George Harrison and Rock Critics

George Harrison, 1979

Sorry its been so long, I've been terribly busy with life... Ok, so today we're going to look at the George Harrison self-titled album from 1979.  Rock critics such as Robert Christgau ( the self proclaimed dean of American rock critics, whom I seldom agree with) and others panned this release when it came out, and basically questioned George's talent as a songwriter and a musician.  So I found a copy of this on cd from England (gotta find the original vinyl as well).  So I put it in tonight while reading some homework and... Holy s**t!  This is a great album from a great musician!  Very well written and played.  I think part of the issue with critics (besides the fact that most of them do not know their asses from a hole in the ground) and the former Beatles is that they were no longer Beatles.  You can't expect them to always be the Fab Four.  I also think that the musical climate in 1979 was rapidly changing, and this album was just a little too laid back compared to what was popular at the time.  Regardless, I would recommend this to anyone who likes George Harrison.  Good stuff, and as always, George leads me to a more peaceful place.  Thanks Mr. H
Jason rating:****

Soft-Hearted Hana

Getting a Piece of Ass (the album)

Sorry, I couldn't resist the post title.  Today we're going to look at a wonderful lp, Badfinger's last lp on the Apple label, Ass, from 1973.  The sessions for this album started in 1972 shortly after the release of Straight Up.  The lp was released in America on November 26th, 1973 and May 1974 in the UK.  Chris Thomas, an Apple engineer, was called in to complete the sessions after Todd Rundgren left after the completion of two songs.  Due to some legal issues with publishing rights (Joey Molland was going to sign a separate contract from the rest of the band, but never did) the release of the album was delayed (until Apple assigned songwriting credits to the band as a whole.)  Unlike previous efforts Joey wrote the bulk of the tunes on this lp.  The title refers to the band's feelings towards Apple Records (who were winding down all non-Beatle related recordings and Warner Bros, their new label.)  The cover features a donkey chasing a carrot being dangled from the sky by a hand (representing the two record labels.)  This was to be the last non-Beatle album released by Apple.  Due to almost non-existent promotion by Apple and their debut album Badfinger on Warner Bros coming out around the same time (causing much confusion for the record buying public,) Ass lingered on the lower ends of the album charts and died a quick death.  Many critics have blasted this album, unfairly, in my opinion.  The band was attempting to have a less overproduced sound and a much heaver feel on this outing.  They were attempting to align themselves with more heavy English acts of the day.  Think more along the lines of The Stones, Led Zeppelin, The Who, Humble Pie, etc.  Of course, they could not quite get away from the Beatle-esque power pop that they were known for, but they made a gallant effort.  As I've stated before, Joey Molland is not my favorite songwriter, but he does a great job on this album.  He really contributes some good stuff here.  The two best songs were both by Pete Ham, Apple of My Eye and the amazing Timeless.  Really the only song on here that doesn't fit is the silly Mike Gibbins penned Cowboy.  This song soils an otherwise fine album.  Overall, I feel like this is a great Badfinger album, that got screwed over by bad timing, under promotion, and other external factors.  The music is great for the most part and I listen to this one a lot.  So, if you enjoy music from this time period, do yourself a favor and go out and get yourself a piece.  Jason rating **** 1/2

My Summer Album

In 1976, RCA records released David Bowie's 10th studio album, Station to Station.  The album was a departure from earlier "glam rock" albums, building on work done earlier with Young Americans and pointed to the German/electronic music influenced albums of the "Berlin Trilogy."  The title track starts out as an almost drone-like hymn and then breaks into a funky groove.  Clocking in at over 10 minutes, the song does not seem to last this long, but breezes by.  The second track, Golden Years, is another funky track which showcases Bowie's fascination with black musical styles; very good piece.  Word on a Wing, track 3, is a almost hymn- like ballad with some great chord changes and heartfelt singing from Bowie. TVC 15 is a ultra-funky piece which is home to one of the LP's best grooves.  Very nice. The next song Stay, has some wonderful guitar work, and vocals by Bowie.  Bowie saves the best for last with his cover of the Nina Simone classic Wild is the Wind. Phew...  With a tasteful, but simple electric guitar riff, this ballad starts off and eventually adds Bowie on acoustic and then the bass and drums come in.  The greatness of this track lies in Bowie's vocal delivery and his phrasing.  When he sings "You touch me, I hear the sounds of mandolins," you can almost hear the Italian love songs in the background as two lovers embrace... This is probably one of the best vocal performances of the era, great!  Worth the price of the cd or record right here!  This time instead of putting one or two songs, I put the youtube of the entire lp on here. As always though, if you like it, please buy it.  It's becoming harder and harder to buy music unless you download it.  Help keep music alive and important and buy it if you appreciate it!
Jason rating (out of 5 stars) ********************
http://www.amazon.com/Station-David-Bowie/dp/B00001OH7U/ref=sr_1_1?ie=UTF8&qid=1342496107&sr=8-1&keywords=station+to+station

Bedlam in Goliath

Hi everyone, hope all is well with you.  So after my after my rant last time, I've decided to do something different with my blog.  Words have the power to heal, and in that spirit, I thought that it would bring better energy to the cosmos if I did record reviews.  Of course, most of what I'm gonna review has already been reviewed when it came out.  Think of this experiment as reviews of music that will be new to many of you.  I am just offering some different musical options than what popular music does today.  If anyone reads this and decides to investigate something they've never experienced before (and god forbid, enjoy the trip), then perhaps my karma-meter will tilt a little in the positive direction. So without further ado, let's move on to the inaugural album in what I hope will be many (and that you enjoy me writing about them)...

The Mars Volta:  Bedlam in Goliath (2008) Vinyl Edition.

The Mars Volta-2008

Ok, first of all, these guys are not your normal rock band.  They are considered a progressive rock band, a genre which pretty much died out in the 70's (think 70's Yes, ELP, King Crimson, Pink Floyd...you get the idea), that originated from Texas.  Before I get into the actual music, a little background info to "set the mood" would be appropriate.   

So while on tour, guitarist , producer, and genius Omar Rodriguez-Lopez, bought a Ouija board in a curio shop in Jerusalem for lead singer Cedric Bixler-Zavala.  The band started to play with the board after concerts as part of their "wind-down" time. According to the band, the Ouija board, now known as the "Soothsayer" began talking to them and telling them some freaky s**t.  They were also contacted by three separate entities that appeared in the form of one being called Goliath.  Then it hits the fan.  Mid tour their drummer (these guys have Spinal Tap-style issues with stick beaters) quits the band.  Bixler-Zavala ends up needing surgery on his foot, entire tracks begin to vanish from the digital tape they were recorded on,   Rodriguez-Lopez's home recording studio/ house floods and experiences random power outages. The engineer on the recordings has a nervous breakdown and tells Rodriguez-Lopez, "I'm not going to help you make this record. You're trying to do something very bad with this record, you're trying to make me crazy and you're trying to make people crazy." As these communications become scarier, Rodriguez-Lopez decides that perhaps its time to destroy the Ouija board.  So, he burns the board and buries the ashes in a undisclosed location and tells the band never to bring it up again. The band re-records all the tracks with lyrics based on communications between "Goliath" and themselves as a way to end the cycle.  Neat story, huh?

The Mars Volta-2005

What about the music though?  Well, I must say it is awesome.  The album mixes prog rock, Latin, jazz, electronic sound manipulations, and funky grooves.  This is not "radio friendly" rock music.  It is very complicated with it's varied time signatures and chord structures.  The lyrics are pretty out there and the whole experience is a weird, wonderful journey (if you have mental problems, or hear voices, stay away from this one).  If you like progressive rock and fusion jazz, this record will delight your senses and stimulate your brain.  Given the story behind it's creation, the complex jams on the lp and just the general feel,all add up to a groovy musical experience.  CHECK THIS OUT!
Overall rating (out of five stars) *****.

Album Cover

Duel-color Vinyl with Ouija Board gate-fold and Ouija pointer 45rpm.

http://www.amazon.com/The-Bedlam-Goliath-Mars-Volta/dp/B000ZK4466/ref=sr_1_5?s=music&ie=UTF8&qid=1333573529&sr=1-5

If you like the artist, support them and buy their music!!!!!