Rock Review: Mandoki Soulmates-Living in the Gap + Hungarian Pictures

Release Date: June 19, 2020

Label: 2020 Purple Pyramid Records

Website 

Mandoki Soulmates debuted in 1991. The band consists of many members but, the founding three are Ian Anderson, Jack Bruce, and Al Di Meola; along with Leslie Mandoki. Often coined as a ‘supergroup,’ Soulmates present themselves as a unified front. They direct the band as one whole unit, rather than several different bodies and voices just up on a stage. While most artists and bands either remain on one side or the other of the political aisle or keep their personal politics out of their artistry, Mandoki Soulmates lightly sprinkles political undertones throughout their music, especially on the newest released album Living in the Gap + Hungarian Pictures.

Now let’s get down to the business of the music. “Living in the Gap” starts the album with a big-band/jazz, funk-fusion that is quite fitting for such a time as this. The group sings of unity and bridging the ‘gap’ to where we separate from others intentionally on almost every subject nowadays. It also hints of a thought that there is no “right and wrong” rather, it’s a matter of collective agreement or disagreement.

“Young Rebels” is a shout to how all different young individuals, each with varying backgrounds and experiences are trying to get through each day of this world and possible change in a peaceful but ever-so-nonchalant manner. In the same way, they cannot decide whether they are trying to bring about some old ideals as a youth, or much older but with youth mindsets and hopes. “Turn the Wind” takes a bluegrass-like spin in the record. It comes down to simply a relaxed tune, but, it does beg the question within, “can we stop anything, anymore, at all?” Or, is it a lost cause in trying to make a big change? “Where We Belong” sings of this back and forth between feel-good moments and some that dig in a little deeper in pain or sorrow.

What I might call the ‘anthem song,’ “Let the Music Show You the Way” is a bright and uplifting tune to bring anyone out of their funk. Completely void of any particular signaling or message, it simply enlightens the listener that music is the universal peacekeeper as it allows us to align our feelings to any song we choose. “Too Much Pride” belts out a trumpeted jazz message of an overwhelming sense of pride, unable to move out of our own way to see more clearly, other individuals and how they see and feel through life.

“Old Rebels” is a continuation of “Young Rebels” but, carries the same message from before with a wiser, somewhat opposing perspective. “Welcome to Real Life” eerily fits well with today’s political and human climate. Between the unrest of all of us being quarantined and innocent individuals dying all across the country, the lyrics ring too true, wherever your viewpoints may fall. “Hottest Queen of Cool” invokes a sexy, sleek, jazzy number to a woman who absolutely dominates what seems to be the entertainment lifestyle, almost emulating a Hollywood starlet, turning everything before her, about her.

“Wake Up” is a call-out type of song to all who will listen to change the things we see going on in the world before it might be too late, according to the band at least. Singing of “dark hearts and free minds,” one can imagine, the song is to be about making the world as bright and light as can be. “Mother Europe” follows with a song seemingly of a love of the European continent as though they are defending the nation. “I’m Not Your Enemy” begins with a 2-minute and fifty-second instrumental, cool and mellow guitar-turned-keyboard-turned trumpet solo. Afterward, the singer comes in calm and peacefully proclaiming how she and another do not have the same mindset of anger and resentment. Instead, she speaks of how she will always remain by the other’s side. Another minute and a half instrumental solo takes place before the chorus chimes back in.

A stroke of a piano keyboard twinkles the next song, “Sessions in the Village.” While the singer sings of what sounds to be a very poetically structured verse, the song then cuts from her to a synthesizer party, including a trumpet at times;  making waves in this piece to make it seem like it is a village celebration. “Utopia for Realists” brings back a male vocalist to explain how the band sees modern awareness of the world’s happenings as a glimpse of the utopia beyond. “Transylvanian Dances” is a piece of periodic verses and an overall somber tone. At the 12:22 mark, it begins to speed up for about a minute and eight minutes, turning into an all-out rock fest. Then, ending it out, it slows back down to a man singing of his son being pointed towards open roads.

“You’ll Find Me in the Mirror” is the singer looking back and reflecting on what might have been of him and now he longs for that same trust and security back that he once had. Then comes in “Return to Budapest,” and it’s exactly what you’d expect from that title. It’s a soothing, alluring song of tradition and simplicity. “Barbaro” does give off the initial impression of barbarianism with its rush of drums. When the trumpet kicks in, it turns into more of a jam session of beautifully blending instrumental families. With the piano, it kind of throws a bit of a side curveball but keeps the dramatization of the piece going, sounding like the song is growing faster and faster; thus, more exciting. Ending out the entire album, “The Torch” sings of empowerment and strength to those who come after the singers, in relaxed, chant-like fashion.

Key Tracks include: “Living in the Gap,” “Too Much Pride,” Barbaro,” and “I’m Not Your Enemy”

Gregg Keniston - MuzikMan.net Staff
July 15, 2020

Track Listing:
01.   Living in the Gap
02.   Young Rebels
03.   Turn the Wind
04.   Where We Belong
05.   Let the Music Show You the Way
06.   Too Much Pride
07.   Old Rebels
08.   Welcome to Real Life
09.   Hottest Queen of Cool
10.   Wake Up
11.   Mother Europe
12.   I’m Not Your Enemy
13.   Sessions in the Village
14.   Utopia for Realists
15.   Transylvanian Dances
16.   You’ll Find Me in Your Mirror
17.   Return to Budapest
18.   Barbaro
19.   The Torch

Rock Review: Eric Burdon & The Animals-When I Was Young – The MGM Recordings 1967-1968

Release Date: February 28, 2020

Label: Esoteric

Website

When I Was Young – The MGM Recordings 1967-1968 is a 5-disc set covering Eric Burdon & The Animals. Each of these discs shows a pattern. As you stream through the music, the tone and themes overall go from disc one, and five shapes themselves up to be more of a darker sound than that of the other three discs. In ascending order, discs two through four increasingly become a bit lighter with the themes surrounding them. Minus a few extra tracks and one being formatted in stereo and one for mono, the two bookend discs play out similarly. It’s well worth playing on a day of reminiscing or if you might have a grey feeling throughout your day.

Eric Burdon & The Animals came about in 1966 when the actual band The Animals abruptly parted ways, he formed a similar but newer version of the group. It took hold of a Psychedelic rock type of influence rather than that of its former R&B stylings. He possessed a particular skill few in the Rock world could bring to life and not have the message and sound overdone or duplicated.

Disc two still carries a bit of a darker undertone but, generally, The Twain Shall Meet is an album of eventfulness and storytelling. You can feel a sense of wonder and awe in songs like “All Is One,” and “Just The Thought.” The album is rightly titled because it comes off very poetically. However, it also speaks to songs of war and unfortunate sorrow in the song “Sky Pilot.” You get an action-packed album amid this packaged deal.

Everyone Of Us is a blend of items. It contains an instrumental piece, “Serenade to A Sweet Lady,” along with a spoken-word track of “The Immigrant Lad.” It also includes a short story-styled song of “New York 1963 – America 1968.” You can tell by the titles of the tracks, that a lot of historical context surrounds the entirety of this album, and while it may be for a select group of ears (as many may not find the album impactful), it does carry an impressive framework about it.

Think of disc four as the icing on the cake, or the joy and celebration of light after a series of unfortunate events. There’s a common theme of love and its lasting effects both good and bad. “River Deep, Mountain High,” is that excitement burst of how much intensity one’s love could be another while, “Ring Of Fire,” represents how much power and heat can be put into love itself and loving someone, who may or may not return the same feeling.

This album certainly has an eclectic sense of emotion and lessons to be learned. Moreover, it is a great representation of laid back, mellow vibes to give younger listeners a sense of how music can captivate both a message and create an endless earworm to soothe the mind after an eventful day or stimulate the mind to think more introspectively.

Key Tracks: “Monterey,” “A Girl Named Sandoz,” “Year of the Guru,” “Gemini,” “Ring of Fire.”

Gregg Keniston- MuzikMan.net Staff
May 8, 2020

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MuzikMan Productions

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Track Listing:
 
Disc One: Winds Of Change (Re-Mastered Stereo Mix)

01.    Winds Of Change
02.    Poem By The Sea
03.    Paint It Black
04.    The Black Plague
05.    Yes, I Am Experienced
06.    San Franciscan Nights
07.    Man – Woman
08.    Hotel Hell
09.    Good Times
10.    Anything
11.    It’s All Meat
12.    When I Was Young
13.    A Girl Named Sandoz
14.    Ain’t That So
15.    Gratefully Dead
16.    Anything (Single Version)

Disc Two: The Twain Shall Meet

01.    Monterey
02.    Just The Thought
03.    Closer to The Truth
04.    No Self Pity
05.    Orange and Red Beams
06.    Sky Pilot
07.    We Love You Lil
08.    All Is One
09.    Sky Pilot (Part One) (Mono Single)
10.    Sky Pilot (Part Two) (Mono Single)
11.    Monterey (Mono Single Version)

Disc Three: Everyone Of Us

01.    White Houses
02.    Uppers and Downers
03.    Serenade to a Sweet Lady
04.    The Immigrant Lad
05.    Year of the Guru
06.    St. James Infirmary
07.    New York 1963 – America 1968
08.    White Houses (Single Version)

Disc Four: Love Is

01.    River Deep, Mountain High
02.    I’m An Animal
03.    I’m Dying, or Am I?
04.    Ring Of Fire
05.    Coloured Rain
06.    To Love Somebody
07.    As The Years Go Passing By
08.    Gemini
09.    The Madman (Running Through the Fields)
10.    River Deep, Mountain High (Single Version)

Disc Five: Winds Of Change (Re-Mastered Mono Mix)

01.    Winds of Change
02.    Poem By the Sea
03.    Paint It Black
04.    The Black Plague
05.    Yes, I Am Experienced
06.    San Franciscan Nights
07.    Man – Woman
08.    Hotel Hell
09.    Good Times
10.    Anything
11.    It’s All Meat
 

Rock-Americana-Progressive Review: Euphoria-The Reverie Suite

Release Date: September 17, 2019

Label: Independent

Website

Euphoria’s second release titled The Reverie Suite was released in September 2019. This is the kind of music that can be hard to put into a corner and stick a label on. For my ears, that is a fine start knowing that I was in for a lot of diversity and surprises.

I would call it Rock-Americana with a Progressive twist, just as the band describes it. What is initially indicative of the progressive leanings is the length of the tracks.

The band explains the album like this: It is a concept album based on the life of vocalist Saskia who delivers her story with an earnest passion that’s hauntingly beautiful. Its theme is centered around childhood and musically presented with a sound that evokes America in all its beauty – whether it be folk, rock, jazz, or Native purple mountains majesty with progressive tinges.

I think that statement puts it all into a proper perspective for potential listeners. It serves as a looking glass into what you can expect. It is everything and more than one would expect actually. Saskia has a rich powerful voice that pulls you right into the story and holds you. The music is all very tasteful and well suited to the lyrics and vocal style of Saskia. Every track is a musical carpet ride that will capture your imagination. In a word, it is all quite cinematic. Choosing the recording to be a concept album worked well.

Hoyt Binder’s guitar is fantastic. He can be powerful with some meaty chords or tone it down to sound quieter and more textured. He also utilizes a banjo and mandolin to get that Americana element in place sandwiched in between his power strokes. I most certainly appreciate all of his work with the stringed instruments. His multitude of talent leads the way, inviting Saskia’s inviting vocals to come out and play with the music making it a complete experience for a listener. Her vocals were giving me goosebumps.

The Reverie Suite is engaging, precise, diversified, exciting, and filled with the many colors of the world and cultures. I sincerely appreciate that kind of take on a recording, it is always impressive and something you cannot forget. The musicianship is stellar. Ronald Van Deurzen adds the quintessential keyboard element while The Americana Daydream Revival Orchestra delivers background harmonies, flute, percussion, harmonica, bass, and strings, which in turn gives their sound a layered effect that makes each track a real musical journey. (I have included a list of all contributors below)

Their magnum opus is ”Paradise Road,” which clocks in at a hefty 9:42. With this one track, you get the whole package and stylings that this band commands in one track. It is quite impressive to sit back and hear everything going on. I loved every minute of it. The long instrumental breaks are a testament to this band’s all-around talent. This is the one track I would call definitively progressive. The way it ends so suddenly with Saskia singing “And paradise is her name,” puts the final touch on the elements of prog as the door shuts and you get ready for the next track (or another one opens).

Then you get the full instrumental track “Remind Me.” It is a delight, bringing a distinct Americana/Celtic flair to your senses, transporting the listener to a world stage. Getting the full instrumental treatment of their sounds encourages you to paint your personal picture on the canvas of their music.

The Reverie Suite may take a few listens to get it all into perspective, but I believe that any listener that has an appreciation for rock, prog, Americana, folk, or any combination thereof, will find great value in this album.

LINE-UP:
Saskia Binder - Vocals
Hoyt Binder - Guitars, banjo, mandolin, background harmonies
Ronald Van Deurzen - Piano, organ
Trevor Lloyd - Strings
Tollak Ollestad - Harmonica
Rebecca Kleinmann - Flute
Paulo Gustavo - Bass
Chris Quirarte - Drums
Mike Disarro - Background harmonies
Bobby Albright – Percussion

Mixed by Smiley Sean
Mastered by Howie Weinberg at Howie Weinberg Mastering

Keith “MuzikMan” Hannaleck

April 28, 2020

Founder of:

The Final on Vinyl

MuzikMan Productions

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Review Provided By Prog Rock Music Talk

Track List: 
01. Prelude/ She's Calling 04:54
02. Reverie 07:12
03. On My Way 07:31  
04. Heartbeat 04:53
05. Bridge of Dreams 04:38
06. Queen of Hearts 04:47
07. Paradise Road 09:42
08. Move On 05:21
09. Seasons 07:00  
10. Reprise 03:24
11. Remind Me 05:44
12. Content 05:57

Rock-Americana-Progressive Review: Euphoria-The Reverie Suite

Release Date: September 17, 2019

Label: Independent

Website

Euphoria’s second release titled The Reverie Suite was released in September 2019. This is the kind of music that can be hard to put into a corner and stick a label on. For my ears, that is a fine start knowing that I was in for a lot of diversity and surprises.

I would call it Rock-Americana with a Progressive twist, just as the band describes it. What is initially indicative of the progressive leanings is the length of the tracks.

The band explains the album like this: It is a concept album based on the life of vocalist Saskia who delivers her story with an earnest passion that’s hauntingly beautiful. Its theme is centered around childhood and musically presented with a sound that evokes America in all its beauty – whether it be folk, rock, jazz, or Native purple mountains majesty with progressive tinges.

I think that statement puts it all into a proper perspective for potential listeners. It serves as a looking glass into what you can expect. It is everything and more than one would expect actually. Saskia has a rich powerful voice that pulls you right into the story and holds you. The music is all very tasteful and well suited to the lyrics and vocal style of Saskia. Every track is a musical carpet ride that will capture your imagination. In a word, it is all quite cinematic. Choosing the recording to be a concept album worked well.

Hoyt Binder’s guitar is fantastic. He can be powerful with some meaty chords or tone it down to sound quieter and more textured. He also utilizes a banjo and mandolin to get that Americana element in place sandwiched in between his power strokes. I most certainly appreciate all of his work with the stringed instruments. His multitude of talent leads the way, inviting Saskia’s inviting vocals to come out and play with the music making it a complete experience for a listener. Her vocals were giving me goosebumps.

The Reverie Suite is engaging, precise, diversified, exciting, and filled with the many colors of the world and cultures. I sincerely appreciate that kind of take on a recording, it is always impressive and something you cannot forget. The musicianship is stellar. Ronald Van Deurzen adds the quintessential keyboard element while The Americana Daydream Revival Orchestra delivers background harmonies, flute, percussion, harmonica, bass, and strings, which in turn gives their sound a layered effect that makes each track a real musical journey. (I have included a list of all contributors below)

Their magnum opus is ”Paradise Road,” which clocks in at a hefty 9:42. With this one track, you get the whole package and stylings that this band commands in one track. It is quite impressive to sit back and hear everything going on. I loved every minute of it. The long instrumental breaks are a testament to this band’s all-around talent. This is the one track I would call definitively progressive. The way it ends so suddenly with Saskia singing “And paradise is her name,” puts the final touch on the elements of prog as the door shuts and you get ready for the next track (or another one opens).

Then you get the full instrumental track “Remind Me.” It is a delight, bringing a distinct Americana/Celtic flair to your senses, transporting the listener to a world stage. Getting the full instrumental treatment of their sounds encourages you to paint your personal picture on the canvas of their music.

The Reverie Suite may take a few listens to get it all into perspective, but I believe that any listener that has an appreciation for rock, prog, Americana, folk, or any combination thereof, will find great value in this album.

LINE-UP:
Saskia Binder - Vocals
Hoyt Binder - Guitars, banjo, mandolin, background harmonies
Ronald Van Deurzen - Piano, organ
Trevor Lloyd - Strings
Tollak Ollestad - Harmonica
Rebecca Kleinmann - Flute
Paulo Gustavo - Bass
Chris Quirarte - Drums
Mike Disarro - Background harmonies
Bobby Albright – Percussion

Mixed by Smiley Sean
Mastered by Howie Weinberg at Howie Weinberg Mastering

Keith “MuzikMan” Hannaleck

April 28, 2020

Founder of:

The Final on Vinyl

MuzikMan Productions

MuzikMan Reviews

Write A Music Review

Prog Rock Music Talk

New Age Music Reviews

Rate The Tracks

Review Provided By Prog Rock Music Talk

Track List: 
01. Prelude/ She's Calling 04:54
02. Reverie 07:12
03. On My Way 07:31  
04. Heartbeat 04:53
05. Bridge of Dreams 04:38
06. Queen of Hearts 04:47
07. Paradise Road 09:42
08. Move On 05:21
09. Seasons 07:00  
10. Reprise 03:24
11. Remind Me 05:44
12. Content 05:57

Rock-Pop Review: Bob Jones, Louis Jones, Stephen Peppos-50/80 50 Years in 80 Minutes

Release Date: December 23, 2019

Label: Sonic Bear Music

Website

Interview With Band Is Included Below!

How does a group of musicians put 50 years of music into a single CD that lasts for 80 minutes? Just ask Bob Jones, Louis Jones, and Stephen Peppos. The title 50/80 50 Years in 80 Minutes lets you know straight away what you are in for.

On a separate note, I have covered several of Stephen’s New Age keyboard instrumental projects over the years and consider him to be one of the finest performers of instrumental music that I have heard.

This all started in the 60s when three boys in High School put a band together and then started writing and recording. One of the configurations was Stephen Peppos & Jones Straightjacket Band (tracks 1, 3, 8, 9, 12, 14, 19, 22, 24). There are extensive liner notes included with the CD so you get the whole story.

The 25 tracks cover a range of pop and rock that are indeed retro and if you listen intently you can identify which decade that they fit into. For instance, “High School Years #2” sounds very 60s and “Too Much To Bear” has some good guitar licks that reminded me of the late 70s to early 80s period. Then “Lalena” has a psychedelic trippy 60s Top 40 sensibility. These songs sound good enough to have been spinning regularly on radio stations and in fact, some did on a local level with station WKLX out of Virginia. “I Gotta Sing My Song” was one song that radio DJ Mike Deeson liked. To me, it felt like something that would have gone well with 70s TV shows like Love Boat or the Mary Tyler Moore Show. Only those old enough to remember will understand where I coming from once, they hear the tracks.

One of the tracks on solid ground that is good for any era is ”A Christmas Carol.” It features great vocals and some jangly acoustic guitar lines. Seasonal music does not define a period so when you first hear it, it fits no matter what.

As you make your way through this ambitious compilation, you realize why it took 2 years to get it all together. The variety is quite interesting. Form a Christmas song to the lyrics “Hell no we will not fade away” on “Boomers Anthem,” which is a recent recording from 2019, is accompanied by appropriate guitar lines and inspirational lyrics for all the rockers out there. For me that was one of the standout tracks and my favorite on the entire recording.

Influences from the Byrds To Paul Simon to Cream pepper all of these recordings. You get the feeling of originality bursting through with authority to more obscure live recording snippets on “Look Through Any Window.” “Kicks” is all 60s and one of the best tracks on the CD. It was a hit in 1966 for Paul Revere and the Raiders. The fact that they covered it so well was an indication of their all-around talent.

At first glance when you see 25 tracks you may think “Wow this is a lot of music” and it is a double album. The truth is they go by very quickly because some are short snippets of recordings to go along with other full-length tracks that cover some ground musically.

When I heard the first few tracks, I was thinking that I was not too crazy about them, just my opinion, and it does not mean someone else would not like them. But it just keeps getting better and you realize the entire point of this compilation. That thought was fleeting and forgotten in a matter of minutes.

50/80 50 Years in 80 Minutes is jam-packed with musical diversity and a snapshot of history over a long period. This group of young men had the talent to record all this music and although they did not become stars on a national level, they certainly showed that their talent could have taken them places most bands dream of. It is a matter of being in the right place at the right time. All of that aside, this is a valid musical statement showcasing the talents of the three main men involved.

Keith “MuzikMan” Hannaleck
February 28, 2020

Review Provided By MuzikMan.net

 

Instrumental Rock Review: Joe Satriani-Shapeshifting

Release Date: April 10, 2020

Label: Sony Music/Legacy Recordings

Website: http://www.satriani.com/

I always wonder what Satch will come up with next when he releases another album. You have to be a very creative guitar player to constantly come up with something new and exciting for your listeners. He manages to do that consistently. With Shapeshifting due out on April 10, 2020 he is sure not to disappoint.

There are thirteen tracks of instrumental ear candy to consume on this latest recording. Joe’s sound is distinct and very familiar to millions of rockers worldwide. I am among the longtime fans that stretch back to the 80s. When I was first turned on to his music, I could not forget it and wanted more. Joe has served us instrumental rock freaks well in his long and successful career.

Some notes from the press release FYI: Shapeshifting was co-produced by Satriani and Jim Scott (Foo Fighters, Red Hot Chili Peppers, Tom Petty & The Heartbreakers) with longtime associate John Cuniberti onboard handling the mastering duties. Satriani enlisted a wide range of collaborators, both old and new, to help him bring the songs to life. Legendary drummer Kenny Aronoff (John Fogerty), bassist Chris Chaney (Jane’s Addiction) and keyboardist Eric Caudieux were the core musicians on the new album with additional contributions coming from Lisa Coleman (The Revolution) and Christopher Guest.

So, there is no surprise that so many names in the industry are part of this. Just remember he is the guy that taught Steve Vai a few things, who is no slouch on the six-string either.

The production values of Shapeshifting are superb and what you would expect. Every song has a different style and pace to it, making sure every listener gets the variety they need to stay interested from beginning to end. Joe delivers the goods track to track. The album leads off with the title track and a high energy blast of some guitar magic that sets the right tone right from the start.

One of the more eclectic and interesting tracks is “Ali Farka, Dick Dale, an Alien and Me.” It gives thanks to those artists that Joe has admired and you certainly can hear the Dick Dale reference. Surf instrumental is so recognizable and Dale was one of the first innovators of the genre. I am not familiar with Farka’s work but because of that song I will have to do some investigating. If Joe likes him, chances are his work will be of great value to his listeners. As far as the Alien, I think it was that silver dude he was surfing with back in the early years of his career.

The first single “Nineteen Eighty” has some Eddie Van Halen types of riffs running through and it packs a punch through to the end, it is pure energy and excitement. After that explosion of six-string virtuosity, Joe slows things down a bit with “All My Friends Are Here.” It’s not slow but in terms of the way he plays, it is a few notches down from the previous track. It has some great hooks that are hard to ignore. It sounds like the kind of track you may hear sound bites of accompanying a sporting video, albeit in a sport that has plenty of movement.

All that energy and creativeness Joe has in his soul never subsides during this instrumental treasure trove of masterful six-string displays. This is vintage Satriani doing what he does best, just flat out jamming and bending those strings with a fluidness and command that few players can muster. He is and has been one of the premier rock guitarists for a long time and this recording takes its place alongside one of the great releases such as Surfing With The Alien for consistency of quality. I must reiterate, with the level of difficulty involved in putting out yet another all-instrumental album, this sets the bar extremely high for an artist like Joe. He is up for the challenge and plays like a man that is recording his swan song.

Diversity is the key to success. Tracks like the beautiful “Falling Stars” step away from the hard-charging rockers to show that he can do tasteful slower paced tracks with some funky licks interspersed between the rhythm section action. “Waiting” is even more expressive and a nice ballad that relates to the title with its slow start and pensive build-up that intimates some impatience but in a very nice way. It is one of the shorter jaunts clocking in at 2:37. Now if that wasn’t enough of a change, he kicks into high gear with some reggae chops on “Here The Blue River.” He also mixes in the rockin’ side of his playing to the blend with the reggae back beat which continues as the foundation. The multi-layered tracking is amazing with some great effects, making the track the most varied sounding on the entire album.

And just when you thought you heard just about every style imaginable he closes out with “Yesterday’s Yesterday,” a country-fried journey that rings true with the jangling strings and the old western atmosphere it hints at. In many ways, if you played this for long time fans, they may be hard-pressed to peg Joe as the artist.

In the end, the curtain closes and Joe Satriani wins you over again with the superior quality and all the incredible guitar playing on display on this fine album. His ongoing maturity is evident with each subsequent release and he surely is the ultimate Shapeshifting guitar man.

Keith “MuzikMan” Hannaleck
February 8, 2020

Founder of:

The Final on Vinyl

MuzikMan Productions

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Review Provided By MuzikMan.net

Tracks:
01. Shapeshifting
02. Big Distortion
03. All For Love
04. Ali Farka, Dick Dale, an Alien and Me
05. Teardrops
06. Perfect Dust
07. Nineteen Eighty
08. All My Friends Are Here
09. Spirits, Ghosts and Outlaws
10. Falling Stars
11. Waiting
12. Here The Blue River
13. Yesterday’s Yesterday

Instrumental Rock Review: Joe Satriani-Shapeshifting

Release Date: April 10, 2020

Label: Sony Music/Legacy Recordings

Website: http://www.satriani.com/

I always wonder what Satch will come up with next when he releases another album. You have to be a very creative guitar player to constantly come up with something new and exciting for your listeners. He manages to do that consistently. With Shapeshifting due out on April 10, 2020 he is sure not to disappoint.

There are thirteen tracks of instrumental ear candy to consume on this latest recording. Joe’s sound is distinct and very familiar to millions of rockers worldwide. I am among the longtime fans that stretch back to the 80s. When I was first turned on to his music, I could not forget it and wanted more. Joe has served us instrumental rock freaks well in his long and successful career.

Some notes from the press release FYI: Shapeshifting was co-produced by Satriani and Jim Scott (Foo Fighters, Red Hot Chili Peppers, Tom Petty & The Heartbreakers) with longtime associate John Cuniberti onboard handling the mastering duties. Satriani enlisted a wide range of collaborators, both old and new, to help him bring the songs to life. Legendary drummer Kenny Aronoff (John Fogerty), bassist Chris Chaney (Jane’s Addiction) and keyboardist Eric Caudieux were the core musicians on the new album with additional contributions coming from Lisa Coleman (The Revolution) and Christopher Guest.

So, there is no surprise that so many names in the industry are part of this. Just remember he is the guy that taught Steve Vai a few things, who is no slouch on the six-string either.

The production values of Shapeshifting are superb and what you would expect. Every song has a different style and pace to it, making sure every listener gets the variety they need to stay interested from beginning to end. Joe delivers the goods track to track. The album leads off with the title track and a high energy blast of some guitar magic that sets the right tone right from the start.

One of the more eclectic and interesting tracks is “Ali Farka, Dick Dale, an Alien and Me.” It gives thanks to those artists that Joe has admired and you certainly can hear the Dick Dale reference. Surf instrumental is so recognizable and Dale was one of the first innovators of the genre. I am not familiar with Farka’s work but because of that song I will have to do some investigating. If Joe likes him, chances are his work will be of great value to his listeners. As far as the Alien, I think it was that silver dude he was surfing with back in the early years of his career.

The first single “Nineteen Eighty” has some Eddie Van Halen types of riffs running through and it packs a punch through to the end, it is pure energy and excitement. After that explosion of six-string virtuosity, Joe slows things down a bit with “All My Friends Are Here.” It’s not slow but in terms of the way he plays, it is a few notches down from the previous track. It has some great hooks that are hard to ignore. It sounds like the kind of track you may hear sound bites of accompanying a sporting video, albeit in a sport that has plenty of movement.

All that energy and creativeness Joe has in his soul never subsides during this instrumental treasure trove of masterful six-string displays. This is vintage Satriani doing what he does best, just flat out jamming and bending those strings with a fluidness and command that few players can muster. He is and has been one of the premier rock guitarists for a long time and this recording takes its place alongside one of the great releases such as Surfing With The Alien for consistency of quality. I must reiterate, with the level of difficulty involved in putting out yet another all-instrumental album, this sets the bar extremely high for an artist like Joe. He is up for the challenge and plays like a man that is recording his swan song.

Diversity is the key to success. Tracks like the beautiful “Falling Stars” step away from the hard-charging rockers to show that he can do tasteful slower paced tracks with some funky licks interspersed between the rhythm section action. “Waiting” is even more expressive and a nice ballad that relates to the title with its slow start and pensive build-up that intimates some impatience but in a very nice way. It is one of the shorter jaunts clocking in at 2:37. Now if that wasn’t enough of a change, he kicks into high gear with some reggae chops on “Here The Blue River.” He also mixes in the rockin’ side of his playing to the blend with the reggae back beat which continues as the foundation. The multi-layered tracking is amazing with some great effects, making the track the most varied sounding on the entire album.

And just when you thought you heard just about every style imaginable he closes out with “Yesterday’s Yesterday,” a country-fried journey that rings true with the jangling strings and the old western atmosphere it hints at. In many ways, if you played this for long time fans, they may be hard-pressed to peg Joe as the artist.

In the end, the curtain closes and Joe Satriani wins you over again with the superior quality and all the incredible guitar playing on display on this fine album. His ongoing maturity is evident with each subsequent release and he surely is the ultimate Shapeshifting guitar man.

Keith “MuzikMan” Hannaleck
February 8, 2020

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Tracks:
01. Shapeshifting
02. Big Distortion
03. All For Love
04. Ali Farka, Dick Dale, an Alien and Me
05. Teardrops
06. Perfect Dust
07. Nineteen Eighty
08. All My Friends Are Here
09. Spirits, Ghosts and Outlaws
10. Falling Stars
11. Waiting
12. Here The Blue River
13. Yesterday’s Yesterday

Rock - Metal Review: Blind Ego-Preaching To The Choir

Release Date: February 14, 2020

Label: Gentle Art of Music

Website

This record is a blast of power and energy. From start to finish, Blind Ego’s efforts into their fourth studio album Preaching To The Choir is a force to be reckoned with. The uplifting lyrics blend seamlessly with the sounds of the guitars and drum in each track like a different chapter of a storybook. Most of the album reflects a very upbeat and positive tone which, to me, is hard to expect from a Rock, or Metal album typically. “Burning Alive,” the lead single, sounds not only the most radio-friendly but; somewhat like a Pop record because of how light it plays.

“Massive” is the ultimate starters song. You would expect to hear this song at the lead out of the announcement of the two Super Bowl LIV teams. It has so much fight and exhilaration throughout it. Not only that but, it sends the listener to a place where they feel like they are marching to their victory, to claim what is rightfully theirs.

As though one is stepping into a video game, the title track, “Preaching to the Choir” starts like walking onto a warp pad. The song quickly becomes a thrill, a rush of blood to the head, because you’ve been headbanging along with the guitar and drum patterns throughout. Then comes about, “ Burning Alive.” Leaving the past behind and watching it go up in flames, the band prepares and sets off to make a new out of the fire and ash of what they intend to leave behind; even if they catch a little singe on their way out.

“Line In The Sand” turns the album a little darker. The band is engulfed in a struggle of some kind. They don’t see a way out per se but, they establish then and there, that the things that turned them to the darkness of sorts, will not keep them from moving forward. The music keeps propelling the band, the album, and their career forward.

“Dark Paradise” keeps with the same darker underlying spirit. It acknowledges that standing alone might be the best way to move forward. The realization that sometimes you have to walk out the toughest battles alone, lays a theme for indeed, a dark paradise – a vast land now covered in blank darkness, that seemingly fits eternity. If there’s one theme that runs through this album, it’s consistency. “In Exhile” reflects that the singer has been running constantly and now has gotten to the point where those around him cannot see him, do not hear him, and do not care to look. He has grown comfortable this way, just muscling through whatever he must to get through day today.

“Heading For the Stars” become a bit lighter, in having a companion beside one another as they venture onto brighter things ahead. However, they find themselves embattled in a sea of negativity and disaster to get through. On the bright side, the singer notes, “the future is alive.” So, there must be something worth the chase after all. “Broken Land” lends itself to the same ideals of “jump into the flame” to get to where you want to be. It speaks of change, and what is to come of it on the other side. But, this broken land is wasted on them anymore because there has been so much trauma in its path.

The final track “The Pulse,” is all about anticipation. The singer reclaims what he’s been searching for in terms of peace and a purpose (or pulse). Beginning the track is just over two minutes of a lead-in of thrill and sound. But, what will come of this man’s future in taking down the one-man-army that stands in his way? In many ways, that one man is simply trying to find a way back to a sense of normalcy and to build upon that.

Gregg Keniston- Muzikman.net Staff
January 18, 2020

Tracks:
1. Massive
2. Preaching To The Choir
3. Burning Alive
4. Line In The Sand
5. Dark Paradise
6. In Exile
7. Heading For The Stars
8. Broken Land
9. The Pulse
 

Rock Review: Doctor Pheabes-Army of the Sun

Release Date: May 16, 2019

Label:  Independent

Website

Brazilian rockers, Doctor Pheabes is back with their third album, and first international release, Army of the Sun.  On the hard rock spectrum, they take up a lot of space, sitting somewhere between AC/DC, Bon Jovi and Pearl Jam.  Two pairs of brothers, Fernando and Eduardo Parrillo and Fabio and Paulo Ressio work their familial bonds into the strength of their music.  After just one look and listen you’ll know their crisp, industrial, jagged-edge sound didn’t just happen overnight. 

Over the years, Doctor Pheabes has honed their sound into something that, on the surface seems like polished classic rock, yet the deeper you listen the more texture and complexity you find.  The music is a composite of ‘70s hard rock, ‘80s flash, and ‘90’s alt-rock. Doctor Pheabes are a hard rock history lesson unto themselves.

Army of the Sun starts with a bang. The title track is a rocking foot-stomper that could be played at any sports arena to get the crowd pumped.  “Better off Alone” sounds more like a Nirvana song with a fast/slow/fast tempo, yet steeped in classic rock roots.  Like the tempo within their songs, they slow things down effectively on tracks such as “Ask of You,” and this reviewers favorite, “Live Forever”. 

As torchbearers for the New Classic Rock movement, it is hard not to borrow from one’s influences.  The danger is sounding unoriginal and in places Army of the Sun does.  Lyrically, there is not much here you haven’t heard before.  One could argue that for anthem rock, it is best to stick with the formula.  Turn idioms into song titles and fill the lyrics with rhyming couplets.  Still, it is a successful formula and Doctor Pheabes uses it well. 

If you’re looking to rock out for a spell, you won’t go wrong with Doctor Pheabes’ Army of the Sun. These songs are accessible, enjoyable and the guitar work by Fernando Parrillo is outstanding.  Knowing you’ll hear a stellar guitar solo on each of these songs is cause enough to have them in steady rotation in your playlist.

Tom Endyke - MuzikMan.net Staff

January 8, 2019

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Tracks:
01. Army of the Sun
02. Better Off Alone
03. Rebel Riders
04. Here to Stay
05. Your Love Is Mine
06. Ask of You
07. Find a Way
08. Back in Town
09. Stranded in Love
10. Let’s Go
11. Live Forever

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