Tag Archives: Rock

Laberinto (La Trampa) – Uruguayan Music

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"Laberinto" Was La Trampa's Fifth Album. It Was Issued In 2005 To Good Sales And Mostly Positive Reviews.

"Laberinto" Was La Trampa's Fifth Studio Album. It Was Issued In 2005 To Good Sales And (Mostly) Positive Reviews.

“Laberinto” [Labyrinth] constitutes the fifth album of original material released by Uruguayan rockers La Trampa. Alongside La Vela Puerca, No Te Va Gustar and Buitres the band possesses immense popularity in the country; and like the aforementioned bands, it has been making inroads in the Argentinean market.

This time around there is a strong presence of both Uruguayan and Argentinean folk music in the compositions (all penned by guitarist Garo Arakelian), which coupled with the traditional approach of the band results in a captivating listening experience. The entrance to this particular labyrinth is not that unusual, though: “Puente De Estrellas” [Bridge Of Stars], “Las Décimas” [The Ten-line Stanzas] and “El Poeta Dice La Verdad” [The Poet Tells The Truth] are classic La Trampa, competing with the best moments of preceding albums such as “Caída Libre” [Free Fall] (2002).

However, come the fourth selection, a “zamba” (an Argentinean rhythm, not to be confused with the Brazilian “samba”) titled “Ronda De Lenguas” [Round Of Tongues] and the thread abruptly disappears, leaving the listener wondering how to proceed. The bands playfully leads him through a maze of gentle songs interspersed with harder-sounding offerings, until “Vagos Recuerdos” [Vague Memories] signalizes the way out. Along the way he is bound to find “Canciones Al Viento” [Songs To The Wind], which combines a measured introduction with an energetic conclusion, emphasizing the will to transcend of the lyrics (“Quiero una canción que vuele cuando ya no vuele yo/Que se haga viento en el aire cuando no respire yo/Quiero un viento que te cante cuando ya no cante yo”) [I want a song that flies when I no longer fly/That becomes wind in the air when I no longer breathe/I want a wind that sings for you when I no longer sing] and the salient “Pensares” [Thoughts], bearing the most realized chorus of the whole album, alongside a pensive guitar solo that complements the lyrics perfectly. Continue reading →

The Old Kit Bag (Richard Thompson) – Album Review

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The Cover To Richard Thompon's "The Old Kit Bag" (2003)

Richard’s first album of the century found him in a small label for the first time in more than two decades, and the record itself was to have a streamlined approach, with few musicians and a sound that was far removed from the layered approach that had marked/marred his 90s output. Perversely enough, the new formula worked quite magically – the record hit the Billboard Top 200, and the top 5 of the Indie charts. The truth is producer John Chelew came closer to capturing Richards’ rotund live sound than virtually anybody else – for sure much closer than Mitchell Froom.

The title of the album references a World War I song, as it is only fit since the record has a conceptual tinge of boys that grow to become soldiers only to be hit by the intricacies of destiny and the egotism and apathy of the adult world – “the fire in your eyes/how could they know”, Richard sings on the set opener, the fiercely beautiful “Gethsemane”. The first side of the record also has the Celtic-styled “One Door Opens”, probably one of the album highlights with vocalist  Judith Owen (a recent associate that joins long-time bassist Danny Thompson and drummer Michael Jerome) providing a rich backdrop, something she does not only on that tune but on more than half the tracks.

This backing becomes even more noticeable in one of the closing numbers, the tension-riddled “Word Unspoken, Sight Unseen”. Richard mutes the guitar, and he lets it ring only when the intensity is such that the lyrical flow demands a sturdier backbone so that the song won’t collapse.

“Word Unspoken, Sight Unseen” is placed next to the Eastern-derived “Outside Of The Inside”, which is (appropriately enough) a song about Muslim faith and the way a radical sees Western culture. Continue reading →

It Won’t Be The Last (Billy Ray Cyrus) – Album Review

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Billy Ray Cyrus' Second Disc Was Quite Successful But It Couldn't Match The Sales Of The Debut

Billy Ray Cyrus' Second Disc Was Quite Successful, Yet It Could not Match The Sideral Sales Of The Debut

“It Won’t Be The Last” was Billy Ray Cyrus’s second full-length album. It was released in the summer of 1993, shortly after his mega-successful debut had hit the shelves. I regard it as a major step forward. But it is not that the album is miles away from the previous one, it is just that it has gone the (relatively short) distance that would lead to a more balanced listen. The first time around it felt like the ballads and the rockers did not mesh. That problem was to be resolved by “It Won’t Be The Last”. The key word here is “focused”. There is a clear middle ground between ballads and rock numbers (such as the successful single “Words By Heart”), and the flow of the album feels more natural this time around.

The record has 11 tracks, and the first six are a true pleasure. The single “In The Heart Of Woman” was a foolproof way to set the disc in motion, and having it followed by one of the many Don Von Tress songs on offer (“Talk Some”) was the best way to keep the momentum going. Von Tress was to be the primary tunesmith for the album. That was only to be expected – he had penned “Achy Breaky Heart” and “Talk Some” is the best rocker he contributes to this record, in my opinion. The other rock number (“Ain’t Your Dog No More”) feels too overtly like an Achy Break Heart surrogate, and a forced one at that. Continue reading →

Some Gave All (Billy Ray Cyrus) – Album Review

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Billy Ray Cyrus' Debut Is Titled After The Words Of A Vietnam Veteran Named Randy Kane

Billy Ray Cyrus' Debut Is Titled After The Words Of A Vietnam Veteran Named Sandy Kane

Billy Ray Cyrus’s debut was first issued in 1992, and more than 15 years later it still retains a couple of significant records such as being the top-ranking album by a country male performer, and (most notably) the best selling debut album from a male artist – more than 20,000,000 copies have been sold worldwide. Of course, it is the album that has “Achy Breaky Heart” – for my take on the song and the impact it had on Billy’s career I direct you to the general introduction I posted yesterday. Three more singles were drawn from “Some Gave All”, and they all did pretty well on the charts – “Could’ve Been Me” hit number 2, actually. The other two singles were “She’s Not Cryin’ Anymore” and “Wher’m I Gonna Live” (they charted at #6 and #23 respectively).

Before being signed up, the consensus was that Billy was too much of a rocker for Nashville and too much of a country performer for LA. Leaving aside the monster hit of the record, that is something which comes across when you listen to the album. The songs are either full-on country (the vast majority of compositions) or unbridled rock numbers. Personally, I feel these rock cuts are fantastic, and they are the ones that stick in my mind after listening to the CD. I am surprised that “Never Thought That I’d Fall In Love With You” was not issued as a single – Mercury probably though that issuing three harder-rocking compositions could be counterproductive. The fact is that the song has a great guitar part throughout, and a drum track that shifts from accompanying to leading in a snap, then reverts itself again. I like the song as much as the achy breaky one, and the fact it was never overplayed is just a big plus. Continue reading →

Billy Ray Cyrus – General Introduction

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Billy Ray Cyrus Performing During The "Achy Breaky Heart" Days

Billy Ray Cyrus Performing During The "Achy Breaky Heart" Days

Success is not as simple or charming as it seems. Not necessarily a phenomenal bout of early success will mean that it is going to be a smooth ride from that point onwards. And I am sure few know that as well as Billy Ray Cyrus.

To the general public, he is always going to be associated with his monster hit from 1992, “Achy Breaky Heart”. As it is (very accurately) said elsewhere, it was to be the song that would make him and break him. The song must have been one of the most played tunes of the 90s. In South America, it was still being played like the first day well into 1995. And in the States, it caused a true mania that included an “Achy Breaky Dance” – the first time such a thing had happened with a country song. Continue reading →

Mock Tudor (Richard Thompson) – Album Review (Part 2)

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(The first part of this review can be read here)

The second section of the album (“Heroes in the Suburbs”) is the one that includes “Crawl Back (Under My Stone)”, “Uninhabited Man”, and “Walking The Long Miles Home”. These are an idiosyncratic reagge-ish number, a celtic-flavored composition and a song which is “a little bit country” respectively. I especially like “Crawl Back (Under My Stone)”, a number in which the character conveys as much self-esteem as it is necessary for him to achieve his aim – don’t be fooled, he is not as  innocuous as he might seem. And “Walking The Long Miles Home” has catchy choruses on the strength of the rhyme scheme that is employed. The lyric is funny, too.

This part of the album also has “Dry My Tears And Move On”, a song not dissimilar to a soul ballad that might as well have the best middle eight of the whole record. Continue reading →

Mock Tudor (Richard Thompson) – Album Review (Part 1)

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Richard Thompson's "Mock Tudor" Was First Issued In 1999. It is Spli In Three Parts That Chronicle Life In The Suburbs During The 20th Century.

Richard Thompson's "Mock Tudor" Was First Issued In 1999. It is Split In Three Parts That Chronicle Life In The Suburbs All Through The 20th Century.

Mock Tudor was Richard Thompson’s final album under his Capitol Records’ contract. It was released in 1999, and it was the one album of the decade not produced by Mitchell Froom, the man who is known for his glossy approach to record-making. That is always a recurrent point when the album is discussed. The fact remains that Thompson is a gritty performer, and a rawer approach for capturing him in action always works best.

That is exemplified by the first three tracks, two of which were issued as singles (the polka “Cooksferry Queen” and “Bathsheba Smiles”), and that stand as very fine vignettes about outlaws and people who walk the line. “Cooksferry Queen” paints the picture of an outright ruffian that is transfixed by love, putting himself at the mercy of the other – as Yasu, the leader of the band Black Stones (or “Blast”) from the anime “Nana” used to say, those who once laughed at love will cry because of it in the end.

And “Batsheba Smiles” is a very pointed portrait of a woman akin to Coleridge’s Christabel, IE the kind of woman that is always there for everybody but never there for any person in particular. The chorus of the song is specially powerful, with the “Do you close your eyes to see miracles/Do you raise your face to kiss angels/Do you float on air to hear oracles” section showcasing the effects such a person has on others, and how initial admiration turns into bitterness very quickly indeed. Continue reading →

Face Dances (The Who) – Album Review (Part 2)

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(Check out the introduction to this review here)

Face Dances is a record which can be described very easily: it is an album of rock songs that have been produced and treated as if they were pop tunes. That certainly posed a problem for many fans that were expecting another Who’s Next, yet they were more or less appeased by the lead single, “You Better You Bet”. That song alone revived a lot of interest in the band, and it was to be their last stronghold in terms of chart performance. The other single was “Another Tricky Day”, and both the two singles and the poppy “Don’t Let Go The Coat” had some weird accompanying promos where the tempos were all sped up (!). I am not kidding:

Ah, “Don’t Let Go The Coat”. That was one of the very first Who tracks I listened to, actually, and I must say that it has an incredible catchy quality. The song deals with Pete’s faith on Meher Baba – the Avatar had once instructed his followers to “grab to the hem of my robe”. It is traditionally regarded as one of Pete’s most charming songs on the subject (and he wrote quite a few tunes about that), and while some have misgivings about Roger’s interpretation I couldn’t disagree more. He does the song splendidly, reaching the climax during the middle eight and ad libbing excellently during the fade. If you want to listen to Pete’s own take you have to go for the first album devoted to rarities he released, “Scoop”. Different interpretations, same great song and same great way to communicate faith on life in general, not just faith when it comes to a single person or leader. Continue reading →

Face Dances (The Who) – Album Review (Part 1)

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The Cover Of The Who's Face Dances Was Devised By Peter Blake (He Who Designed The Cover Of Sgt. Pepper's). He Approached 15 DIfferent Artists To Paint The Canvasses.

The Cover Of The Who's Face Dances Was Devised By Peter Blake (He Who Designed The Cover Of Sgt. Pepper's). He Approached 15 DIfferent Artists To Paint The Canvasses You Can See.

After the loss of Keith Moon, The Who decided to take the one gamble that was left and carry on the best way they could, in loving memory of Keith and in loving memory of all the ideals they had stood for. Was “the best way” recruiting former Faces compadre Kenny Jones? That is debatable ad infinitum, of course. On the one hand, Jones was a strict time keeper. He was the polar opposite of Keith, and that was one of the reasons he was chosen as his successor, actually. Pete declined Ginger Baker’s offer to be their new drummer if only because he was as troublesome a character as Moon. Also, John relished having the chance to have a less frantic drummer setting the beat for a change. They first had worked with Kenny during the Tommy soundtrack, and they had gotten along with him well professionally. And they had known him on a personal level for much longer, obviously.

The one person that definitely opposed to Kenny’s addition as a full-time member of the band was Roger. He was keener on rotating drummers until arriving at the suitable one. Pete claimed that such a thing would turn everything into “a pilgrimage to find Keith”, and that is why Kenny was eventually instated as their new (and definitive) drummer. Continue reading →

Extras (The Jam) – Compilation Album

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"Extras" Assembles Rare Songs & Takes From All Over The Jam's Relatively Brief Career.

"Extras" Assembles Rare Songs & Takes From All Over The Jam's Relatively Brief Career.

Extras was a compilation of Jam b-sides, rare tracks and demos that was issued in 1992. The main value the compilation has always had is in portraying the development of Paul Weller as a composer, since cover versions that map out the way he shaped the sound of the trio as they went along are extensively provided. We have covers of The Beatles (“And You Bird Can Sing”), The Small Faces (the charged “Get Yourself Together”) and The Who (“Disguises” and “So Sad About Us”, the b-side to “Down In The Tube Station At Midnight” that paid tribute to the passing of Keith Moon) along with many R & B and soul covers like “Move On Up”, “I Got You (I Feel Good)” and “Fever” (which is fused with Paul’s own “Pity Poor Alfie”).

Some of the best original b-sides include “The Butterfly Collector” (a timeless take on the groupies and hangers on that have always littered the music scene), and the electric version of Foxton’s Smithers-Jones (a string quartet performs it on “Setting Sons“; the original version was the flipside to “When You Are Young”). There is also Weller’s own “Shopping” (a shuffly number that manages to marry the vision which led to the Style Council with the sound of The Jam) and the salient “Tales From The Riverbank”. That one has always been deemed as one of those “should have been an a-side” track by fans, critics and Weller himself. Its placement on the album is also very good, being situated right at the beginning with “The Dreams Of Children”.

There are also two unreleased Weller originals. They are “No One In The World” and “Hey Mister”. Both are performed by him unaccompanied – the former is played on guitar, and “Hey Mister” is played on piano. The songs have a disaffected outlook on life and politics respectively, and I think they would have made for interesting group performance. Continue reading →