a large amount of underground metalheads actually seemed shocked and were claiming "Metallica's back! Best thing since AJFA!" (Again, if you don't know what AJFA stands for, stop reading.) Even in the mainstream media the album was well-received; commercially, too, as the album sold over half a million copies in its first week and debuted at No. 1 on the Billboard charts, breaking some record about consecutive No. 1 album debuts that I'm too lazy to look up the details of.

So, how would a die-hard Metallica fan like me approach this album? He must love it, you say. Honestly, going into the album I was a little apprehensive. First of all, the song titles that came out still reeked of post-rehab Hetfield trying to be profound. "All Nightmare Long" made no sense to me, and was an awful pun, to boot. The first song they debuted live, "Cyanide," sounded like Metallica playing And Justice for Load. Was it better than anything on St. Anger? Pretty much, but it wasn't particularly fast or heavy, and the riffs were a little boring and funky for my liking. Then I heard first single "The Day That Never Comes," and at first listen it sounded like the band trying to write "Fade to Black" or "Welcome Home (Sanitarium)" part 2. That wasn't necessarily a bad thing, however, as the last 4 minutes of the song are full of great riffs and solos, something I honestly thought Metallica had lost the ability to write. I was starting to get hopeful, excited even, but I still was apprehensive.

Then I sat down and popped the CD into the player and was slowly blown away. I'll try to be brief with breakdowns of a few favorites:

"That Was Just Your Life" - This is how you open an album. The slow build was reminiscent of past openers "Fight Fire With Fire," "Battery" and "Blackened," and the song just picked up from there. Speed, aggression, guitar harmonies, powerful vocals by Hetfield, great Hammett solo, tight drumming by Ulrich (believe it or not), and a monster of a chorus to bring it all home, this song rules.

"Broken, Beat & Scarred" - This song didn't grab me tremendously at first, but the almost-Eastern main riff brings to mind a heavier "Wherever I May Roam," and the call-and-response vocals throughout are really strong and powerful. A slower, more methodical pace (think "Sad But True") lends itself to more vocal dynamics and melody, and more great riffs throughout this one.

"All Nightmare Long" - The title may have seemed dumb out of context, but Jesus Christ, this is not only my favorite song from this album, but maybe my favorite Metallica song since "Blackened" in 1988. This song is 100% Metallica, but also 100% new. It's heavy, fast, creative, and most of all, powerful. Best song on the album, best song they've done in 20 years.

"The Unforgiven III" - If you're rolling your eyes at the song title, I don't blame you. Let me assure you, however, this song is heavier than either of the previous "Unforgiven" songs, and also has that Western vibe, but in a dirtier, almost Johnny Cash-esque way on the clean parts. Hetfield said he took a lot of inspiration for this album from Rick Rubin's (he produced it) stories about the man in black, and that's pretty evident on this song. Hammett lays down maybe his best solo on the album, one where he just goes for the jugular out of a great Hetfield scream. I was pleasantly surprised by this one, and it's actually probably my favorite Unforgiven of the 3, and definitely the rawest.

Bottom Line: Metallica's best album in 20 years. If you're a Metallica fan and you don't like this album, I don't think I'll ever be able to understand why. If you still are apprehensive, listen to "All Nightmare Long" and tell me that Metallica doesn't have it in them any more.


A-


Matt Steele

The Simpsons Project #1

Simpsons Project: Case #1 (Season 1, Episode 1)
Simpsons Roasting on an Open Fire
Original airdate: 12/17/89

Welcome to the Simpsons Project. My good friend Brendan Leonard had an idea a while back to watch each Simpsons episode in order and do a write-up and grade on each one. I always thought this was a great idea, and when he never really followed through on his idea, I decided to steal it for a recurring column on this blog. There are so many episodes at this point that even if I solely wrote Simpsons Project columns, it would take years, so obviously this is going to be slow going. But I’ll have the help of the other writers along the way and hopefully we’ll do justice to the show that is so near and dear to my heart.

The first episode of the Simpsons, “Simpsons Roasting on an Open Fire”, was a watershed moment in the history of television for various reasons. It kicked off one of the most celebrated and popular television shows of all time, spawned a pop culture revolution in the early 90s, added “D’oh”, “Eat my shorts” and “Don’t have a cow” into the American lexicon, and changed the face of comedy in immeasurable ways. It also changed my life, and the lives of many who were growing up in the late 80s and early 90s. This episode aired when I was in kindergarten; the series is still going strong today and I’m now three years out of college. The Simpsons has been around as long as I have.

I remember this episode airing originally when I was six. I watched it with my father and my sister. So infantile was I in pretty much every way, that I said, “I can’t wait to see that again next week”, being under the impression that a television series just re-aired the same episode over and over until people got tired of it (maybe some shows would be better off under this premise). But I was instantly hooked. I didn’t get all of the jokes, and I didn’t know why I was laughing at certain points, but I knew I liked it.

The plot of the first episode of the Simpsons is familiar even to many that don’t regularly watch the show. The first act introduces us to the family, as Homer and Marge arrive at Springfield Elementary School to watch the school Christmas pageant. Marge is the loving and attentive mother, Homer is the dopey but loving father, Lisa is the offbeat but brilliant child, and Bart is the hellion. These characters that are so well-defined at this point in the series were really that way from the get go. I hadn’t watched this episode in years and I was really struck by how the characters are already “themselves” right off the bat.

We soon meet Homer’s boss, C. Montgomery Burns, perhaps the most hilarious resident of Springfield, and certainly the most evil. His only lines of dialogue involve cutting the Christmas bonuses for Springfield Nuclear Power Plant employees and then wishing everyone a Merry Christmas. Meanwhile, Bart sneaks away at a trip to the mall and gets a tattoo, prompting Marge to use the Christmas savings to get it removed. The perfect storm of financial turmoil leaves the family broke.

Homer really comes into his own right away as a lovable lout. There is a scene where he falls off the roof while stringing up Christmas lights that sounds cliché but works well, and he has several lines of funny dialogue. What I like most about him in this episode and in many early episodes of the Simpsons is that although he is a dumbass, he’s a caring dumbass, and he wants to do right by his family. In more recent episodes he’s a complete lunatic with a new job, but here he agonizes over his situation. A scene where he is shopping at a dollar store (the “Circus of Values”) for his family may be the most tender scene we see him in throughout the series.

Homer takes a job as a mall Santa to try and put some money together to save Christmas. He is uncovered by Bart, and he sympathizes with his father’s plight. After Homer’s shift ends, he goes to collect his paycheck, only to be dismayed when he finds that it’s for $13.00. Barney Gumble (Homer’s oldest friend, though that isn’t mentioned here) convinces Homer (or rather, Bart) to take the check to the dog track and bet on Whirlwind, a lock at 10 to 1 odds.

Before the race, one of the dogs is scratched, and replaced by a dog named Santa’s Little Helper. Homer takes it as some sort of sign and bets his money on the dog. Of course, Homer’s instincts have never been too sharp, and the dog finishes last. Homer and Bart go into the parking lot, searching for winning tickets that may have been thrown away. They see Santa’s Little Helper being thrown out and abandoned, and they take him in as one of their own. Homer manages to save Christmas for the family and gain a new family member in the process.

The episode is quite old, having been aired in 1989, but there are a lot of great lines and good dialogue. The family is well outlined in this episode and throughout the first season, and they are fleshed out over the next few years. Secondary characters such as Mr. Burns, Barney and Moe are introduced. Even the Simpsons’ propensity for hilarious randomness gets its start, with Homer’s Santa Claus training instructor being a German professor for no reason whatsoever. It actually holds up quite well.

But of course, my grade will not be based on how funny the episode actually is. “Simpsons Roasting on an Open Fire” changed everything. It not only changed the conventions of the television sitcom, but it changed my ideas of humor. It and its subsequent episodes molded me; they made me smarter, funnier, and sharper. I can’t talk for more than five minutes without quoting the Simpsons. It kick started this wonderful and hilarious world and it made me a better person for it. I couldn’t imagine life without it.


A+


“Grandpa is still with us, feisty as ever. Maggie is walking by herself, Lisa got straight A’s. And Bart, well, we love Bart.” – Marge


John Lacey

The Random Ten #1

(Ed. Note: The following is written by fellow North Andoverian and metal savant Matt Steele. This is the first of what will hopefully be many columns by Matthew. This blogging crap is actually starting to come together!)


Welcome to my column, The Random Ten, where I hit shuffle on my entire iTunes music library (close to 50 GB of music), listen to the first 10 songs that come up, and write about them as they play. As you'll notice, a majority of my collection consists of heavy metal or hard rock, in general, but you will find the occasional early-90s rap song, as well as an assortment of more eclectic bands. I know this is nothing fancy or new -- The A.V. Club has celebrity guests do this with their iPods all the time -- but John wanted me to continue doing it for the sake of this here wonderful blog, so I am willing to oblige. As Hyman Roth said in The Godfather, Part II, "I want you to enjoy your cake, so, enjoy!"

And yes, I did write that introduction after I wrote the following. You'll see why I'm clarifying that now later on.

1. Iron Maiden - "Where Eagles Dare" Piece of Mind - 1983

The leadoff track from Maiden's seminal Piece of Mind album, "Where Eagles Dare" also served as the introduction to drum god Nicko McBrain, and what an introduction it is. The song's opening drum triplets get you prepared for a song that, quite simply, kicks you in the face. This was the heaviest song Iron Maiden had recorded to that point, and remains maybe the heaviest thing they've ever done (except maybe "Aces High"). The soaring guitars in the solo section aren't the typical Maiden guitar solo, but rather a tradeoff between airy, almost psychedelic guitar lines that eventually converge into that ever-familiar Maiden twin harmonizing attack. I haven't even mentioned how great Bruce Dickinson sounds on this song. This was arguably his vocal peak, as he never really nailed this song on any live recording I've ever heard, but this studio version is an absolute masterpiece of ballsy-yet-operatic metal singing. Absolutely recommended for anyone who even pretends to listen to heavy metal -- this is the real deal.

2. Cave In - "Innuendo and Out the Other" Live Airwaves EP - 2004

Cave In's Jupiter is one of my all-time favorite albums, and this song originates from that LP. The band dropped their previous sound of Slayer-influenced psychedelic metalcore and went straight-out space rock on Jupiter (think Radiohead/Foo Fighters/Rush/Pink Floyd mixed together). "Innuendo and Out the Other" here is from the Live Airwaves EP that they sold on their Antenna tour. This version of the song does not have the full Bonham-is-God drum sound that the album version had, but the song is adequately performed, although it sounds a little slow and lifeless on this version. I can see why they picked up the tempos on the Antenna album again, because some of this Jupiter material sounds sleep-inducing in its live state. Also, the "whoa-oh-oh-oh" vocals in the middle of the song were left out in this version, something I wasn't too happy about. The only part of the song that sounds better on this live version is the end where the drums and guitars pick up the volume, and Caleb Scolfield's distorted bass tone comes in to drive it home. Still a great song, just not the best version I've heard. A little too "space-y," not enough rock.

3. Mastodon - "Welcoming War" Lifesblood EP - 2000

Mastodon's earlier material is some of the most ferocious, innovative metal I've ever heard, and this song shows why. The drums were basically one long drum fill by Brann Dailor, and that's not a bad thing, because they enhance the heavy grooves provided by the band's front 3 that much further. Their vocals were much more unintelligible back in the Lifesblood-era, but the music only showed what potential this band really possessed. It's hard to listen to a song like "Colony of Birchmen" from 2006's Blood Mountain and think that this is the same band that recorded "Welcoming War," but the similarities in the guitar tone and style are still there. Highly recommended for fans of really crushing metal, with a drummer who sounds like he's beating the sticks over your head for 3 minutes.

4.Alice in Chains - "Man in the Box" Facelift - 1990

If you've never heard this song, then you're too young to be reading this blog, or you're simply ignorant. Either way, stop reading. For those who have heard this song, what the hell can I say about it that hasn't already been said? Probably AiC's most overplayed song, but for good reason, as this song catapaulted them into the spotlight of the early Seattle "grunge" scene. Not my favorite AiC song by any means, but I still love the guitar sound, and Layne's voice was undeniably more powerful in the old days when he didn't have to record 7 harmonies to hide how frail he had become. The songwriting might not be as great as it was on later releases (Dirt being maybe my favorite album of all-time), but this is still a great hard rock song no matter how you slice it. Again, if you haven't heard it, do yourself a favor and listen to Alice in Chains. And if you don't like them, I can't help you.

5. Spiral Architect - "Insect" A Sceptic's Universe - 1999

This band recorded one album in 1999, and although they never officially broke up, it would be easy to see why they might. This album is absolutely mind-boggling, and I don't know if they could ever have topped it (although I'd love to see them try). "Insect" is one of their heavier songs, although it's just as progressive and technical as everything else on A Sceptic's Universe. You would think a band named after a Black Sabbath song would be stoner rock or doom metal -- WRONG. This band mixes the technical prowess of bands like Dream Theater and Cynic and combines them with an almost power-metal like flair for the dramatic (but not nearly as cheesy), and every instrument's performance is a highlight. I could only dream of playing riffs like this. People would try to label them as prog-metal or jazz-metal, but you really just have to hear this band and be blown away by the sheer musicality. And don't think that it's all show-off music with no substance; this band writes SONGS, and what great songs they are. This album definitely went over my head the first 3 or 4 times I heard it, but I couldn't just put it away. The more you become familiar with the songs, the more that is revealed to the listener. Obviously not for everybody, but if you like to simply be blown away by brilliant musicianship, check this band out.

6. Black Sabbath - "Heaven and Hell" Heaven and Hell - 1980

If you've always thought of Ronnie James Dio as a sword-wielding, medeival times, dragonslaying joke, you wouldn't be alone; I always thought he was a miniature caricature of heavy metal itself... until I actually listened to him. Now, I'm not the biggest fan of Dio - The Band, but Dio the singer is simply incredible. His work before starting Dio -- singing with Elf, Rainbow and, of course, Black Sabbath -- is nearly flawless. This title track from Sabbath's first post-Ozzy album Heaven and Hell is one of Tony Iommi's best riffs, and maybe Dio's best vocal performance ever. Geezer Butler plays the bassline that Dio himself wrote when first jamming with Tony Iommi during Black Sabbath's hiatus, and it's easy to see why he convinced Tony to carry on with the Black Sabbath name. This song absolutely kicks ass in that slow, menacing, purely-Sabbathian way, and when it picks up the pace for the song's climax, you're left thinking, "Ozzy who?" I know most mainstream rock fans laugh at that sort of sentiment, but it seems nowadays with Heaven and Hell - The Band (long story, don't ask) touring the country and selling out shows at Radio City Music Hall, amongst other famed theaters, that maybe Dio-fronted Sabbath has just as much longevity as Ozzy-era Sabbath.

7. Audioslave - "Shape of Things to Come" Revelations - 2006

Talk about a band that started off with the potential for greatness but ended up disappointing in the end, we here have Audioslave, a.k.a. Rage Against the Machine fronted by Chris Cornell. I was a fan of both Rage and Soundgarden, and I like almost all of Audioslave's self-titled debut, and about half of their second album Out of Exile, but their third and final album, Revelations, was a major disappointment upon release. I've grown to appreciate "The Original Fire" as a tribute to 70's funk bands, but aside from that song and the title track, this album just reeked of mediocrity, and songs like "The Shape of Things to Come" showcase why. Boring, mid-paced rock made by musicians too comfortable to care any more. No surprise, as they broke up months later. The band would reunite with Rage Against the Machine and do occasional shows, while Cornell released a second, more rock-oriented solo album, before deciding to write songs for David Cook (why not for Archuleta, too, while you're at it?) and release a third, pop-oriented solo album produced by none other than Timbaland. Great job, Chris.

8. Judas Priest - "Ram It Down" Ram It Down - 1988

People always cite Painkiller as the album that brought Priest into the then-newer, faster days of heavy metal, but the title track from Ram It Down was pretty much the fastest and heaviest thing the band had done, up until the cheesy-as-all-hell singalong bridge section. As an album, Ram It Down basically sucks (don't even start me on the "Johnny B. Goode" cover), but as a song, "Ram It Down" is fast, heavy Priest with great vocals and great duelling guitar solos. The drums sound like a drum machine, true, but this song does not get nearly as much credit as being a Priest classic as it should. Of course, by the time Painkiller was released this album was completely forgotten about (as was its predecessor, the unfairly panned Turbo, which at least tried new things for a group who had made the same album three times in a row), and Priest regained their status as metal gods... until Rob Halford left the band following the touring cycle for Painkiller. At least they're back together now. This song rules, and if you don't think so, you're not a Priest fan.

9. Megadeth - "Symphony of Destruction" That One Night - Live in Buenos Aires - 2007

This is one of the more popular metal anthems of all time, and for good reason. Megadeth had outgrown their thrash metal roots and made solid, mid-paced riff-fests, and Countdown to Extinction is a masterpiece of metal songwriting. This version from last year's live album That One Night sounds like it was tweaked with in the studio. Why do I say that? Because Dave Mustaine actually sounds good singing, and he SUCKS live. Also interesting is the crowd's participation in singing along with the main riff(!), not the verse vocals, and singing "MEG-A-DETH! MEG-A-DETH! FU-CKING MEG-A-DETH!" along in unison. That's kind of awesome, but also a little cult-ish. I think I'd be afraid to go to a metal show in South America; these people are INSANE. In all seriousness, though, this is a great performance of an all-time classic song.

10. Cake - "Nugget" Fashion Nugget - 1996

(Get the quote now? Yeah, neither do I...) I'm glad the random 10 actually has something somewhat RANDOM in it. I'm not a huge Cake fanatic -- I mean, don't get me wrong, I can tolerate "The Distance," "I Will Survive," "Never There" and a few other hits -- but I absolutely love this song. Rarely do you hear a funky band with a trumpet player sound as spiteful as Cake does in the song "Nugget." This song is funny, fun, and yet pissed-off at the same time, and I love it. If you've never heard Cake, this song gives a pretty good idea of what they sound like, but with more profanity than usual. Highly recommended.

Matt Steele

Ben Folds - Way To Normal

Ben Folds
Way To Normal
2008 Epic Records

Since Ben Folds broke out on his own in 2001, he's blazed a new career path with a strikingly different sound and feel than his material with Ben Folds Five. Largely gone is the twenty-something exuberance of his earlier records; replaced with a more sentimental and serious attitude of a man growing up. In the process, he created two great albums (2001's Rockin' The Suburbs and 2005's Songs For Silverman) that stand as some of his best work.

With his career going in this new direction, it's a bit of a disappointment that he tries to reinvoke his youthful magic on his latest record, Way To Normal. It's not that his songwriting ability is truly diminished (though we may be seeing hints of that), it's just that he's not a very convincing young adult anymore. After hearing tender songs about his children on his most recent albums, it's tough to take "Bitch Went Nuts" seriously.

He does try hard, however, and the album starts strongly enough. The opening track, "Hiroshima (B B B Benny Hit His Head)" is the best on the album and comes the closest to recapturing the carefree angst of the Ben Folds Five records. "Dr. Yang" and "You Don't Know Me" soon follow, which are both welcome listens.

The album really hits a dead patch in its middle, with track after track coming and going without distinction ("Free Coffee" is borderline terrible). But the album again rebounds at its end, with "Effington" and "Kylie From Connecticut" providing a punctuating finish to a record that didn't leave much to punctuate. These songs almost make you overlook the banality that is the middle of the record, and it shouldn't come as a surprise that they are much closer in tone to his recent albums than anything else here.

No one said it was easy to switch gears ideologically and musically on a dime. But, to be blunt, Folds is an older man now. In his 40's, his record-store clerk haircut and ditties about his ex-girlfriend "stabbing his basketball" just don't ring true anymore. Folds is an extremely gifted songwriter, however, and perhaps he can find his rhythm again if he, you know, writes better songs?

C-


John Lacey

Welcome to the Musicarium!

Oh, hello!

You've managed to find your way to Dr. Phineas Hornswaggle's Wontabulous Musicarium! Bully on you! At this poorly-constructed blog you'll find opinions on various types of music from people you don't know and don't care about.

I am John Lacey, and I'll be taking you through this wonderful journey. I'll be assisted by various writers from my alma mater, Providence College, as well as some high school chums that wanted to lend a hand.

You may ask what makes me qualified to write about music, and I must respond: not much. Through the magic of the Internet, however, anyone is able to write about anything they want. And since my friends and I really like music (preferably good), I've decided to do just that!

The blog will cover any genre that we deem appropriate. The other writers and myself are most steeped in "Indie Rock", but anything is fair game. Hip-hop, "classic rock", jam bands and anything else will be touched upon here. So to get the ball rolling, allow me to list some bands/artists that I enjoy, so you may better understand where this blog is coming from.

My current favorites include Wilco, My Morning Jacket, Neil Young, Bob Dylan, The Band, Warren Zevon, Sigur Ros, Pavement, and Fleet Foxes. Historical favorites of mine include Led Zeppelin, Pearl Jam, Talib Kweli, Masta Ace, the White Stripes, moe. and Phish. So there's a general listing, as though you cared.

Thank you for visiting the blog. Feel free to send any suggestions, insults or angry rants to themusicarium@yahoo.com.