Meadow Island

Once again, I cannot recall the origin of my selecting this band to sample, but I did, and it was intriguing enough to purchase.  I couldn't find the first thread that would connect me to this band while doing a little research, so it must have been Divine Musical Intervention which led me to them.  Meadow Island is from Finland, and I haven't a clue who the guy's other band is, but what I gather is they are much more electric and rock.  So this is a departure from the norm, the other persona of this young musician.  His side kick is a woman who's vocals elicited names like Sarah McLachlan, Enya, and Clannad.  This is introspective, acoustic, soft pop.  Here is a live example for your enlightenment.  Of course, I go and pick a song to link that has the guy singing, but if you are interested in hearing her, you can hunt around that link and find a couple with her vocals and you'll see why I name-dropped the previous females.  The CD is much more produced, filled with ethereal ambiance, textural keyboards, maybe a hint of classical structure.  It's a beautiful recording and would be a wonderful CD to play for a small gathering of your intellectual associates. 

Even though I truly think this is a fabulous release, I already own so many other albums within this genre that never hit my airwaves, so I won't add another.  I do not believe this is available through the traditional domestic channels, but if I can buy it, you can buy it.  Hey, you can have my copy...

Underworld "Barking"

This is a band I go all the way back to 1984 with, only then they were called Freur.  The debut album "Doot-Doot" was #6 on the Mad Rocker's Top Albums from that year and it still holds firm twenty-six years later.  There's a track on it called "Theme From the Film of the Same Name" that is the definition of cinematic music.  Anyway, another failed album later and the band reforms as Underworld in 1988, putting out my favorite two albums by them, "Underneath the Radar" and "Change the Weather."  "...Radar" charted and I know we had a pocket of sales in the TN market because I pushed as hard as I could, getting local DJ's to like it and spin it.  These records were certainly groove driven, danceable pop music, but they didn't connect as well as they should have.  The band's Karl Hyde and Rick Smith were never afraid of experimentation, so they added a DJ for "dubnobasswithmyheadman" and became more trance/house/techno and much more critically acclaimed, but that's where they lost me.  I've never been one for bips and boop noises in my music, especially looped for what seems to be hours.  Then the song "Born Slippy" from the movie Trainspotting awakened the world to Underworld and the rest is club/dance music history. 

So here it is five albums and some fifteen years later and I see the release of "Barking."  "Ah, what the hell, let's give it a sample listen," I say to myself and I find that there are some of the old elements of Underworld that I used to enjoy, ie. vocals I can understand and happy dance beats, not the numbing, dumbing drone that I'm much too old for.  No Ecstasy for me!  Well, there is some of that sound here, too, but it's only about three tracks, and many of the younger, raving reviewers like these.  Me?  I absolutely love two of the old school tracks, and yes, the Mad Rocker can still call them as one of my favorites is the new single currently being pushed on the American market.  Here's the band on Jimmy Fallon just the other night supporting the record.  It should be a smash hit, and so should the track "Between Stars." 

"Barking" is truly an assemblage of past styles into a record that could please a large demographic of humans.  There's even a couple of those ambient/atmospheric/environmental pieces that scream for a black lite, a lava lamp, some Gainesville Green and a Quaalude (look it up, kids).  WHEW!

Foghat "Last Train Home"

I must admit that I'm skeptical of many artists/bands from decades ago who spin the revolving door of personnel, tour the oldies circuit and release an album every seven years or so.  Disappointments are too numerous to mention, but there are always exceptions to the rule.  Foghat was one of the bands I loved in the 70's, and living here in Orlando, I used to run into Lonesome Dave Peverett and the regrouped Foghat in the 90's.  So when I saw a new release listed as blues, I felt like it had earned the casual sample, so I did.  Listening to the first 45 seconds or so to several of the tracks, I thought it sounded OK, but my skepticism overtook the selection and I passed on the purchase.  Just a few weeks later, Mr. Kilts asked me if I had heard it.  I told him the above story, to which he agreed, but he had opted on buying it.  He thought once I got into the meat of the songs that I would change my mind, and I did!  This is footstompin' boogie, the kind that keeps you turning up the volume.  A few originals, some well-chosen covers like "Shake Your Money Maker" and "It Hurts Me Too" (which was also on the Stone Blue album in 1978, but this is a uniquely different take), and an outstanding instrumental called "495 Boogie", which showcases Colin Earl, brother of the only remaining original member, Roger Earl, on piano.  Colin played with another British band you may remember, Mungo Jerry.  And while I'm citing individuals, let me disclose who is in this version of Foghat, and you old-timers out there will understand why this lineup clicks like it does.  On lead guitar is Bryan Bassett.  Who, you say?  Remember that plucky guitar intro to "Play That Funky Music?"  Yep, this is that guy, one of the founding members of Wild Cherry.  He went on to spend several years at King Snake Studios in Sanford (many great blues records cut there) and also as one of the members of the 90's version of Molly Hatchet (actually one of the disappointments I referred to earlier).  On lead vocals and guitar is Charlie Huhn.  This is the guy who got his start with the ultimate egomaniac, Ted Nugent, replacing Derek St. Holmes in 1978.  He was on Weekend Warriors, State of Shock, and Scream Dream with the Terrible One.  He also played with Gary Moore and was the featured singer on the Scorpions drummer's solo album, Herman Ze German, which I absolutely loved.  He was also in a couple of bands some of you might recall, Victory and Deadringer. 
Having owned nearly all of the above resume, it was obvious why "Last Train Home" tickled my Ol' Rocker personna.  The first half of this record steamrolls right along and then coasts into the station on the final three tracks.  I would love to see this version of Foghat in concert, and here is a taste of them live from UCF a couple of years ago.  Now that's blues...

1973 "Bye Bye Cellphone"

I have never given much credit to the domestic music charts... you know the ones I'm referring to, the overall top songs or albums, not the genre specific ones.  They give you an entire country's perspective, not just one group or style.  The musical taste of the ol' USA has been in the crapper for quite some time now, so when I'm bored I visit the charts of other countries for inspiration.  You already know my affinity for Australia, and I'll search the Canadian, UK, and other European charts for the next aural gem which 99% of Americans haven't heard of but should.  This one is from the German charts, though I'll bet it was also on the charts of their home country of France.  The lyrics are English, sung in soft vocals with that European lilt in the cadence and pronunciation, along the lines of Sondre Lerche or Andreas Johnson, and for the older demographic readers, at times like A-Ha or Double.  It also reminds me of the final three Klaatu albums with the shimmering, catchy pop songs.  The production is top-notch,  first sounding like 10cc or Godley & Creme, but after additional spins more like the work of Alan Parsons for his own Project as well as his hand on records by Pink Floyd, Al Stewart, and Sir Paul McCartney.  The album has been available in the US since early summer but with little fanfare.  The first European single was this track, which should please the many fans of the Mumford & Sons sound, banjo and all.  It's not indicative of the entire record, but an example of the variety of instrumentation found on this wonderful album.  Put this on at a relaxed gathering of humans and no one will be offended.  In fact, I guarantee someone asks you, "Who is this?  It's good!"

 

The Cat Empire "Cinema"

My good friend Jeff is going to have a heart attack when he hears this record.  This is one of my favorite finds of 2010.  Trolling the Australian charts once again, I stumbled onto this band name and just had to give it a listen.  What I heard was THE SECOND COMING OF SPLIT ENZ(!), but this upgraded model features horns!  Not just a saxophone, HORNS plural!  Lead trumpet, for crying out loud.  Made me think of Chase and Herb Alpert!  One of the two lead vocalists sounds eerily like Tim Finn.  And I mean Split Enz people, not Crowded House.  Lots of keyboards with background guitars, based in a musical bowl of multi-genre contents.  The ska and Latin rhythms coupled with the horns would lead someone to compare to Oingo Boingo, but its more like Cake than Boingo.  I thought of fellow Aussie band Hunters & Collectors, but their horns were more dissonant in a section setting.  "Cinema" is eleven tracks of happy, intellectual, smile-a-minute, pop gems.  Here is an album release live take of "Shoulders." 

I was so enamoured by this album that I had to find out more about the band.  Turns out "Cinema" is Cat Empire's 4th commercial studio release, and the five-member group (six, if you count the DJ...yep, there's scratchin' on the record!) utilizes additional horns and an endless list of guest artist contributions.  Their live shows can include a string section and a group of dancers (what, nobody paints onstage?) and are said to be quite improvisational in nature.  I see they have a double live CD from last year and I am going to pull the trigger on it instead of previous studio releases.  Some of the reviews I've read from the band's faithful following suggest that this album is a departure from earlier recordings, and since I absolutely LOVE "Cinema", I'll try the live history instead. 

Black Country Communion

Here is that "supergroup" tag again, but this one will have legs as there is material already written for a second album and a tour planned for 2011.  I alluded to it in an earlier post, and now that it's out, you original Mad Rocker fans need to jump on the Black Country Communion bandwagon.  Joe Bonamassa on guitar/vocals, Jason Bonham on drums, Glenn Hughes bass/vocals, and Derek Sherinian on keyboards.  For many of you, there is no further explanation needed for both JB's, so let's dive into the others.  There really shouldn't be a need for elaborating on Glenn, who is truly an English rock legend, but I feel so many of my readers won't know him.  As a teen, he was in a band called Trapeze, and BCC covers "Medusa", a song he wrote and recorded at the tender age of eighteen.  The year?  1970.  Yep, he's pushing sixty and his voice sounds just as great as it ever has.  For the uninitiated, it's a cross of a screaming Paul Rodgers with the soulfulness of Tommy Bolin...ah, hell, if you don't know who Glenn is you won't know who Tommy is, so forget it.  Anyway, Glenn became a member of Deep Purple (I put BCC's version of "Mistreated" on a Facebook post) and contributed to other artists like Black Sabbath, Gary Moore, Whitesnake and Pat Travers, actually collaborating on an album with Travers' additional guitarist, Pat Thrall.  Derek Sherinian has played with Kiss, Alice Cooper, Todd Rundgren, Dream Theater, Yngwie Malmsteen and Billy Idol.  And let's not forget producer Kevin Shirley, who basically put this whole thing together in an extremely short period of time.  He's been involved with Judas Priest, Iron Maiden, Journey, the Black Crowes, Rush, Aerosmith, and Aussie favorites of mine like Cold Chisel, the Angels and Silverchair.  Whew!  Is that enough name-dropping for ya?  Here is a track from the BCC site for you to absorb and enjoy.

This record is an excellent example of what classic rock was, and is.  Single out a few of the aforementioned bands and stir it up.  The songs are not similar, but the feeling is.  Bonamassa wrote or co-wrote most of the songs, and Hughes handles the majority of lead vocals, but Joe sings his share and those tracks are standouts, utilizing Glenn's amazing harmonies.  There's plenty of 70's-era bottom (how could there not be with the Bonham/Hughes tagteam).  You could tell from Joe's album "...John Henry" that he didn't just excel at blues licks, that he had some old school rock in his arsenal.  Well, here it is in all it's splendor.  Sherinian's keys are subtle, but they well up as the album progresses, actually becoming more noticeable with addition spins.  BCC is truly an ensemble recording, not a Bonamassa solo with guests.  I believe I would have selected a different track to open the record with, but otherwise this is what rock albums used to be like back in the days of AOR. 

This would have been a weekly staple of the Mad Rocker Shows at WPRK (I'm certain I played "Medusa" more than once...I still have a copy of the Trapeze vinyl with WPRK's stamp on it).  I have to give this a huge Mad Rocker vote of approval!

WSNB (We Sing Nasty Blues)

Of course, you, too, can suggest things for the Ol' Mad Rocker to peruse.  This is also from my buddy Bob in north GA, who happened across these guys at an outdoor blues event back in the summer.  There wasn't a large crowd, so he got to mix and mingle with the bands and got his liner notes signed.  During the day-long event, I received one voice...eh, musicmail, containing 90 seconds of smokin' blues, and a couple of frantic, all-caps texts naming his discoveries of the day.  With kind permission of the band, he sent along copies of their two CD's for my listening pleasure.  And indeed, they both hit the mark solidly.  They dub it American Swamp Blues, but if you are a fan of the Blues Traveler style, then you will find these records quite enjoyable, but with more of a John Mayall harmonica style instead of Popper's histrionics.  "Jomo Swamp Root Boogie" is from 2006/7, and I was truly moved by the track "Come Back".  2008 release,  "Oktibbeha County," has plenty more head-nodding tunes, really hitting its stride on the last half of the record.  But I have to admit that it was the live recordings, such as the link above, I heard from various video sites that fired my appreciation.  And they are making a brief Florida swing this week, stopping in Jax Beach and for two shows in the St. Pete area.  I had hoped to catch them at Dave's just across the Gandy on Saturday, but it conflicts with another event here in Orlando, and hell, I didn't need to try to drive two hours back home with that much whiskey in me anyway...Hey guys, there is a place here called McWell's that is a perfect fit if you have an open date, and I could get a cab for the ride home!  Here is the link to their website and you can also obtain their albums from iTunes.  Hey, 2006, 2008, will there be a new WSNB record before the end of 2010?  Hope so.  Seek, find, enjoy!