Author: R. David Smola (Page 4 of 7)

Yes: Symphonic Live

Yes and all their pompous self-love usually produce fabulous music because they aim so high, to continue a legendary presence, none more exalting than the ones in their own minds. However, as good of an idea as it sounds, Symphonic Live is kind of a dull and flat effort. Jon Anderson’s energy level sounds a bit low and the band at times doesn’t sound all that inspired; in fact, they sound as if they’re mailing it in. Contrast this with the Magnification album (2001), a record written specifically to be accompanied by an orchestra, and this album doesn’t measure up. I am sure that Yes-o-philes will lap this up, because let’s face it, there are some people who will never tire of hearing “Roundabout.” They do manage to play three tracks off of Magnification which still sound very good, and the Steve Howe guitar solo is well worth the listen. He is an eloquent and underrated player and chooses material like “Lute Concerto in D Major, Second Movement” as a part of it instead of wanking on and on like some of the young turks do. They have put out some good material in the last 10 years or so (Essentially Yes), but this one is fair at best and one you can skip. (Eagle Rock, 2009)

Yes Myspace page

Reel Big Fish: Fame, Fortune and Fornication

Covers are nothing new to Reel Big Fish. They gave A-ha’s “Take on Me” the full blown ska treatment, offered a doo wop version of “New York, New York” and reggaed Tracy Chapman’s “Talkin’ ’bout a Revolution” on past releases. In 2007, they joined with Zolof the Rock & Roll Destroyer in splitting an EP of covers and offering co-lead vocals on each other’s tracks on the tremendous Duet All Night Long. Fame does make you smile because Aaron Barrett and his merry band of nuts are as funny as they are talented, but if falls short of Duet because too much of it is simply ska versions of very familiar material. They do sound like they are having fun (as they always do), but these versions lack the fire and enthusiasm that the Duet record captures. Highlights of this quick-hitting 30-minute record, which features covers of Poison (two, actually), Van Morrison, John Mellencamp, and Tom Petty, include a reggae-soaked take on the Eagles’ “The Long Run” and the minimalist duet between Barrett and Tatiana DeMaria (from the Rock/Punk outfit Tat) on Poison’s “Talk Dirty to Me,” which is comprised of a rhythm guitar track, handclaps and an excellent and understated vocal performance. Fame has its moments and is more like an after dinner mint then a meal. (Rock Ridge Music)

Reel Big Fish MySpace page

Dion: Heroes: Giants of Early Guitar Rock

Dion’s Heroes: Giants of Early Guitar Rock is played and presented with such joy, authenticity and enthusiasm that it is one of the better cover records released since it became trendy some 10 years ago. Much like Brian Setzer’s Rockabilly Riot Volume 1: A Tribute to Sun Records, this is a love letter to those who mapped out the first avenues of rock & roll. The difference between the two, other than the era covered, is that Dion captures the vibe and adds his own touches to each track while Setzer tried to reproduce each song as originally recorded. The material covered by Setzer is also not necessarily automatically recognizable as the material covered on Heroes. “Summertime Blues,” “Come On, Let’s Go,” “Bye Bye Love” and “Jailhouse Rock” are songs that are a part of our collective musical consciousness. Dion’s voice has great character and moxie, which perfectly suits these tracks. His band, which includes Robert “Crow” Richardson on guitar, plays these tracks with an energy and a reverence that they deserve. Dion has the credibility to cover songs like “Runaway” and “Rave On” because he was a contemporary of these folks, jammed with Buddy Holly and toured with many of these artists. The guitar work is really excellent here. No, there is no Van Halen tapping and shredding, but there are great solos with character and zip. Great songs, great guitar, what more can you ask? A bonus DVD of Dion relating stories about these songs, the original artists who recorded them and impromptu versions of a couple of them played in a studio with Richardson is also a treat. One-half star is removed from the total in that the only track that doesn’t measure up to the others is a cover of his own masterpiece, “The Wanderer.” (Saguard Road Records)

Dion’s Website

Living Colour: Live August 19, 2005 – The Bowery Collection

Live August 19 – 2005 – The Bowery Collection is the second live release from Living Colour to be recorded at CBGB’s. The last one, recorded in 1989 (and released 3 years ago), served as an opportunity to work out much of the material that would appear on their sophomore record, Time’s Up. This recording is more of a career retrospective and a love letter to Hilly Kristal, the proprietor of CBGB’s and the one to give Living Colour their initial break. As entertaining as it is to hear Vernon Reid noodle around on his guitar and listen to these tracks which have an energy and passion matched by the sociologically intense lyrics, the buzz is killed by awful sound. Apparently the source of the material is the soundboard from the club, and as romantic as that sounds, it comes off on disc as muddled. The mix is jarring and distracts the listener from the material and performances. The band also sounds disorganized as it labors a bit between songs before grooving into a new one. The material is mostly good, except for the assault on the ears of “Terrorism,” but the sound is so bad, you can flat out skip this release. (MVDaudio)

Living Colour MySpace page

Science Faxtion: Living on Another Frequency

Bootsy Collins, Buckethead, and Brain join forces with producer multi-instrumentalist Greg Hampton to release the man/robot Orwellian-themed, musically eclectic Living on Another Frequency. As bizarre as the combination sounds, it really isn’t unique. Brain and Buckethead worked together on The Big Eyeball in the Sky, joining Bernie Worrell (who guests on this record), and Les Claypool in the one-off Colonel Claypool’s Bucket of Bernie Brains. Buckethead has worked with Collins before in Praxis. The X factor, and ultimately the weakness of the record, are the whiskey-soaked, cigarette-stained and underwhelming vocals of Greg Hampton who provides the lead voice on the majority of the record. It’s a shame because musically, it is as sophisticated as it is bizarre. It has much more structure than a Praxis project, but still roams all around a futuristic funk rock sound to tantalize the listener. The best tracks are the trippy instrumental based tracks which have weird vocal samples (and no Hampton singing like “Sci-Fax Theme” and “Famous”) or “Life-IS IN-Deliver,” featuring a spacey, Hendrix-influenced vocal by Collins, or a guest spot by the distinct Chuck D on “What It Is.” It’s adventurous and interesting, especially on paper, but much like the 2008 Chicago Cubs, being good on paper doesn’t guarantee success. (Mascot Records)

Science Faxtion MySpace page

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