Music Review

Week 44 (Just A Band 4 aka Final Just a Band)

sex pistols

Artist: The Sex Pistols
Album: Never Mind the Bollocks, Here’s the Sex Pistols
Release Year: 1977

Overview

*warning* There is a bit of swearing in this album review but I think the Sex Pistols would have wanted me to swear as often as possible.

This week I listened to the Sex Pistol’s Never Mind the Bollocks Here’s the Sex Pistols. Notice that Never Mind is not spelled Nevermind. An entire generation of 90s kids were mislead into using the misspelling thanks to Nirvana. Even though my example is trivial it illustrates the point that the right album coming along at the right time in the right place can influence an entire generation. Never Mind the Bollocks is absolutely one those albums. It’s cultural and musical impact are unlikely to ever be repeated. Some of it is because of timing, but there’s also the fact that some of what happened is straight up batshit flipping crazy.

If you don’t know who the Sex Pistols are, that’s okay. They were formed over 40 years ago. For those who were around when the Sex Pistols were formed, you’re older than you’ve ever been and now you’re even older. And now you’re older still. My condolences. The Sex Pistols are a punk band out of London, England. Excuse me. That’s not right. A more accurate statement would be they are THE punk band out of London, England. Unfortunately, I wasn’t alive in 1975 and I’m not from the UK. I can’t give a firsthand account of the before and after of this album being released. I can tell you that reading about the Sex Pistols has been interesting mind blowing and is worth your time a must read scenario. There is a Mount Everest worth of controversy created for a band that had broken up by 1978 after releasing their debut album in 1977. This combination of influence and controversy is what makes them incredibly fascinating even to this day.

I could spend this entire review talking about the band and their insane fuckery, but that’s not why you’re here. You came here for the music. Well I hope so. Otherwise, I should have written a biography instead of an album review.

The Review

What Works

  • The energy of this album is simply amazing. The Sex Pistols crank it up to 11 the entire time. The beginning track, Holidays in the Sun, starts out with the sound of an army marching. Then the bass drum kicks: Boom. Boom. Boom. Paul Cook, the Sex Pistols’ drummer, is providing a metronome for the military. Then four monster strikes of the guitar by Steve Jones. Within seconds, you know you are in for some serious shit to hit the fan. These guys are not screwing around. You pumped? Oh hell yeah, you fucking are.
  • Some people might not see punk music as having artistic value. My grandmother would probably call this album a bunch of rotten vicious noise. And she would be wrong. Very very wrong. Why? A multitude of reasons. But one that stuck out for me over and over while listening was the vocal phrasing for both the lead vocals and even the backup vocals.  John Lydon is a music god on this album. He knows exactly when to drag a word out and which parts of the word to drag out.  He often uses it to build up tension as the song progresses. Thus making it a perfect compliment to the rest of the instruments. But he can also shoot out vocals at a break neck speed thus ensuring the listener is never bored. I really don’t think this album would be as acclaimed as it is if it wasn’t for Lyndon’s masterful singing.
  • Lyrical content is another strong point of this album. Obviously, the songs questioning authority and society are setting up the future punk ethos.  It gets a bit more interesting when you start looking into all of the songs. One unexpectedly fascinating song is Bodies, which is an extremely graphic depiction of abortion. Many conservative groups have latched onto this song for its anti-abortion stance. Lyndon however contends it is neither pro-life or pro-choice (much like Ben Folds’ song, Brick, but with the word ‘fuck’ used quite a few more times). It’s more about capturing the emotions involved in song form than trying to take any kind of stance or convince somebody what their view should be. (I find that absolutely refreshing in today’s social climate) That’s art as fuck, right? Sex Pistols are far deeper than what your grandmother would have led you to believe.

What Doesn’t

  • The energy of this album, while amazing, is completely overwhelming. I know what you are thinking. I’m just getting old. Well, guess what? I am! But the Sex Pistols felt overwhelming even in my junior year of college when I first gave them a serious listen during my pop punk phase when I was trying to find out where punk came from. This is a great album to listen to a couple tracks every once in a while to get yourself pumped up. The blitz style guitar work alone should do that just fine.  However, even better, this is an album to sit down and listen to the record in one continuous sitting so you can fully appreciate it. What shouldn’t you do with this album? Listen to it on repeat for an entire week. Negan could have easily used this album to break Daryl on the Walking Dead. [ed. how long has this review been delayed?] Daryl might have been jamming to it in the beginning but eventually he would be begging for mercy.

Conclusion

This is isn’t an album for everyone but it is an album everyone should listen to because of the influence it has had on music and culture. I seriously do consider this a historic document of tremendous value because of the impact it had that still can be felt today. Never Mind the Bollocks is so incredibly well crafted and absolutely deserves any praise it gets. It’s never going to be in my regular rotation though. It’s too much for me.

Reviewer’s Note

This review is about 29 months overdue.  The review before that was 12 months overdue. To those who have been patiently waiting for my next review, you are amazing. And I’m sorry everything fell apart. I will not continue listening to anymore albums on repeat for a week at a time . Whenever I’ve explained to people what I did for this site, I feel like I am explaining the ramblings of a mad man. I still want to write reviews in the future of albums that interest me for this site but not this way.  It’s too much. In the past 29 months I have listened to tons of amazing music so I have no shortage of things to talk about.

Streaming/Purchase Links:
Spotify
Google Play Music
Amazon Music
iTunes

Information Links:
Wikipedia Artist
Wikipedia Album
Facebook
Twitter
Official Site

Week 42 (Just A Band 2)

Led Zeppelin – Led Zeppelin III (1970)

Led_Zeppelin_-_Led_Zeppelin_III

Bottom Line Up Front: This is a 5.0 out of 5 stars album. This quote sums up the awesomeness of this album perfectly:

“Hey, I believe in God, man. I’ve seen him, I’ve felt his power. He plays drums for Led Zeppelin and his name is John Bonham, baby!” -Nick Andopolis, Freaks and Geeks, Pilot Episode

Well, maybe it doesn’t, but I’ve been waiting over a year to review a Led Zeppelin album so I could use that quote. So we’re just going to roll with it. You might have noticed Freaks and Geeks references in past reviews because the show is just filled to the brim with awesome music. If you are a music enthusiast and haven’t seen the show, you are really missing out. Alright, enough about the show. Let’s get back to Zeppelin. It is a review about them after all.

Artist Background: Well, here we go again. I try to summarize an incredible band in a very limited amount of space. I swear I’m going to just start copy and pasting a link to the Wikipedia page. This is our second, and equally important, UK group for the Just a Band series. Zeppelin formed in London in 1968. The band was formed out of the ashes of The Yardbirds, as The New Yardbirds, to finish up some concert commitments the band had leftover. The name was axed quickly, as the Yardbirds moniker was only agreed upon by the former members, to use for those last couple concerts. After changing their name to Led Zeppelin, they quickly scored a contract with Atlantic sight unseen, which is pretty impressive. The band consists of Jimmy Page, Robert Plant, John Paul Jones and John Bonham. All four of these guys were incredibly influential on the rock genre for their respective roles in the band. “Among the greatest ever” is a term that gets thrown around often with these guys and with good reason. All members, except Bonham, are still alive. Unfortunately, John Bonham died in 1980 of a pulmonary edema caused by alcohol-related asphyxia. I really don’t like that description of it. It sounds like it came from a medical textbook. Led Zeppelin did not live some kind of Harvard textbook lifestyle. They lived (some say invented) the rock & roll lifestyle. They were famous for trashing hotel rooms. No, I’m sorry, trashing entire floors of the hotels they stayed at while on tour. A better fitting description of his death is he choked on his vomit after passing out from drinking 40 units of vodka. That’s how he went out. I don’t know what issues he was dealing with at the time that would cause him to drink so much, but it was an incredibly tragic lost. Zeppelin broke up after his death, but, before that time, they managed to be one of the most important rock bands ever. They are the second best selling band in the US with 111 million sales, and every album they put out reached the Billboard Top 10. Finally, every episode in season 5 of That 70’s Show is named after one of their songs. If that doesn’t show how important they were, I don’t know what does.

Album Background: First off, I just want to say people who grew up in the late 60’s/early 70’s are spoiled rotten when it comes to album releases. I touched on this earlier with the Grateful Dead releasing two incredible albums in such a short time period as being mind blowing to me. Led Zeppelin I through IV came in the very short span of 1969 to 1971. Houses of the Holy ****ing ****! We’re you people in your bedroom just swimming in a pile of amazing records ala Scrooge McDuck?

Led Zeppelin III is, obviously, their third album. It was released in 1970 and has a runtime of 43 minutes. Much of the album was composed in Wales where Plant and Page were taking a break from the strenuous touring schedule. The cottage they stayed in is named Bron-Yr-Aur, which means “golden hill” in Welsh. It’s pretty evident that the location had a great deal of influence on the band since it was included as part of the name for two of their songs. It’s no coincidence that spending a couple months in a cottage with no electricity or running water lead to an abundance of acoustic material. This drastic change in style confused both critics and the public alike, but it also earned them newfound progressive rock fans. Despite the initial mixed response, people eventually realized just how amazing and important this album was for the band and to music in general.

I just want to quickly mention the album sleeve because, at first glance, it’s a bunch of random flight-themed images on a white background. However, upon closer inspection, there exists a small disc of similar images behind it. By rotating it, you can change the layout of the front. This type of art, known as volvelle, was included in the album design by Jimmy Page and Zacron, an artist who had been working with rotating graphics for several years prior. I was actually unaware of this fact until I bought the 2014 Deluxe Remastered CD specifically for this review and turned it myself. It’s very freaking cool and definitely some of the most interesting album art I own. Here’s what the rotatable disc looks like so you don’t have to tear apart your own:

Led_Zeppelin_III_volvelle_

Favorite Track: There really is so freaking much to love on this album. This is a difficult decision. I will go on the record as saying that Since I’ve Been Loving You is the most impressive song on the album by far. I’ll touch on it under the What Works section of this review. It will probably be referenced multiple times given how amazing it is. However, my favorite track has to be Gallows Pole. If there was one song that routinely stuck out over the week, it was this song. It starts out soft with a simple acoustic riff and Plant singing the opening lyrics. Then, Plant turns it up a notch belting out the ever memorable, “Hangman! Hangman!” just as the mandolin kicks in. That caught my attention every single time when I was in the car. The gradual build up in this song is just amazing as the electric bass is added in shortly after.  Finally, they introduce the banjo and drums right as things just start getting crazy. Although, it’s crazy in a great way because of the gradual introduction of each part of the song. Imagine if the song started the way it sounds at about the 3:30 mark. It would be completely overwhelming. Yet, with how Zeppelin did it, it’s pure genius.

What’s interesting about this song is it’s actually based off a famous folk song, The Maid Freed from the Gallows, that is hundreds of years old and has been sung in the many regions of Europe with countless variations. Led Zeppelin wasn’t the only ones to record the song in modern times either. Most notably, Huddie “Lead Belly” Ledbetter recorded it as The Gallis Pole in the 1930s, and Bob Dylan recorded it in 1963 as Seven Curses. There are a lot of variations, even between these three versions. Regardless, the basic story is a person, often female but not always, begging for someone to buy their freedom from execution by bribing an official of the courts. Not only do circumstances change between versions, but so does the perspective from which the tale is told. Sometimes the bribe works and sometimes, like in Gallows Pole, it sadly does not. Despite the choice to go with the more sad ending, it’s still an incredible song.

What Works: 

  • Plant I am in awe of Robert Plant’s singing on this album. Obviously, his very famous wailing is a key part of that, but there is so much more. I especially love how playful he is with his phrasing of the lyrics. The way he approaches the verses, which does not quite match up with the obvious way of doing it, results in a very distinct style. I also love the dynamics in his singing. He’s not afraid to switch up between loud and soft, even within a single line of a lyric. Finally, I love his use of repetition. He masterfully knows exactly when and where to repeat a small phrase or even a single word. On Since I’ve Been Loving You, Plant starts repeating words and phrases very heavily towards the end. Most notably for me the “seven, seven, seven” which contrasts to the opening line of the song in which seven is only said once. This resulted in an image of a slot machine popping into my head. Could it be a reference to getting lucky with the woman? It probably was not his intention, but it resulted in an interesting allusion nonetheless. What it does do, and I’m sure this was the intention, is dramatically increase the emotional intensity of the lyrics.
  • Page There is no Zeppelin without Page. In reality, that applies to all the members, but that doesn’t make him any less critical. In Since I’ve Been Loving You, Page delivers this incredibly badass guitar solo that is critical to amping up the intensity of the song as it progresses. Besides solos, Page delivers so many now famous guitar riffs throughout the tracks on this album. He is one of the greatest guitarists to ever live, after all.
  • Accidents One of the best accidents to ever happen in a studio occured on this album. The beginning of Celebration Day was actually supposed to start with a Bonham drum solo, but an engineer accidentally deleted that portion. Instead, they seamlessly connected Friends with Celebration Day, with the Moog synthesizer, using the drone found at the distinctly sounding end of Friends. It sounds brilliant. I was amazed it was a “fix” for a studio screw up.
  • Darkness By the end of my final listen, I was completely surrounded in darkness. As the album progressed, I gradually began removing light sources from the room. First, I shut off the light. Then, I began turning off monitors. Finally, I held my hand over my eyes to remove the last little bit. Why? Was the light distracting? Actually, it was. If you ever really want to listen to an album, and I mean REALLY listen to an album, grab a pair of good headphones and go sit in a dark room by yourself. By cutting off all of your other senses, you can focus on the music with laser precision. I swear to you, your music will never sound better than it sounds in your sensory deprivation zone. Zeppelin III is so beautifully crafted and complex that, yes, the light was getting in the way of my growing need to fully appreciate everything they did with this album. The acoustic songs on this album, like That’s The Way, are incredibly beautiful and beg for your ear’s full attention.

What Doesn’t:

  • Lyrics I am not saying the lyrics are bad. The lyrics are freaking amazing. Well, they are freaking amazing when they don’t get lost in the music. Zeppelin lyrics tend to fade into the background incredibly easy for me in their mid/uptempo songs. I don’t know if it’s because there is just so much awesomeness going on at once or maybe it’s the way Plant enunciated on those faster songs, but I tend to miss out on a lot of good stuff. Immigrant Song, for example, has some seriously kick-ass lyrics that are historically important to the genre of heavy metal since the song started the viking/heavy metal connection. “Hammer of the gods” is an incredibly famous line from the song. I totally missed that line all these years until I read about it. This also explains why I tend to heavily favor their slower acoustic songs from their discography, where their lyrics do not have such tough competition for my attention. Maybe this is more a personal problem than Led Zeppelin’s fault. I would be interested to know if anybody else experiences this dilemma with their music.

In Conclusion: I would have to say if you are going to listen to the album, then sit down and listen to it. There are so many amazing things happening on this album. You might not notice that Since I’ve Been Loving You is the shortest seven and a half minute song ever recorded. The time passes so incredibly fast because it can keep your attention the entire time. I had no idea the song was that long until I looked at the playlist. You also might miss out on the craziness of the wah wah vocals for Hats Off to (Roy) Harper. Or you could completely miss that they basically restart the song over again toward the end of Bron-Y-Aur Stomp. Maybe you’ll miss any one of the numerous false endings or wonderfully syncopated rhythms found throughout the album. Why purposely deny yourself all of this awesomeness because you decided to multitask and passively listen to it instead? Led Zeppelin deserves better than that. You deserve better than that.

Music Video Links:
I couldn’t find any official music videos for the original release. You can find some live stuff recorded later if you look on YouTube.

Streaming/Purchase Links:
Xbox Music
Spotify
Google Play Music
Amazon Music
iTunes

Information Links:
Wikipedia Artist
Wikipedia Album
Facebook
Twitter
Official Site

Week 40 Review

The Ataris – Anywhere But Here (1997)

Bottom Line Up Front: This is a 4.0 out of 5 stars album. I know. I know. Another pop punk band crying about relationships. Enough already. But The Ataris do a really good job of mixing things up and Kris Roe has a keen musical sense that makes him smarter than your average pop punker. It’s worth your time.

Artist Background: For all intent and purposes, The Ataris is Kris Roe. He’s the only constant member of the band for it’s entire history since it started in Anderson, Indiana in 1995. The first album (this one) didn’t happen until their demo tape made it’s way to the owner of Kung Fu Records by way of Bogart’s (Cincinnati, Ohio). There’s been 20 members since 1995, so saying they have had some lineup changes is a bit of an understatement. Regardless, Kris has stuck through it all, even when he had no money, was living out of his van in California, and everyone had quit the band. Yet, he still kept pressing on. His commitment paid off as subsequent albums grew in popularity to the point where it peaked with 2003’s So Long, Astoria, which was certified gold. They are currently performing on the Blue Skies, Broken Hearts tour with the line up from the So Long, Astoria era.

Album Background: Anywhere But Here is very traditional punk album in terms of timing as it blows through 20 tracks in a little over 32 minutes. Most of these pop punk tracks last well under 2 minutes. The Wikipedia entry says Kris did everything but the drums, which was handled by Derrick Plourde, for this album. I have no idea how accurate this is, as Jasin Thomason didn’t leave the band until after ABH was released. Also, the credits refer to a member that didn’t join until after the album was released. So I’m not sure what to believe. It really needs to be pointed out that I am talking about the 1997 original release of this album. Kung Fu Records decided to re-release the album in 2002, which happens all the time with early albums when a band gains significant popularity. I’m not certain if it was an effort to make the album sound similar to their current albums or what, but I know that I absolutely hate the 2002 version with every fiber of my being. They changed the track listing completely, added horrible reverb to every track, and created a wall of sound by destroying the original dynamics. I very much appreciate the more raw sound of the 1997 release, and the track order makes more sense to me with the nearly all instrumental track, 1-2-3-4, being the opener.

My anger only intensified with how I discovered this hellish creation. I wanted a higher bit-rate version of the album than the one in my collection. Being the impatient person I am, I bought and downloaded the MP3 album from Amazon without double checking anything. “What the fudge is this?” was the only question that ran through my head as I started up the album on my way to work. I wish it had been a CD so I could have tossed it out of the car window onto the side of the highway like an old bag of McDonald’s*.

*=Not really. I hate when people litter. They’re a bunch of littering jackasses. Please don’t litter.

Favorite Track: This pick should be the incredibly infectious Hey, Kid! but it isn’t. Despite Hey, Kid! being proclaimed by many (most notably and recently by my editor) to be my official theme song with the eerily close to reality chorus of “Bitch, bitch, bitch. That’s all you ever do,” I’m actually choosing a different song. Instead I am going with the 19th track, Boxcar, which is a cover of a Jawbreaker song that was originally released in 1994 on the album, 24 Hour Revenge Therapy. While Kris didn’t write the song it speaks very highly of his sensibilities to include a cover of one of my favorite punk songs of all-time. The Ataris version is dialed back a bit compared to the original version, but I think the song is better off for it. Boxcar, from what I can tell, is a swipe at those who like to say who is punk and who is not. The whole idea of having to strictly adhere to a code of conduct to be punk seems ridiculous because mindlessly regurgitating the punk ideals and principles of others leaves you back at where you started before you entered into the punk subculture. This idea is best expressed in the line of the chorus “I was passing out when you were passing out your rules.” It’s worth listening to for sure.

What Works: 

  • Intro I love the opening track of this album. It start’s with a quick count off then goes full throttle on the guitars and drums for the remaining 40 or so seconds. To me, it’s an iconic moment for punk music. To other listeners, it’s might be that annoying 40 seconds before the album really begins. Maybe that’s why Kung Fu Records pushed it back to end of the record for the re-release. Huge mistake, but it’s just one of many by Kung Fu when they redid everything.
  • 1950s Much of the time, I felt like I was listening to a pop punk Buddy Holly album. Kris has such a keen sense of what makes a good classic pop song. You can clearly hear the influence of early rock and roll acts throughout the album. Speaking of which, I think Buddy Holly was one of the earliest punks in music as he was one of the first musicians to start writing their own material instead of relying on others. Even the standard punk band setup of a vocalist, two guitarists and a drummer was first popularized by Mr. Holly.  Listening to this album also reminded me of the reviews of punk songs by Chuck Berry. He basically asks what’s the big deal with punk because he’s been playing this kind of music for years. And he’s absolutely right.
  • Maturity I think Kris’s level of writing was incredibly mature for a first release. I make my case with the song Take Me Back which is a wonderful satirical take on breakup songs. On this song, the boy begs his girlfriend to take him back while listing all of the wrongs he committed against her in the previous relationship. The song takes it to an absurd level by including things such as cheating 15 times, standing her up on their wedding day, giving her an STD, telling everyone they had sex while on TV and last, but not least, blowing up her car. In a world overflowing with whiny pop punk guys wishing their exes would take them back, this song is incredibly refreshing. He knew exactly what he was doing when he wrote it.

What Doesn’t:

  • Too Many or Too Little Towards the last third of the album, things start blending together. I think a lot of this has to do with how quickly they are blowing through songs. You don’t always have enough time to appreciate the song before the next one starts up. While I was taking notes, some of the songs didn’t have any notes because I didn’t have enough time to think of anything to write. If I don’t have enough time to write anything at all, does the listener have time to get anything out of the song? I know very short songs are a staple of pop punk, but that doesn’t mean there aren’t any negatives to this approach. Would a 40 minute album with some of the songs extended out a little longer have been better? Maybe. But unlike Kung Fu Records, I don’t think there is any reason to screw with an album to make it “better” than what it was.

In Conclusion: I really like this album. It’s a solid pop punk effort. If you are going to listen to it, I implore you to hunt down a copy of the 1997 release. The easiest way to find the original CD is probably eBay, where you can get a better description of what you are specifically buying from the seller. It’s also great because you can see pictures of the album art in the jewel case since the 2002 version also uses different album art. So it should be really easy to pick out.

Music Video Links:
I couldn’t find any official music videos. Sorry.

Streaming/Purchase Links:
Amazon Music (2002 Version!)
Google Play (2002 Version!)
iTunes (2002 Version!)
XBOX Music (2002 Version!)
Spotify (2002 Version!)

Information Links:
Wikipedia Artist
Wikipedia Album
Facebook
Twitter
Official Site