Category: CD Reviews (Page 330 of 399)

Mix Disc Monday: This Is Halloween

Welcome to the debut of our newest installment, Mix Disc Monday. It is exactly what you think it is. We won’t even bother to insult your intelligence by explaining the concept to you. In this age of iTunes playlists and podcasts, we know that you’re a step ahead of us. Fifteen songs about…well, whatever inspires us that day.

It therefore seemed fitting that we kick off this weekly event with a timely list of songs whose titles evoke images of All Hallow’s Eve. Most of the songs aren’t dark or scary, but do they have to be? If that’s what you want, listen to the main theme to “Requiem for a Dream” over and over again, if you have the guts. Oh, and feel free to pepper the proceedings with “Bring out your dead” quotes from “Monty Python and the Holy Grail.”

Ministry: “Everyday Is Halloween” (Early Trax)
Mmm-mmm bop mmm bop bop. Mmm-mmm bop mmm bop bop. Al Jourgensen says he hates this song now. Fool.

The Jazz Butcher: “The Devil Is My Friend” (Bloody Nonsense)
This long lost B-side (I won’t lie, you’re gonna have a hell of a time finding this one) is still the only song I know by the Jazz Butcher. But any band that’s friends with Frank Sinatra, Love & Rockets and the devil is a friend of mine.

Bow Wow Wow: “I Want Candy” (We Are the ‘80s)
Not everything about Halloween involves scaring people, you know.

Squirrel Nut Zippers: “Hell” (Hot)
I found a version of this on Napster back in the day that was filled with quotes from “The Simpsons.” Innnnnn the afterlife (“D’oh!”), you could be headed for the serious strife (“D’oh!”). Now you make the scene all day (Buuuuuurp), but tomorrow there’ll be hell to pay. Best, mash-up, ever.

The Killers: “Bones” (Sam’s Town)
Tim Burton was the perfect person to direct this video. If only he could have done something about the rest of the album…

Oingo Boingo: “Dead Man’s Party” (Dead Man’s Party)
While we’re talking about Tim Burton, we may as well give a shout-out to his composer’s former day job.

L7: “Pretend We’re Dead” (Bricks Are Heavy)
Girls can do grunge too, you know. Come on, come on, come on.

Concrete Blonde: “Bloodletting (The Vampire Song)” (Bloodletting)
How a lazy cover of “Sympathy for the Devil” by Guns ‘n Roses played over the credits of “Interview with a Vampire” instead of this is not just a mystery but a crime.

Dead or Alive: “Something in My House” (Mad, Bad and Dangerous to Know)
Here’s the thing that people forget about Dead or Alive: their guitarist could shred, dude. For extra creep factor, find the 12” mixes, which have quotes from “The Exorcist” in them.

Book of Love: “Witchcraft” (Lullaby)
There’s something about the sound of Samantha wiggling her nose that gets me every time. That, and Susan Ottaviano’s voice, which my wife once described as “beautifully bored.” Yep, that sounds about right.

B-52’s: “Devil in My Car” (Wild Planet)
Heeeeeeelp!

Jellyfish: “The Ghost at Number One” (Spilt Milk)
It was a tossup between this and “The Ghost in You” from the Psychedelic Furs, but in the interest of keeping the energy levels up, we chose this mash note to Queen about a dead rock star who still dominates the pop charts. Awfully prescient, since this predates the deaths of Tupac and Biggie. Jellyfish were prophets.

Roger Joseph Manning, Jr.: “Creepie People” (The Land of Pure Imagination)
I probably should have put David Bowie’s “Scary Monsters and Super Creeps” in this slot instead of back to back Jellyfish-related tunes (Manning played keys for the’Fish). But hot damn, I just love this new record of his. And you should, too.

Gnarls Barkley: “The Boogie Monster” (St. Elsewhere)
You either love or hate this one. I’m in the former group, if only because it reminds me of Mike Wazowski, Sully and Boo from “Monsters Inc.” Kitty!

Divine Comedy: “The Happy Goth” (Absent Friends)
And on what day would Goths be happier than Halloween? The chorus to this is just money: “Well, her clothes are blacker than the blackest cloth / And her face is whiter than the snows of Hoth / She wears Doctor Martens and heavy cross / But on the inside, she’s a happy Goth.” The snows of Hoth? God, I love Neil Hannon.

P.S. To see the most unintentionally funny Goth clip ever on YouTube, click here.

Notes from the Orphanage, Part I

When I graduated from college, the joke that was written about me by my staffmates at the Ohio University Post was that “I’ll follow my heart…and the free CD’s.” It’s funny, because it’s true. I definitely followed my heart, and then after landing some writing gigs, I was pleased as punch when the free CD’s started rolling in.

These days, they’re stacked in piles next to my laptop like an unfinished Jenga game.

Yeah, I know: nice problem to have, right? Sure, but still a problem just the same, since I invariably under-deliver to someone in terms of a timely review. This column looks to rectify that. And so, let us begin the first installment of Notes from the Orphanage.

Phil Aiken: It’s Always the Quiet Ones (TGRC)
If Billy Corgan did an album of piano-driven pop, it’d sound like this. Actually, that’s not exactly true; Corgan’s attempt probably wouldn’t be this good. Check out the title track. It has a spooky vibe to it, as in the Classics IV song “Spooky.” He even covers a Pete Shelley song (“What Do I Get?”) and recruits Tanya Donelly to sing backup on a song. Good stuff.

Dan Wallace: Neon and Gold (Torito Bravo)
This Chicago native wisely leads with the album’s best song, the Kinks-style ditty “Fell.” From there things take a much different path, more into Rufus Wainwright territory pre-Want One. He’s clearly picked some good role models in Wainwright, Ray Davies and the Divine Comedy (“The Lizard and the Cat” is soooo Neil Hannon), but he doesn’t quite rise above his influences. Not this time, anyway.

Max Sedgley: From the Roots to the Shoots (Sunday Best)
A little Daft Punk, a little Chic. The album sports block rocking beats by the pound, but the opening track, “Happy,” clearly does not know when it has worn out its welcome. When this disc hits a groove, like they do on “Celebrity,” the disc is quite fun. A little editing, though, would have gone a long way.

Skye: Mind How You Go (Cordless)
You know, I was wondering what Patrick Leonard had been up to. The man who helmed Madonna’s best records from the ‘80s is behind the boards for his London siren. Dido crossed with Morcheeba is how I’d pitch this if I were in Hollywood. It also brings to mind Tasmin Archer, who had one fabulous hit in 1993 with a song called “Sleeping Satellite.” Man, that was a great song.

Here’s that lost song, for anyone who doesn’t remember it. Think Seal, as a girl.

I Love You but I’ve Chosen Darkness: Fear Is on Our Side (Secretly Canadian)
Best band name since Eagles of Death Metal, and Ministry’s Paul Barker is behind the boards. But this is no thrash-fest. Hypnotic grooves circa late-period Talk Talk, and darkly danceable rock like the Sisters of Mercy or maybe New Order. If I gave this record more time, they might become my new favorite band.

Golem: Fresh off Boat (JDub)
Jewish gypsy punks. There, I said it.

Bedtime Beats: The Secret to Sleep (Rhino)
How about this for a challenging assignment: when do you listen to a disc like Bedtime Beats, something that’s specifically designed to knock you out? As you’re going to bed? Then you won’t hear the whole thing. While you’re working? Then you’ll fall asleep at your desk. I’m definitely not listening to this in the car; the disc even has a warning instructing me not to. So I put this off for weeks, but here goes nothing…zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz….

Wow. This thing really works. Get this for the insomniac in your life, stat.

Cover version I’d like to hear: Simply Red doing “I Won’t Let You Down”

In 1989, I was listening to either the Psychedelic Furs or the Smiths, I don’t remember which. Out of nowhere, I had a random thought: I would love to hear the Furs cover “How Soon Is Now?” That vocal requires a unique vocalist, and they don’t come much more unique than Richard Butler.

Seven years later, Richard Butler, along with his band Love Spit Love, covered “How Soon Is Now?”, thus confirming that I have magical powers. Very, very slow working magical powers.

But I don’t want to wait seven years for this one. This song, which was a smash hit for synth-pop band PhD, is perfect for Mick Hucknall. Singer Jim Diamond even has the fiery shock of red hair and the odd facial structures (a nice way of saying that he’s funny looking). Simply Red could have some great fun with the reggae beat pulsating underneath the synthesizers, and the melody is right in Hucknall’s wheelhouse.

Come on, Mick. The song was a #1 smash in 1982. A cover of it is long, long overdue, and you’re just the guy to do it. Let’s make it happen.

This Christmas, they’re giving you their heart…

…but it’s pretty likely that, on the very next day, they’ll take it away. Even so, many fans of ’80s British pop are giddy at the news that Wham! are set to reunite this Christmas, according to The Advocate.

No, I said THIS Christmas.

George Michael and Andrew Ridgley will perform as Wham! for a special concert this Christmas as part of Michael’s solo world tour. “George is thrilled that Andrew’s agreed to perform,” a source told Britain’s Sunday Mirror. “It was something George had thought about for a long time. He couldn’t be happier and can’t wait for the gig.” (Michael often squashed rumors of a potential reunion in the past due to Ridgley’s refusal to participate.) Michael and Ridgley have not performed together since Wham! staged its final concert at London’s Wembley Stadium in 1986.

I think the most surprising thing about this story is that Ridgley hasn’t been chomping at the bit for a reunion. If he’s getting back into music, fingers crossed that we’ll finally see that belated follow-up to Son of Albert

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