Category: CD Reviews (Page 398 of 399)

Lost Bands: Tribe

Three days after I moved to Boston in the fall of 1991, Lynne Shaughnessy, the girl that would one day become my sister-in-law, took me to Avalon, a rock club on Lansdowne Street behind Fenway Park’s Green Monster, to see a local band called Tribe. I’d never put much stock into local bands, though that had more to do with where I grew up (central Ohio) than anything else. But these guys, they were unlike any “local” band I had ever seen. A quintet with the standard Bon Jovi/Duran Duran setup of gtr/bass/keys/vox/drums, their songs were hard edged and insanely catchy, boasting lyrics that were far deeper and darker than their hook filled melodies would suggest. They weren’t flashy musicians, but they were solid, with guitarist Eric Brosius’s laid back guitar playing complementing the boisterous rhythm section of Greg LoPiccolo and drummer David Penzo perfectly.

And then there was Janet.

Lead singer Janet LaValley was simply mesmerizing to watch onstage. She didn’t just move around, she prowled the stage like a big cat. Dressed mainly in black, to match her jet black hair, she had a voice like Siouxsie Sioux’s but with better pitch, exotic but also extremely powerful. Perhaps the most remarkable thing about her was that she wasn’t even the prettiest girl in the band (that honor belonged to keyboardist Terri Barous). Still, just try and take your eyes off of her when she had a mic in her hands. She was a truly blessed front woman.

Read more about my quest to find Tribe here.

Deep Cuts: Rolling Stones

Growing up in the ‘80s, I was always familiar with the Rolling Stones, especially their numerous radio hits, many of which have had a great impact on the world of music. In college, I went through a Stones phase that consisted of two purchases: 1) 1989’s three disc Singles Collection: The London Years, and 2) 1984’s one-disc Rewind. Both sets are good – Collection obviously covers more ground from the early years while Rewind focuses on the bigger hits from 1971-1984. Combined, these two collections gave me, the casual Stones fan, an adequate overview of their commercial successes from these years.

It wasn’t until about a year ago that I began my second Stones phase. It started at The Black Watch, a dive bar in Huntington Beach where my rec league basketball team would go to down a few pitchers every Sunday. The jukebox there is fairly eclectic, but focuses mostly on classic rock. Just about every Sunday, I’d hear this Stones song that I had never heard before – and, like a nasty fungus, it grew on me. The song turned out to be “Jigsaw Puzzle,” six minutes of heaven off the 1968 album Beggars Banquet. Soon, it became one of my favorites and it made me wonder, how many other great Stones songs haven’t I heard?

This question prompted me to listen to just about every album cut I could get my hands on and resulted in the creation of an 80-minute CD playlist entitled Deep Cuts. While compiling, my main criteria were that 1) the song was not an established “hit,” and 2) the song had to kick ass. I concentrated mostly on the work done in the ‘60s and the ‘70s as this is widely considered to be the era in which the Stones put out their best stuff.

So, without further adieu, I submit Deep Cuts:

1) “Jigsaw Puzzle” – This beauty is sung from the point of view of a guy working on a jigsaw puzzle in the midst of chaos. A number of different characters wander in and out of the song and it gives the opportunity for lead singer Mick Jagger to comment on the times. I dig the country-blues slide guitar and Jagger’s vocals. It’s a great song to hear after a couple of beers.

2) “Salt of the Earth” – Also off Beggars Banquet, this country-blues track focuses on the everyday man – a rarity for a Stones’ tune from this era. It also features the first vocals (on a Stones album) from guitarist Keith Richards. This underlines the predominate theme of the unassuming common man being thrust into the spotlight.

3) “You Got the Silver” – Found on 1969’s Let It Bleed, this is another of the rare tracks where Richards took over the singing duties. His vocals – and the song – are rough, raw and sincere. “Silver” also features some fine slide guitar.

4) “Midnight Rambler” – Also from Let It Bleed, this song captures the Stones in full-on blues mode. I actually heard this song for the first time when they performed it live at a concert I attended in Memphis, TN. The guitar riff is simple yet infectious. The tempo changes a few times throughout the song, creating a rugged, sexy vibe. For brevity purposes, I had to use the studio version, but the longer live version rocks a bit harder and is worth checking out.

5) “Dead Flowers” – From the 1971 album Sticky Fingers, this is one of the Stones’ few straight-up country songs. In his version of a Southern accent, Jagger moves through lyrics that are both witty and catchy – it won’t be long before you’ll be singing along with this one.
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Find out what other Rolling Stones songs I included on my Deep Cuts playlist here, then be sure to check out my Stones Essentials and Stones profile.

How do I interview for this job?

Ever wonder how music is chosen for a certain television show? As the music supervisor for “The O.C.”, Alexandra Patsavas has one of the coolest gigs around. But while she receives submissions from some great bands, she admitted in her interview with Mike Farley that she also also gets bombarded by some crappy music. Even with those distractions, Alexandra has developed a reputation for putting new artists on the map and helping to launch their careers.
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Bullz-Eye: …what do you look for in a band or in a song?

Alexandra Patsavas: I don’t know. I just want to like it. Music is so personal. I don’t know how to really define what it is that I look for, but I definitely know it when I hear it.

BE: Just something that moves you personally?

AP: Yeah! Or you look for music that will sit well under dialogue. It’s a very different set of criteria to look for music that works with a picture. You’re enhancing something that’s already there. So it’s different, you’re not listening for a full album; I’m listening for a song. It’s just different.

BE: Do you get bombarded with submissions from crappy bands?

AP: Yes! (laughs) But I also get bombarded with submissions from really great bands.

BE: (laughs) Right. What would you say is a percentage of what gets used from what’s sent?

AP: Well what actually gets used is such a small amount. I think I probably keep about 50 percent of what comes into my office. But as far as what actually makes it to air is unfortunately a really small percentage because we can only use so many things. Really good music doesn’t get placed sometimes just because the appropriate scene didn’t present itself for whatever reason. It might be a great song by itself, but with the dialogue wasn’t quite the right mood.”

Read the rest of Mike’s interview here.

We can’t have it much better than this

In support of their latest album, You Could Have It So Much Better, Franz Ferdinand delivered one spectacular live performance after another, including an October show at The Greek Theater in LA. John Paulsen from Bullz-Eye.com was there:

“Live and in person, the new album played quite well. The first single, “Do You Want To,” garnered a considerable reaction from the crowd, while their energetic live performance of “What You Meant” has subsequently made it my favorite track from the new disc. Kapranos introduced one song in the middle of the set by saying “it’s an old one that we don’t play very often.” The track? Just the monster 2004 hit, “Take Me Out,” which the band still seems to enjoy playing, even for the billionth time.”

Click here for the full review. Also, don’t miss John’s review of You Could Have It So Much Better:

“They could have kept touring. They could have stayed out on the road for another year, hitting the same cities over and over, continuing to push their self-titled debut while making loads of cash. Instead, they avoided the usual post-tour extended vacation and moved into a country house just South of Glasgow, to write and record their sophomore effort, You Could Have It So Much Better. It was a risky move – the debut was just a year old and continues to sell like hot cakes (assuming that hot cakes still sell well). While the band still likes their first disc, they wanted to move on, and after listening to YCHISMB, most fans will be grateful they did.”

Whose house?

As frontman for the legendary rap group Run-DMC, Reverend Run – born Joseph Simmons – has kept it on the down-low for the past few years, since the tragic death of his bandmate, Jam Master Jay. But 2005 brought the Reverend’s first-ever solo album, Distortion, as well as the debut of his MTV “reality sitcom,” called – what else – “Run’s House.” The good Reverend took time to speak to Will Harris from Bullz-Eye.com about these things, the VH-1 Hip Hop Honors, and his Words of Wisdom.
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Bullz-Eye: Obviously, you’ve got a history with the rock and rap combo there. Was that, like, an intentional choice to…

Reverend Run: Yeah, we were the first to do it with “Rock Box,” and then we made “King of Rock,” and finally “Walk This Way” was the biggest.

BE: So was that an intentional choice, to continue that bridge to this new album?

RR: Uh, it’s just intentional to make what I make, to do what I do, to do what I’m put on this earth to do. So it was a very simple process because I just did…me. I was inspired by me, and that whole Run-DMC type of Rick Rubin-ish, Russell Simmons, Larry Smith era, where we made these types of records, and I just went there and camped out there and made records from that day.

BE: I heard the single’s being included in “Madden ’06 Football.” How…

RR: Yeah, that’s a breakthrough for me…and, then, I have the television show coming on MTV, which is a major breakthrough.

BE: Right…

RR: It’s called “Run’s House.” It’s replacing “The Osbournes.” I’m very excited about that.”

Check out everything the good Reverend had to say here.

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