Classic Rock Review: The Who-WHO

Release Date: December 6, 2019

Label:  Polydor

Website

It has been said that before death, one’s life flashes before them. With threads from their 55-year history as the loudest and most influential band on the face of the earth woven into the music, The Who’s latest
release, WHO feels like such a flash. It is a journey through the past, a reminder of their power and influence, and a defiant “Love, Reign O’er Me” cry from the front of the stage. No, The Who will not go gentle into that good night.

Pete Townsend has never been accused of holding back. Whether as the deaf, dumb and blind, Tommy or the alienated mod Jimmy, Pete bares the soul of the characters he’s created who are misunderstood and marginalized by society. Pete invented not giving a fuck conveying to disaffected youth, that not only is it okay to be true to yourself, but you will also suffer if you don’t. The energy and aggression The Who as a band, bring to Pete’s songs, amplify both the sound and the fury producing enduring and inspirational anthems.  

After hearing the first lyric on WHO, “I don’t care, I know you’re gonna hate this song.” I pumped my fist with excitement and defiance. It’s not exactly “I hope I die before I get old,” but 54-years later, the attitude is the same. Who fanatics will agree that Pete’s lyrics can contain not-so-subtle digs at Roger, and I can’t help think that this is one of them? …

"that’s fair, we never really got along.” The union of Pete and Roger has survived a half-century, and while oil and water don’t quite mix, they look pretty cool when you shake them up. 

While the surface of these songs is polished, the underlying structure is diverse and complex. Supported by accomplished musicians such as Benmont Tench (Tom Petty), Pino Palladino (The Who), and Joey Waronker (Beck, REM), and at times a full-blown orchestra, the arrangements are multifaceted, and the richness is palpable. It is apparent that perfectionist and original studio gear-head Pete Townshend fussed and fine-tuned until he got it right.

Many of these tracks bring to the present, echoes of the past. “All This Music Must Fade” unearths “The Music Must Change.” “I Don’t’ Wanna Get Wise” resurrects “My Generation.” “Detour” is a nod to the original band name and conjures the foot-stomping freestyling “Join Together.” “Rocking in Rage” is a soul-bearing confession reminiscent of the driving introspection of “The Real Me.”

These are all strong tracks, yet the real gems on WHO are not those which give us a taste of what was, but those that give us a taste of what might be. “Beads on One String” and “Street Song” are this reviewer’s personal favorites.

Not all these tracks hit the famed red, white & blue mod target, however. The Simon Townsend (Pete’s brother) penned “I’ll be Back” is more of a love song that seems out of place and better suited for yacht rock than classic rock. “She Rocked My World” has a sleepy Latin jazz vibe making it feel tired and misplaced. Simon’s other song on WHO, “Break the News” is far more upbeat and a catchy Mumford & Sons-type romp.

Worth noting is the deluxe version, which contains three bonus tracks, two of which are forgettable. The third, however, “Got Nothing to Prove” is a previously unreleased early-60’s gem. Re-orchestrated, it exemplifies the ambition of the band at a young age and nothing short of groovy, baby, groovy.

All in all, this is one impressive offering. The Who have tapped into the well of ingenuity to create the most surprising album of the year. Now in their mid-70’s, Pete and Roger have produced a collection as big and bold as any fan could hope for. After all, old age should burn and rage at close of the day, or as Roger sings in the closing track “Rocking in Rage,” “defying the clock in one last rampage.”

Let’s hope this isn’t The Who’s life flashing before their eyes, but an example of what groundbreaking (and guitar breaking) bands are capable of in the twilight of their careers. This Who fanatic is thrilled they didn’t die before they got old as this is where some of their best work has been born.

Tom Endyke - MuzikMan.net Staff

December 31, 2019

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Tracks:
01. All This Music Must Fade
02. Ball and Chain
03. I Don’t Wanna Get Wise
04. Detour
05. Beads on One String
06. Hero Ground Zero
07. Street Song
08. I’ll Be Back
09. Break the News
10. Rockin’ in Rage
11. She Rocked My World
Deluxe Edition Bonus Tracks
12. This Gun Will Misfire
13. Got Nothing to Prove
14. Danny and My Ponies
 

Rock Review: Laura Cox-Burning Bright

Release Date: November 8, 2019

Label:  Verychords

Website

French guitarist and vocalist, Laura Cox’s sophomore release, Burning Bright, does not presume to blend, overlap, or invent genres. It is Rock and Roll straight, no chaser. There is no trickery here, no curveballs, sliders or screwballs. Burning Bright is a blues-based rock and roll fastball right down the middle. 

Laura Cox’s rise to fame came about via social media when homemade videos of her classic rock covers on YouTube went viral back in 2008. After accumulating over 60 million views, she assembled “The Laura Cox Band,” and this lineup spawned 2017’s critically acclaimed Hard Shot Blues and has stayed intact for Burning Bright. Her playing pays homage to Jimmy Page, Toni Iommi & Billy Gibbons, yet leaves enough room to blaze a path all her own. Her vocals blend the badassery of Lzzy Hale with the soulfulness of Melissa Etheridge.  

Since Laura Cox is bearing the torch of the New Classic Rock movement, it is difficult not to call these tracks derivative. After all, that’s the bus she rode in on. The lyrics on songs such as “Fire Fire” and “Freaking out Loud” are as simple as anything you might hear from the mid-80’s metal bands such as Motley Crue, and Bon Jovi. Yet, the underlying musicianship is far more complex, and the shredding more extraordinary. 

This reviewer gravitated more towards the less in-your-face rockers and the slower blues-based tracks such as “Bad Luck Blues,” “Looking Upside Down,” and “As I Am.” These tracks inject some space into the songs allowing Ms. Cox’s guitar and vocals to breath. The result is that the listener breaths as well, taking in and appreciating the entirety of each song.

With her Les Paul Bacchus Duke guitar, Laura Cox is defibrillating the heart of Rock and Roll, which some have prematurely written off as dead. So, if you like your Rock hard, heavy and heartfelt, Burning Bright will burn brightly for you. 

Tom Endyke - MuzikMan.net Staff

December 14, 2019

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Tracks:
01.  Fire Fire
02.  Bad Luck Blues
03.  Last Breakdown
04.  Looking Upside Down
05.  Just Another Game
06.  Here’s to War
07.  Freaking Out Loud
08.  As I am
09.  River
10.  Letters to the Other side
 

Prog Rock Review: District 97-Screens

Release Date:  October 4, 2019

Label:  MindScan Records

Website

The Chicago-based prog-rock quintet, District 97, is back with a new studio release, Screens. Both the band and their sound have evolved through several incarnations since their inception in 2006. The band started as an instrumental rock band until changing direction in 2007 when American Idol finalist, Leslie Hunt, joined as vocalist. A few years later, a renowned Chicago Symphony Orchestra cellist, Katinka Kleijn joined the band as well. Ms. Hunt’s vocals capture the angst of society’s marginalized. Her vocals, combined with the unabashed musicianship, form a curious, yet absorbing the sonic experience.

Screens pick up where the band’s previous three studio albums leave off, with a more evolved and accessible sound. Therein lies one challenge I faced as a listener, blending the stylistic, almost pop vocals into what feels like an unnatural prog-rock habitat. As a result, I found it hard to surrender completely. Just as the Zappa-esque prog/jazz/fusion creativity takes me in one direction, the glossy vocals take over and pull me in another.  

Songs like “Bread & Yarn,” where vocals are more subdued and democratized, stand out. “ShapeShifter” and “Ghost Girl” come closer to vocal/musical synergy as Hunt sounds a bit less polished and produced. This suits the twists and turns of the undercurrent well. Vocals aside, some masterful performances are starting with Jim Tashjian’s jazz-infused guitar licks where he takes the listener on short sprees away from the rhythm and masterfully returns them to the start. Founder Jonathan Schang’s drumming is clever, accomplished, and brings forth rhythmic illusions in the vein of Gavin Harrison of King Crimson and Porcupine Tree. 

While the blend of pop and heavy prog may not be everyone’s cup of tea, one can tell by the skill of the players, the shifting tempos, and the spaces left between the notes that District 97 would be an engaging live band. The One More Red Night album released in 2014 confirms the assertion. 

Overall, District 97 embodies the Prog rock principals of pushing the envelope and opening the listener’s mind to new sonic possibilities. This is a modern progressive sound that melds elements not typically melded together. While Screens shines in places, this listener had to work to find them and did not become as absorbed as he had hoped.  

Tom Endyke - MuzikMan.net Staff

November 7, 2019

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Tracks:
1.  Forest Fire
2.  Sheep
3.  Sea I Provide
4.  Bread and Yarn
5.  Trigger
6.  After Orbit Mission
7.  Shapeshifter
8.  Blueprint
9.  Ghost Girl
 

Prog Rock Review: District 97-Screens

Release Date:  October 4, 2019

Label:  MindScan Records

Website

The Chicago-based prog-rock quintet, District 97, is back with a new studio release, Screens. Both the band and their sound have evolved through several incarnations since their inception in 2006. The band started as an instrumental rock band until changing direction in 2007 when American Idol finalist, Leslie Hunt, joined as vocalist. A few years later, a renowned Chicago Symphony Orchestra cellist, Katinka Kleijn joined the band as well. Ms. Hunt’s vocals capture the angst of society’s marginalized. Her vocals, combined with the unabashed musicianship, form a curious, yet absorbing the sonic experience.

Screens pick up where the band’s previous three studio albums leave off, with a more evolved and accessible sound. Therein lies one challenge I faced as a listener, blending the stylistic, almost pop vocals into what feels like an unnatural prog-rock habitat. As a result, I found it hard to surrender completely. Just as the Zappa-esque prog/jazz/fusion creativity takes me in one direction, the glossy vocals take over and pull me in another.  

Songs like “Bread & Yarn,” where vocals are more subdued and democratized, stand out. “ShapeShifter” and “Ghost Girl” come closer to vocal/musical synergy as Hunt sounds a bit less polished and produced. This suits the twists and turns of the undercurrent well. Vocals aside, some masterful performances are starting with Jim Tashjian’s jazz-infused guitar licks where he takes the listener on short sprees away from the rhythm and masterfully returns them to the start. Founder Jonathan Schang’s drumming is clever, accomplished, and brings forth rhythmic illusions in the vein of Gavin Harrison of King Crimson and Porcupine Tree. 

While the blend of pop and heavy prog may not be everyone’s cup of tea, one can tell by the skill of the players, the shifting tempos, and the spaces left between the notes that District 97 would be an engaging live band. The One More Red Night album released in 2014 confirms the assertion. 

Overall, District 97 embodies the Prog rock principals of pushing the envelope and opening the listener’s mind to new sonic possibilities. This is a modern progressive sound that melds elements not typically melded together. While Screens shines in places, this listener had to work to find them and did not become as absorbed as he had hoped.  

Tom Endyke - MuzikMan.net Staff

November 7, 2019

REVIEWS PROVIDED BY:

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MuzikMan Productions

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Tracks:
1.  Forest Fire
2.  Sheep
3.  Sea I Provide
4.  Bread and Yarn
5.  Trigger
6.  After Orbit Mission
7.  Shapeshifter
8.  Blueprint
9.  Ghost Girl
 

Rock-Blues-Psychedelic: Jimi Hendrix-Songs For Groovy Children (The Filmore East Concerts)

Release Date: November. 22, 2019

Labels: Experience Hendrix L.L.C., Legacy Recordings

Website

Come one, come all. Groovy children unite! Today we are talking about the king of guitar himself, Mr. Jimi Hendrix. His record company recently created a tribute box set called Songs For Groovy Children, which includes his classics and unreleased live performances across five CDs. The best part about live albums is that the artist can’t hide behind the vocal effects. There are no retakes, no breaks, and no time to think things over. It’s just the artist, the audience, and 10 feet in between.

Disc one is comprised of songs that we’ve heard before. “Lover Man” has an iconic riff that makes you wonder how someone’s fingers can move that fast. The smooth transitions in this song between sections and the sound quality of the electric guitar are crazy good. He pulls out all the stops with the tremolos, pickups, and loads of vibrato.“Bleeding Heart” takes us down south with soulful vocals and the bluesy bass line. It's the kind of song that you expect to hear in a dimly lit cajun-themed bar. “Izabella” has a lot of flavor to it. You don’t even have to like rock music to appreciate the raw talent of Hendrix’s playing.

Disc two has the bulk of new/remixed songs. “Changes” comes up on four of five of the CDs. Each version has a unique sound to it, almost like how a filter changes the tone of a photo. We also see different variations of “Stop,” “Power Of Soul,” “Machine Gun,” and a few others. “Auld Lang Syne” starts with a clip from the original song. The crowd goes wild as Hendrix starts to play his version of the song on guitar. The concert took place on New Years' Eve/Day, so it is fitting to include this one in the mix.

There is a Woodstock element to disc three. The songs were recorded in the ’70s, so it makes sense that they would have the authentic groove. “Changes” has a moment near the end where Hendrix preaches to the audience, and they go crazy with whistles and chants. He had a significant impact on people of all ages and continues to change young lives today. For the '70s, the live tracks sound like they were recorded in a professional studio. Yes, the Equalization is slightly off, but it's difficult to get it right with thousands of screaming fans in the recording.

Disc four has more of that cross over that we saw from the previous discs. I for one am a Hendrix fan and will never get tired of listening to his songs. It's a shame that he passed away at such a young age. It would have been incredible to see how far he could have come if he had lived another 50+ years. Hendrix took songs to new heights. "Machine Gun" has an interesting mix of colors in it. There isn't a great way to describe it. You would have to listen to it to understand it.“Steal Away” is more mellow in sound. It’s an easy-listening song that would be perfect for a busker to perform. Its simplicity is perfect for people who want to learn how to play a Hendrix song.

Disc five flows better as a set. "We Gotta Live Together" involves the crowd. They are instructed to clap their hands with the beat of the song. I love that Hendrix's team left in clips of his interactions with the audience. That is how you know that he was a true performer. A lot of acts nowadays don’t have the flair and style that Hendrix had. Hendrix puts a cool spin on his cover of "Wild Thing" by The Troggs. It feels less boy band and a more mature rock. "Purple Haze" is the last song you'll hear on the set. It is thought that Hendrix is referencing psychedelics in his lyrics, which wouldn't be a shock. It ends the CD with lyrics that give you something to think about. I guess that's why they call it "The Jimi Hendrix Experience."

Hendrix is beloved all around the world because you don’t need to speak English to understand the language of music. The dynamic range that comes from his guitar is insane. Though Hendrix wasn’t much of a singer, it is impressive that he managed to sing while he shredded. Most of Hendrix’s fans have their favorite songs and it was a smart move for his record label to release the best takes of his live songs. The 5-disc set (43 songs) retails for $60, and the vinyl set retails for $120. Each album has collector’s photos of Hendrix performing. It has been about 50 years since Hendrix passed away. His music is celebrated globally, and clearly, there is still a market for his songs. Jimi Hendrix is a household name. You can buy tour tickets to see other guitarists play his songs, and many people do. Which is a testimony that Hendrix is still changing lives from the grave.

Lily Clark – Berklee College of Music Intern
November 9, 2019
 
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Tracks:
12/31/1969 1st Set:
DISC ONE:
01. Power Of Soul               
02. Lover Man               
03. Hear My Train A Comin’       
04. Changes                
05. Izabella                
06. Machine Gun               
07. Stop                           
08. Ezy Ryder               
09. Bleeding Heart            
10. Earth Blues               
11. Burning Desire           

12/31/1969 2nd Set:
DISC TWO:
01. Auld Lang Syne%           
02. Who Knows%               
03. Fire                   
04. Ezy Ryder*               
05. Machine Gun%               
06. Stone Free               
07. Changes*               
08. Message To Love*           
09. Stop*                   
10. Foxey Lady                

1/1/1970 1st Set:
DISC THREE:
01. Who Knows               
02. Machine Gun               
03. Changes+               
04. Power Of Soul%                   
05. Stepping Stone%            
06. Foxey Lady+                
07. Stop%                   
08. Earth Blues+               
09. Burning Desire%               

1/1/1970 2nd Set:
DISC FOUR:
01. Stone Free%               
02. Power Of Soul#           
03. Changes#               
04. Message To Love#           
05. Machine Gun%               
06. Lover Man*               
07. Steal Away*               
08. Earth Blues%               

DISC FIVE:01. Voodoo Child (Slight Return)%       
02. We Gotta Live Together#       
03. Wild Thing%               
04. Hey Joe*                                          
05. Purple Haze*               

*previously unreleased
+ first time on CD/LP/streaming (previously only available as part of concert film)
#longer, unedited versions of previously released material, and newly remixed
% back in print on CD/LP for the first time in a decade, and newly remixed
 

Rock/Prog Rock-American Tears-White Flags

Release Date: June 21, 2019

Label: Escape Music Ltd

Website
 

The renaissance of 70’s power keyboard legends, American Tears is in full force with their second release in as many years, White Flags.  Not only are they influenced by keyboard-driven progressive rock of the album-oriented 70’s such as Emerson, Lake & Palmer, Genesis, and Deep Purple, they helped define the genre. Founder Mark Mangold’s boundless musical energy and skill spawn critically acclaimed, yet commercially unsuccessful releases Branded Bad and Tear Gas in the mid-’70s.  American Tears would morph into Touch in the early ’80s yet remain clouded in anonymity.  Mangold moved on to collaborate with artists such as Michael Bolton, write hits for Cher and Benny Mardones, and release his solo records.

The band’s current incarnation unearths an ambiance from a time in rock history when keyboard solos reigned supreme. Tom Scholz’s masterful Hammond organ solo on Boston’s Smokin comes to mind.  Mangold’s keyboard riffs are rife with passion and energy. The moment you feel him about to wind down and wrap up, he reinvents the song and takes it to another level.  In this regard, American Tears defies formulaic structure. To the delight of the listener, these songs keep going and going. After all, if you’re enjoying the ride, why would you want it to end? 

In a recent interview on The Final on Vinyl Podcast (or play below), Mangold quotes Pete Townsend when The Who was accused of sounding self-indulgent and pretentious “Thank you very much,” said Pete, clearly proud of being labeled as such. Mangold is justifiably proud, as well.   

Listening to his vocals on White Flags, one is reminded of the soul and range of The Cult’s Ian Astbury.  Each song on White Flags is consistently upbeat with a broad array of tempos and melodies.  Two of the more soulful tracks which accentuate his vocal range come in the form of “Give me More” and the album’s closer “White Flags.” 

To Mark Mangold, White Flagsis about surrender and sacrifice.  Giving up the battles and giving all of oneself is a sure path to freedom. The lyrics, vocals, and driving power keyboards echo that refrain.  Those who remember American Tears from the ’70s will enjoy this next chapter in their evolution while an emerging fan base is sure to keep growing. 

Tom Endyke - MuzikMan.net Staff

October 19, 2019

Key Tracks Include: “Hell or High Water,” “Fire Down Below,” “Turn U On”, “Turn the Page”

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Tracks:
01. Turn U On
02. Wake up City
03. Hell or High Water
04. Waltz of the Angels
05. Fire Down Below
06. Give Me More
07. Love is Love
08. Turn the Page (Blue Dog)
09. Pitch Black
10. Keep on Movin’
11. White Flags

Rock/Prog Rock-American Tears-White Flags

Release Date: June 21, 2019

Label: Escape Music Ltd

Website
 

The renaissance of 70’s power keyboard legends, American Tears is in full force with their second release in as many years, White Flags.  Not only are they influenced by keyboard-driven progressive rock of the album-oriented 70’s such as Emerson, Lake & Palmer, Genesis, and Deep Purple, they helped define the genre. Founder Mark Mangold’s boundless musical energy and skill spawn critically acclaimed, yet commercially unsuccessful releases Branded Bad and Tear Gas in the mid-’70s.  American Tears would morph into Touch in the early ’80s yet remain clouded in anonymity.  Mangold moved on to collaborate with artists such as Michael Bolton, write hits for Cher and Benny Mardones, and release his solo records.

The band’s current incarnation unearths an ambiance from a time in rock history when keyboard solos reigned supreme. Tom Scholz’s masterful Hammond organ solo on Boston’s Smokin comes to mind.  Mangold’s keyboard riffs are rife with passion and energy. The moment you feel him about to wind down and wrap up, he reinvents the song and takes it to another level.  In this regard, American Tears defies formulaic structure. To the delight of the listener, these songs keep going and going. After all, if you’re enjoying the ride, why would you want it to end? 

In a recent interview on The Final on Vinyl Podcast (or play below), Mangold quotes Pete Townsend when The Who was accused of sounding self-indulgent and pretentious “Thank you very much,” said Pete, clearly proud of being labeled as such. Mangold is justifiably proud, as well.   

Listening to his vocals on White Flags, one is reminded of the soul and range of The Cult’s Ian Astbury.  Each song on White Flags is consistently upbeat with a broad array of tempos and melodies.  Two of the more soulful tracks which accentuate his vocal range come in the form of “Give me More” and the album’s closer “White Flags.” 

To Mark Mangold, White Flags is about surrender and sacrifice.  Giving up the battles and giving all of oneself is a sure path to freedom. The lyrics, vocals, and driving power keyboards echo that refrain.  Those who remember American Tears from the ’70s will enjoy this next chapter in their evolution while an emerging fan base is sure to keep growing. 

Tom Endyke - MuzikMan.net Staff

October 19, 2019

Key Tracks Include: “Hell or High Water,” “Fire Down Below,” “Turn U On”, “Turn the Page”

REVIEWS PROVIDED BY:

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MuzikMan Productions

MuzikMan Reviews

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Tracks:
01. Turn U On
02. Wake up City
03. Hell or High Water
04. Waltz of the Angels
05. Fire Down Below
06. Give Me More
07. Love is Love
08. Turn the Page (Blue Dog)
09. Pitch Black
10. Keep on Movin’
11. White Flags

Rock Review: Flying Colors-Third Degree

Release Date: October 4, 2019

Label: Mascot Label Group / Music Theories Recordings

Website

We are sitting at crossroads here. At times Third Degree sounds like an underground Grunge band and then it gives off a Kings of Leon-type vibe. With the length of this record, it’s only fair that the album sends its sound in several different directions. Flying Colors sets themselves apart from the typical Rock group in the manner that it possesses facets of all sorts of tones and emotion, where similar bands have one or two tones or moods to them. The same can be said of the Pop genre as well but, that is a story of a different day. 

Flying Colors gives off a positive vibe of soothing rock tones. If in this case, you judge a piece of work by its cover, then you judged correctly. Though each track is not your typical 2 to 4-minute ear-worm, it feels more sophisticated. 

The longevity acts as a storyboard of sorts, except, there is no clear-cut resolution in this tale. It is just pure relaxation and enjoyment for anyone looking to be entranced by “Cadence” or journey through “Guardian.” So long as the listener comprehends that they are in for a musical ride of their life, nothing but happiness will arise. 

The band knows how to capture its audience and bring new listeners on board. They do not start their album with any particular extreme one way or another in terms of notation and lyric (or lack thereof in some songs). They simply let the emotion and music guide them through the minutes of each track. 

Gregg Keniston - MuzikMan.net Staff

October 18, 2019

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Tracks:
1. The Loss Inside
2. More
3. Cadence
4. Guardian
5. Last Train Home
6. Geronimo
7. You Are Not Alone
8. Love Letter
9. Crawl