Kontrust - Secondhand Wonderland

And now for something completely different! I honestly know nothing about this band outside of their current album thanks to Rdio. It was in the new release listings so I clicked on it to give it a listen and I'm sure glad I did because I really like this record. They are a complete whacked out combination of System Of A Down and Evanescence with a bit of Korn mixed in for good measure. From the opening cut "Sock N' Doll" you are up to speed on what this album is going to deliver. 

The group has a real talent for slapping odd sounding words with an excellent cadence that makes me at least want to sing along immediately. Convention is thrown out the window here, as evidenced by “Monkey Boy” and “Rasputin.”  What is consistent throughout the album are the vocals, which alternate between the female vocalist Agata and the male vocalist Stefan.  Both bring their own unique styles and range, with Agata providing the pop-sounding vocals and Stefan providing a surprisingly good German or Russian folk singer with touches of Reggae all done with a metal growl.  As for the supporting music, there isn’t much in the way of being able to analyze the basics, as much of it is jumping from style to style, which can be reggae at one point, and then jump into polka and then on to circus music.  The best way to truly enjoy Second Hand Wonderland is to just not think about where the music is going at all and enjoy the ride.

Lyrically speaking, it’s difficult to get into a genuine analysis with material like this seeing as how English isn’t the primary language for any of the members of Kontrust and my understanding of German is about as profound as my understanding of whale songs. What’s not tricky to get into in regards to Secondhand Wonderland is the instrumental aspect of the album. I dare you to listen to this record without feeling the urge to get up and move. It has a kind of energy to it, the kind typically reserved for children hopped up on too much soda and sugary sweets, that makes you want to spring out of your chair with reckless abandon. The driving rhythms and crunchy guitars are at the root of this sensation.

Now at some points this album become so absurd that you might think you're having a nightmare or have drank the kool-aid but c'mon who doesn't want to hear heavy metal and yodeling mixed together? I sure as hell do and maybe that's exactly why I think this band is brilliant. Listen to the more accessible "Adrenalin" to which you'll be rocking along until all of sudden the circus music breakdown appears and if you don't crack a smile their is something wrong with you. Rammstein who do make some crazy German nu-metal have nothing over this band but with that said just do it.

It goes without saying that if you can’t bring yourself to listen to music with an open mind you probably aren’t going to want to bother with Secondhand Wonderland. I’ll be the first to admit that Kontrust definitely isn’t for everyone. That said, if you have it within you to experience an album that is somewhat innovative and meant to be good-humored, give this record a shot – I promise that if nothing else you’ll come away from it with an appreciation for peculiarity.

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Little Caesar - American Dream

The band that never quite made it is back for one more turn of the key to see if it starts the car. The trouble is that no matter how many times they try this band is missing something that the mainstream can grab a hold of. I don't know exactly what it is either because other retro acts to very well. The bands first album was great and hit all the right chords but the Black Crowes exploded and Little Caesar was met lukewarm success.

Here we are now at album number four which included a break-up for a few years and then a reunion album that was terrible and now the second album post break-up titled American Dream. This album suffers from cheap production which is also muddy at times and that is too bad because the songs overall are pretty decent.

Album opens with "Holy Roller" a good song then the more southern biker rock mixed with blues takes hold of most things until the decent power ballad "Only A Memory Away" appears. The song lacking the necessary production values for this sort of song makes it a little weak. The best songs on the record are all together in the middle section of the record. The aforementioned power ballad and "The Girl's Rockin'" along with "Is Your Crazy, Gettin' Lazy" after this three pack two more album cuts and then a great blues rocker "Dirty Water" closes what is a probably the best this band can come up with at this point in their careers.

I say if you are a fan buy it if you aren't then pass on it.

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Kill Devil Hill - Kill Devil Hill

This is a new band containing a rhythm section that is second to none Rex Brown who's from a little band you may have heard of called Pantera and the drummer is only this lightweight Vinny Appice. How in the hell can this duo be complimented musically well they grab two unknown budding rock stars by the names of Jason "Dewey" Bragg to fill the vocal position and Mark Zavon who steps up and rips on the six string fretted machine.

Mark was in W.A.S.P. for about 5 minutes back in 2006 but he finds himself in a much better band circa 2012 for sure. Considering Rex and Vinny have done some pretty stellar work in their previous bands this album stands up to their legacy. Sure it isn't genre defining and isn't going to be the answer to Pantera or the second coming of Dio but it's damn good for sure. Kill Devil Hill have done what too many new bands with older members fail to do and that is write modern kick ass hard rock.

Album opener "War Machine" is a hot nu-metal styled rocker that delivers and showcases the members as a band with nobody getting billing over the other. It sounds cohesive and honest and that feeling continues throughout the album. I have to say Dewey is impressive as a vocalist he's clear and present and sounds like a pro without being too abbrasive which was always a complaint I had about Phil Anselmo. When he does some screaming and rock moaning in the Robert Plant playground on "Rise From The Shadows" he still retains presence without hurting your ears.

Much of the album is a mid-tempo affair but with solid songwriting and great production it doesn't make the album come off as carbon copied versions of the previous song. Each tune has its own thing going on which is nice considering that usually nu-metal or grinding type metal all sounds the same after a few songs. I like the song "Strange" a lot and this should be considered as a single for them as it has crossover potential to modern rock radio and rock radio. I'm sure Octane will be all over this band which will be nice to hear less Avenged Sevenfold at this point.

"Old Man" reminds me of later era Dio at times in composition. I love the guitar riff of the song and the near Deep Purple dancing groove that plays through. The boys slow it down with a very Zep styled "Mysterious Ways" an excellent tune and is right now my favorite song on the album. It's got some nice acoustic guitar playing and Dewey's swirling vocal paterns fit the melody perfectly. The next track is very heavy Alice In Chains spirited rocker that would sound comfortable on one of their albums.

In closing the band tracks twelve tunes and closer "Revenge" which is just as good as anything on the album and is a little more playful than the previous eleven songs. I like Vinny's drumming here and again the very Yngwie meets Blackmore guitar riffing is solid as a rock. Overall this album is a great listen and I can see this doing decent business at radio be it satellite or FM.

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Fight - War Of Words

1993's debut of Fight the post Judas Priest band of Rob Halford was such blessing after the disappointing Painkiller album a few years previous. I never liked that album overall no matter how much I tried it just paled in comparrison to Turbo and Ram It Down. I'm not going to lie I really liked Turbo and I think Ram It Down has some great moments. All moving the Judas Priest machine forward to where Rob wanted to go with the band. This album is the inevitable culmination of the Painkiller sound but with the song writing chops that lacked on that record.

War Of Words opens with the face melting "Into The Pit" with Rob shrieking "Bear Witness To Treason" on the opening line which pretty much sums up what this album is about to deliver. The albums first single/video "Nailed To The Gun" is next which is one of Rob's best compositions to date. The trade-off solo of the song between Russ Parrish and Brian Tilse are near magical in their greatness with a slight nod to Tilse for his skills over Parrish's on the track.

The album plays forward in the very adept manner with Scott Travis ruling the roost from his throne. He's such a great drummer and his cohort Jay Jay is no slouch on the bass as they combine to create a great groove on the album. This record which starts off gangbusters does slow down a little with the best of the middle part being "Little Crazy" which actually saw a charting position on Billboard's Mainstream Rock Tracks chart at  #21. Rob sounds about as demented as he's ever sounded on "Little Crazy" and that lends well to the dark groove the band laid down.

Track nine is "Contortion" which is one of the standout tracks on War Of Words. It's got another great riff grinding along with Tilse pulling co-lead vocal duties. But the jewel is "Kill It" this song has all the fist pumping, headbanging thrash-tastic heavy metal goodness one could ever ask for. I'm sure a few were injured while participating in the enjoyment of this track. This is a monstrous stomp and one of my favorite tracks to listen to on War Of Words.

The album has been remastered which improved the overall quality in sound. I'd recommend buying that version instead of the original on CD if you were going to do so. The band went even deeper into the nu-metal sounds on the sophomore album. But this one is a classic from a decade which didn't produce much great music post 1994.

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Retro Rewind Track: Cheap Trick - Hard To Tell (Live)

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The Cult - Choice Of Weapon

The time has finally arrived and my anticipation is very high for this album considering they've returned to Bob Rock and they have the awesome John Tempesta playing drums for them with Chris Wyse completing the rhythm section. The Cult hasn't exactly lit the world on fire with their last couple of records and I'm saying that as a huge fan of the band.

Upon first listen this album is the return to form that I had hoped it would be Ian and Billy have recorded the album that I've been waiting twenty-one years for. Not just a continuation of Ceremony but they have incorporated that sound with their alternative rock masterpiece Love which has made for a huge eargasm.

The Cult have come full-circle with Choice Of Weapon, as it is their most consistent effort in years and combines sounds of the past, present and future. I must say that this is the strongest Cult line-up to date as well. The group sounds like a group which has been an on going issue with their albums since 1991's Ceremony. Right out of the gate the band sets the tone with "Honey From A Knife", a rockin' track that can go toe to toe with "Rise" from Beyond Good & Evil. 

"The Wolf" has a vintage Cult sound that's reminiscent of something from the Love sessions, clearly it isn't, but that's just how strong Choice Of Weapon is.  Billy Duffy reaches deep into his grab bag of riffs to echo the classic "She Sells Sanctuary" on "The Wolf," then rains down elegance in "Life or Death" and floors it on the powerful first single "For the Animals". That first single is a total rocking ass shaking classic of Cult proportions. 

As a rhythm section, Tempesta and Wyse are buck solid; they provide the proper throb and crunch for Duffy and Astbury to climb atop. Given the pulse of this set, even when a synthetic keyboard is used to introduce "Lucifer," it merely becomes part of the aggressive (yet always accessible) attack. That is mostly in part to the production attack the master magician Bob Rock. He's a god and he knows it and when he gets to work with such talent it shows just magical he is when his wizard powers are used to their full potential. 

If you didn't know better "A Pale Horse" could be confused as a track from Electric or Sonic Temple. Ian dives deeply into Jim Morrison's skin for his delivery of "This Night In The City Forever" that sounds like a lost Doors track that Jim just delivered from his graveside. Choice of Weapon is the Cult's finest moment in 21 years, it's the true swaggering heir to the period that birthed Electric, Sonic Temple and Ceremony. 

 

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Meiko - The Bright Side

Meiko's sophomore album is not one of those jinxed ones for sure. She opens up with "Stuck On You" that includes not only a great chorus and melody but finger snaps and how cool is that! The Bright Side, builds upon the singer-songwriter's buoyantly melodic indie pop sound. She has a little bit of Lenka in her voice with a playful child like twang swinging around in their as well. Meiko has streamlined her bedroom pop aesthetic while still retaining the intimate, girl-in-the-next-dorm-room vibe.

The Bright Side is an intimate, fearless song-cycle about risk, regret, tenderness and love. The songs are all wrapped up in 50's and 60's styled pop that lends well to her vocal skills. The beautiful "Lie To Me" takes you to a field of flowers on a sunny afternoon reminiscing about that summer love you don't want to let go of and don't want to end. Meiko's lyrics exude confidence while her soothing tone is reminiscent of her previous compositions. Her music seems so simple, but there are layers of complexity buried within each song that only a true craftsman like Meiko can blend together so effortlessly to create this multifaceted jewel of an album.

She splices in stylistic elements that lend a retro-chic familiarity to songs like "Lie to Me", "I'm Not Sorry", and "I Wonder". Meiko is another in what is becoming a long line of superb female vocalist in the 00's. There is a seriously wonderful whimsy on the album and sometimes she borders on twee pop territory but doesn't ever blatantly jump in and kick up its dust. The closing track "I Wonder" is a sweet little jazz inspired tune that would sound comfortable on a Norah Jones record. I highly recommend The Bright Side to anyone who likes singer-songwriter, sunshine pop or twee pop as this album will satisfy and improve your mood no matter what's bringing you down.

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Otherwise - True Love Never Dies

After listening to this album through a few times my initial reaction has stayed intact. I'm not overly impressed or unimpressed with True Love Never Dies. Sometimes the band have a good song sometimes they have a bad song sometimes they are just forgettable neither bad or good just meh.

The opeing "I" is a waste of tracking time and unnecessary as it blends into "Die For You" that is one of the better songs I guess. I don't have the drive to listen to it again but it's OK if it is playing. The next track "Lighthouse" is more melodic and enjoyable. The song has a good melody and a good chorus that makes it an obvious standout. I wish they would have been a little more hook oriented like say Nickelback or groove oriented like Rob Zombie. The band attempts to stay in the middle ground which is part of the reason I am not drawn into them as much.

"Scream Now" is pathetic and sounds like an alternative band trying to be heavy or a heavy band trying to make a crossover for the pop market. The song fails on every single level, the drivel and inability to be believable as they scream-o along in the song makes me a little nauseous. But once again they do a better job on the next track after the utter failure but again another of those songs that I'd not turn off just wouldn't be compelled to pay much attention. That feeling continues to near infinity on this record as the next few tracks pass by with barely a notice. They all blend together with little definition between each track and I think part of this is the stunted production that mutes the organics of the songs. The recessed guitar are so finely tuned to a certain distortion level that they lose a lot of power and aggression.

It seems like Otherwise are trying to be Shinedown by the middle of the record except they forget Shinedown can write and have dynamics. Oh wait a really good song! Isn't this a nice change that the band finally hit it "I Don't Apologize (1000 Pictures)" which works but could have had a little more definition between the instruments and an acoustic guitar could have added much depth to the song. But with that said I really like this song and I love the verses melody and the whirlwind swirling melody between the vocal lines.

Finally the albums best moment is upon us with the arrival of "Soldiers" but its been remastered or remixed or something. I still love the song and is the one song I'm compelled to listen to again and again from True Love Never Dies. Albeit I think the song sounds a little weaker remastered than the one I became familiar with on Octane. Another solid track "Heaven" which features Ashley Costello of the band New Years Day works well. I like the song and Ash does make the song better for sure.

A bonus version of "Soldiers" in acoustic form is included on the album and I have to admit I really like this version a lot. It makes the song even more powerful and a little darker and very, very affecting like as if your hiding in the trenches just waiting for the solace to explode into battle and eminent death that is about to surround you. A much more haunting and disturbing feeling is laid forth and the children singing alone at the end leaves a vision of dead bodies strewn all over the battleground. Very well done boys!

The unnecessary cover of Adele's "Rolling In The Deep" while not terrible takes away from the astoundingly great version of "Soldiers". Maybe tracking this one before would be a better choice. In conclusion "True Love Never Dies" has a few good songs a lot of forgettable songs and one incredible moment that made listening to the entire album a little less painful. Again I really didn't hate their cover and to be honest I really liked their breakdown arrangement of the song. They were able to keep the pain and anger in the song without ruining the melody making it too heavy.

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Wig Wam - Wall Street

The return of Sarpsborg, Östfold, Norway's Wig Wam with their fourth album is welcomed. The band of glam inspired hard rockers 2012 release is a high energy affair with some of their best material since the grand Wig Wamania which still today is a genre favorite of mine. The album opens with the title track and first single "Wall Street" that is a slick and gritty mid-tempo rocker which has all those excellent Wig Wam harmonies in the chorus. I like the darkness of the melody in this song and how it just has such a sleazy groove.

The album has very good production values with bright punchy guitars that are never too loud or overbearing. The vocals are exactly what you'd expect from the band with no expense spared for their massive harmonies. They always produce nice clear vocals that are easy to hear and understand. The homeland styled "Victory Is Sweet" is very Nordic and sounds like it could be the score for a national hockey or soccer video.

Sometimes the band lack in their songwriting as with the previously mentioned song but they get it right most of the time. As with the excellent pomp rock masterpiece "The Bigger, The Better" which is exactly the type of song I love to hear when I put on a Wig Wam record. It's happy with a giant punch and begs to be cranked up and sung a long to and I'm sure I'll be doing just that a lot.

A really excellent power ballad called "Tides Will Turn" slows things down a little but the song has all the trappings needed to make a quality power ballad. Glam (Åge Sten Nilsen) is in fine vocal form as he sings and the spectacular guitar solo by Teeny (Trond Holter) is astounding in its perfection for the song. Bands like Europe try to write great power ballads like this but never quite get to this class.

A very classic rock sounding "Wrong Can Feel So Right" follows nicely with a great melody and another excellent and tasteful solo by Teeny. I love the acoustic guitars dancing around on this song along with the female backing vocals. It all comes together perfectly and maybe this will be the next single from Wall Street. The album fails to disappoint as well has the band showing growth in all aspects of their sound. Wig Wam's instrumental track "Things Money Can't Buy" really shows how excellent Teeny's guitar playing is and his pitch perfect and very tasty soloing is given its own spotlight.

 The album laid down great chorus's and melodies from the beginning to its end and speaking of its end they do a cover of "Schools Out". The Alice Cooper masterpiece which has been covered before and done well by Krokus but usually pails by all the others. Here is a different story Wig Wam take the song and although it sounds like the original for the most part they put their own Wig Wam sound and arrangement into it. The band does a great cover and they did it with all the love and attention to detail that it takes to make a great cover song.

Overall Wall Street ties what I believe is their best album Wig Wamania even if they didn't match my favorite song of theirs called "Chasing Rainbows" which came from their last record Non Stop Rock & Roll. This band has never disappointed and I can only look forward to many more great albums from the mighty fantastic Wig Wam.

Rock & Roll greatness I say! Rock & Roll greatness!

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Hardline - Danger Zone

Right now I'm in a euphoric state because I've had some really cool bands release new music that I didn't expect to even be together any longer. This time it is Hardline who's debut album was nothing short of kick ass. The band since that debut has changed members losing the Journey portion of the band which I can't say I care about to be honest Schon hasn't really made great music in a long time.

The real part of this melodic rock band is Johnny Gioeli and here he put together a collection of music that is fitting for their hard rock sound. Overall this is a solid record for the Hardline name and one that is better than expected from a band today that is nothing but one member from their original album line-up and maybe that's a good thing considering how bad the last ten years of Neal Schon's writing of music has been.

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Retro Rewind Track: Fastball - Fire Escape

One of my favorites from the 90's, this song was in heavy rotation in my musical landscape in 1999 as was their other singles. Just loved them too bad they didn't have the chops to stick around.

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The Remix Cancer Of The 2010's

I remember the extended long play 12" vinyl from the 80's that just gave us longer versions of pop songs for clubs. Now we get a million remixes of everything now and the horrible junk these so called "remix artists" come up with is usually unbearably bad. I just had a listen to the latest Katy Perry single "Wide Awake" remix package. There wasn't one good worthwhile remix of the six tracks. Why does their need to be a chill version of the song? No DJ in their right mind would play this in a dance club unless he's working in a pot smoking cave where everyone is so stoned they can't do much more than sit comatose. The song gets remixed by Alex Ghenea in a manner that completely ruins the track. Whomever this shit flinging monkey ass reject is he or she should go back to mom's basement and stay there.

How about the Goyte track which isn't even a dance song but it gets infected with the remix disease. Dlake & Morsy take a great alternative song and infuse a droning dance drum track into it and poof the magic that was "Somebody That I Used To Know" is now terminally ill with remix cancer. The song has yet to be remixed on a level that satisfies me and I don't hold much hope that anyone can make this song work with a dance rhythm.

There are some songs and remixes that work better than the original studio track and I do love a great remix but with what seems every song being remixed I am losing interest in this genre. It was once cool to hear a remix of a pop song because there wasn't a million of them and complete albums worth of the same song re-imagined by lesser talented people.

You take Adele for another example and the idiots that have remixed her singles to failure outside of Jonathan Gering who's remix of "Someone Like You" retains enough of the original melody infused with an energetic beat that allows the track to be used for an uptempo dance floor jam. But then you get "Rolling In The Deep" remixed by numerous folks and none of them can get it right. Getting right is impossible because that song isn't a good fit for the pogo dance club beat and should be left alone as it is one of the entire decades defining songs. Songs like it will never be club anthems they aren't meant for that they have a deeper more affecting definition unlike jump rhythm house music or reggaeton jungle beats.

But you do find gems now and again in this form of the music industry like the brilliant remix of "What's Going On" the classic by one hit wonders 4 Non Blondes from the 90's. It stays true but ignites the track with a big beat. But again the unnecessary remixes of every Beyonce track or Rhianna track or Britney Spears track gets old really quickly and is more of an ego stroke than being good art. Music remixes are necessary for sure and I applaud the skilled people who have vision and talent to make a good song work in a different way but it is time to make better choices of what to remix and the song necessity to be reworked. Nobody needed a club remix of "Save A Horse Ride A Cowboy" the original track had more than enough oomph to put asses on the dancefloor without a shitty house inspired version.

Here is a small sample of good remixes:

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Check Out: Tom Jones - Tower Of Song

Sir Tom Jones has been around for over 50 years as a star entertainer. This year he's releasing his new album Spirit In The Room and here is his haunting and stark new single that is probably the best thing he's done since since the seventies.

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You Obviously Are A Fucking Moron!

It's funny how one stupid moron posts a comment on Facebook and my blood boils instantly upon reading it. Why in the bloody hell do people put down current music? They seem for some reason to believe that only old music is good. That's complete bullshit because all music was new at some point. So what, the new music just morphed from complete shit to classic because it aged a few years?  Shit music is always shit music no matter how long ago it was released.

I'd love to take all you who say this asinine sentence and punch you in the face repeatedly for the length of your favorite "old" song. There is not a chance that music today all sounds the same it can't because there is so much of it out there you can't hear it all so you can't know that. That is the first point the next one is that the influences of today's musical art draws from many ethnic or folk music from countries all over the world. You can get an artist like Norah Jones who injects styles and pieces from Jazz to African tribal music to straight up New Wave into her music. She has more things going on her albums than most people have ever heard in their entire lives.

We now have Indie Rock which is more so an explosion of styles in its most organic form that draws from Brit Pop, Lo-Fi and Classic Alternative with much folk inspiration. There are of course a lot of Indie Rock artists who use the New Romantic sounds of New Wave to paint within their idea of the genre. My belief is that at some point in your life people just stop listening to new music so their ears don't understand how music evolves. When you are stuck in 1958 and all you listen to is music on the oldies station then obviously you can't come close to understanding what Progressive Rock is as your audio definition would be obscured by the thrusting guitars and swelling keyboards and soaring vocals.

How in the hell can someone say music today is all about taking off your clothes and girls giving it up to guys? That comment is why this post has happened. I just couldn't vent on my friends Facebook post because I want to continue being friends. That moron must only hear Top 40 radio and what little music video stations play. How can you hear a song like "Living Dead" by the crafty and awesome Marina & The Diamonds and say such ludacris crap.

I'm living dead only alive
When I pretend that I have died
I haven't lived life, I haven't lived love
Just a birds eye view from the sky above
I'm dead I'm living dead 

Now as you begin to pull your head out from your ass and clean the shit out of your ears asshat you should be able to decipher that the song is much more steeped with meaning and has nothing to do with such shallow and daft ideas. Sure there are pop and hip-hop that plays repeatedly in that sort of mind set but that's pop music and 90% of it is geared towards young dumb and stupid along with club kids who are probably looking for just that to happen in real life. 

Even in the 80's which was a great decade for music as it opened up to many different styles and genre's had music that people said the same bullshit about and it pissed me off just as much but back then I just told whomever to let go of my ears I know what I'm doing. The tools that can't leave the 70's and the bell bottom rock of Nazareth, Lynard Skynard and Steppenwolf haven't even experienced those bands properly because all they know about them is their hit singles. Oh yeah "Born To Be Wild" is Steppenwolf's greatest song um no it's not even close and don't go anywhere near "Magic Carpet Ride" as its not the best of them either. They had so many other songs known as album cuts to you old dust crusties like Monster/Suicide/America which was track one from the 1969 masterpiece Monster. 

I look at bands like Great White who couldn't get noticed for the most part but after "Once Bitten Twice Shy" broke through to the mainstream suddenly all their old albums started moving big numbers and people were actually giving them a chance. Now they are cool because they are old but when they were current you called them shit and compared them to Led Zeppelin and others. Don't say you didn't because that's a lie and you know it. Very few actually owned their albums before that song made them a household name and then you bought it because it sounded similar to Zep but in all actuality they sound very little like Zep and more like Mott The Hoople and Sammy Hagar's old band Montrose.

How about how when Rap music broke, the same bullshit prophecy and sneering was all over it but now you love old school but not the new stuff because the new stuff isn't as good. Well if you actually listened to the new stuff you'd find great music from Ludacris, Nicki Minaj and LL Cool J who's still making new music. Not all of the Hip-Hop/Rap of today is cursing and demeaning woman there are really great fun songs in the genre albeit very sexual lyrically which when you look where it comes from and who it is marketed to that is what those youthful folks are looking for. You can't find any worse than NWA or 2 Live Crew because they did it all and did it first, not well and nowhere on the level Eminem takes their schtick to in the 2000's but hey I guess you hate Eminem too.

When you put down great bands like Collective Soul with this sort of fatuousness you are showing that you speak with no knowledge of topic in which you are spewing negative comments about. The assumptions in this path of which you walk have so many holes in it that I'm not sure how a black hole of stupidity doesn't consume you. Look at how different Nirvana is from Soundgarden or Stone Temple Pilots and tell me they sound the same and I would be forced to smack in the back of your head. Those three bands all considered Grunge sound nothing a-like and never in a million years could be confused for Adele. So I say next time you hear someone say that ask them why they are so close minded and ignorant (yes in the proper meaning) about something they obviously have no fucking clue about then tell them to fuck off and buy a brain that works.

See I love music even old music but I don't try to kid myself that it is impossible to make nothing but shit in current era. That's just ridiculous and is the reason why you are "A Fucking Moron!" as the title suggests. If music was all the same today why does Jessie J. have huge hit singles around the world and then Gotye's number one or soon to be everywhere exist, neither artist having songs about getting naked in a nightclub and girls giving it up to some guy. I suggest those of you who haven't actually explored music for the last ten or twenty years get your fingers hitting the keys on that keyboard moving along to Rdio or one of the other music subscription community sites and start listening with an open mind. The discovery will be amazing and you might actually be able to have an opinion that doesn't prove you to be a dark ages reject who thinks that only old things are good.

Music might be subjective but it is my life blood and is my only real passion that encompasses all aspects of my life. I can pretty much place a song or music experience to every memory I have and new music keeps me moving forward I don't get stuck in the past where people get old. I will be 80 one day and I'm pretty sure I will still be on top rocking along with the newest music genre's and trends because my brain will stay young as I continue to learn and love the greatest invention on planet earth, music. There is nothing better than hearing something I've never heard before and falling in love all over again and again and again.

Keep On Rock'n!

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Check Out: Regina Spektor - All The Rowboats

She's one of the best and most interesting female artists in the current music world. Her stuff is off the cuff but there is something special about her and she has a charm and charisma unlike most of her peers. This song has some serious depth with a very panic'd feeling in the tempo with a massive weight dancing in melody of the piano that really hits you in the stomach as it races into your ears.

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Norah Jones - Happy Pills (Late Show With David Letterman)

I totally love this song and I actually find it much zippier in this performance than the albums version. This might actually be the better version of the song to be honest. I put the audio on my I-Pod because I enjoyed it so much I wanted to take it with me.

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Silversun Pickups - Bloody Mary (Jimmy Kimmel Live!)

Their first single and I really enjoy the song hopefully you will as well. The studio version is obviously better but they did a decent job on Kimmel's show.

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Carrie Underwood - Leave Love Alone (Jimmy Kimmel Live!)

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Dee Snider - Dee Does Broadway

First of all this isn't the first time this sort of thing has been done and I'm sure it's not the last and usually the endeavor is a hit and miss affair. Dee Snider's take on most of these songs are pretty typical to his usual style which doesn't work as well sometimes as it should. I'd much prefer him to tone down the Twisted aspect and turn up the pop fun side of his history.

The cover of "I Get A Kick Out Of You" is much to grinding and heavy to allow the melody to be as playful as it should be. I don't like the guitar riffing at all in the song as it's grungy and works against the melody overall. Then you get "There Is Nothin' Like A Dame" with Priscilla Queen of the Desert cast that works because there was more thought and effort put into the arrangement of the song. The entire Broadway feel isn't lost or buried for the metal aspect.

Dee does get it right a bunch here and "Music Of The Night" is one of those tracks that just doesn't work here it completely suits his voice and he sounds comfortable singing the melody. It could have been written by him or for him as it fits so well. I wish he would have put this kind of effort into each track instead of complete crap like "The Joint Is Jumping" where he duets with his son Jesse who I think sings great but again too much metal and not enough swing and swagger. They could have made some really great here but they miss the point.

When the album is on the right track tunes like "Cabaret", "The Ballad Of Sweeney Todd" and "Mack The Knife" deliver the goods brilliantly. I enjoyed "Razzle Dazzle" a lot which sounds very much like an old Twisted Sister song that if you didn't know better you'd be fooled. In the end this album is a novelty album and will be nothing more than one. It is good but it's not great and it will not make Dee any more or less famous or credible. He is an entertainer and he doesn't seem to want to rock out any more in a serious manner so this is what we get instead of the proper TS record or a heavy metal crusher reminiscent of Widowmaker's Stand By For Pain. Take it or leave it Dee Snider's Broadway metal record is here, I'm probably going to leave it once the dust settles and the novelty wears off.

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Kiss - Lick It Up

When the band chose to appear without make-up it was because they had lost the majority of their North American market who'd become board with their overblown cartoon image. They were not quite a nostalgia act at this point. Enter Lick It Up a band who had no idea what being themselves would be like in the MTv generation but knew musically what they needed to make an impact.

The bands reveal of their faces served to inject interest in their best album in years and it was the only bullet they had left in their chamber by 1983. The chugging power of "Exciter" showed that they meant business this time. Peeled away much of the bubble gum rock exposing some more metal roots. On the second cut Gene's gruff vocals scream "Not For The Innocent" and this is obviously one of Gene's best moments since "Christine Sixteen" back in 1977.

Their fist single and the title track from the album drops the bubblegum hammer but does so with a more heavy sound in the production. Vinny Vincent is the reason that this album is as good as it is, Paul and Gene were right to allow him to have more input on the album. Every song has a huge chorus, infectious rhythm or great hook, Vinnie Vincent was now an official member and was finally able to put more of his own stamp on the guitar solos. Gene and Paul should have branded some lozenges after making this record because they sing (and sometimes scream) their asses off.

Gene rips on the vocals to "Young & Wasted" unlike he's done in the past. The chorus on this song has Paul who also has to really stretch his vocals to levels not heard before. There is a reason why they don't do this track live now because neither of them would be able to come close to re-creating this sound at their age. Eric Carr who is usually solid is even better here because he's less the star taking over the songs like it seemed on Creatures Of The Night an album I thought was terrible even though I enjoyed the BTO cover and the single from that record.

The music video for the second single "All Hells Breaking Loose" is almost as bad as the first one as the band looked awkward once again and not comfortable as themselves. Vinny never really had great stage movements or presence even with make-up and still today he's not the most flowing natural looking guitar player around. Gene tries to be the demon but comes off as a sleazy old dude in the video. Paul's natural flamboyance and feminine mannerisms show through not in the same way as they did hidden behind the costumes. With that said the song is a very cool near rap metal hybrid with one of the albums best chorus's.

Paul croons "A Million To One" which is one of the albums weaker tracks and a good idea of what to expect from him on future albums. Gene's in full cock-rock high gear on "Fits Like A Glove" another of his excellent tunes on the album. He steals the show on this track with a great chorus and a well sung tune that has a driving beat and is easily one of Kiss's best songs up to this point. Vinny's riffing is aggressive and his solo is a corker. He shows that Ace had nothing on him whether playing the guitar or composing kick ass songs. 

Lick It Up comes to a close with two excellent songs "Dance All Over Your Face" and one of my all-time favorite Kiss songs "And On The 8th Day". Gene once again hits a home-run with "Dance All Over Your Face" that has a bubblegum shine on the groovy hard rock rhythm. On the closing number Kiss unleash a true hard rock classic that once again Gene is in full gear musically. This album is Gene's shining moment in the entire history of the band and begins a long run of being the better of the two main members."And On The 8th Day" closes Kiss's 11th album in a manner that makes you want to hit play again and listen to the entire album over again to make sure it wasn't a dream that Kiss had actually returned to form.

The ensuing tour of North America was a debacle and Vinnie's ego got the best of him as he couldn't handle not being the star and getting all the credit for this album being a success. To think what Kiss could have done with this line-up if things would have worked out between the three Am-E-go's.

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John 5 - God Told Me To

As far as I'm concerned their are few six string masters that deserve the praise they receive. John 5 is one of the rare few that actually are guitar gods and he proves over and over and over again that he's on a plateau all by himself just under the master of all guitarists Steve Vai on his 2012 album God Told Me To.

The opening metallic shred fest "Welcome To Violence" lays the ground work for what is probably John's best solo album so far. The instrumental cover of "Beat It" while being great could be eliminated and replaced with an original in my opinion. When John does his best picking is on the acoustic masterpiece "The Castle" which is epic. The melody of the song dances and skips and flutters around in your ears tickling every little hair.

He repeats this brilliance on the acoustic guitar a few more times each one being as good as the last which when you reach perfection that is as good as it gets and that happens in the composition aspect a lot on this album.

A heavy thumping "Killafornia" is another of the terrific writing moments on God Told Me To. He actually doesn't write a bad song or give a less than stellar performance on each track. This is the best guitar record I've heard since Alien Love Secrets by Steve Vai. Even though Paul Gilbert has made some drool making moments on his solo albums now and again he's not made an all instrumental album as charismatic as this one and neither has Satriani for that matter.

This album never gets boring or stale or samey which many other artists in the shred arena do all the time. This is musical and fun sometimes dark and brooding with aggression bursting from the music but then other times its sweet, happy and uplifting that creates a very relaxing feeling. You know an album is great when you listen to it three or four times in a row. This album has achieved that more than once today. I listened to it about nine times today beginning to end and as I write this I'm still listening to it finding with more listens I like it even more.

Guitar players should be all over this record just to understand how to write great instrumental guitar driven songs with diversity and passion.

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