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"Trip" is the second album from Cause & Effect after the death of one of the founding members, Sean Rowley. I first discovered this group in the mid 90's when I was buying up old 80's CDs from my youth. I'd troll through used record stores and pick up discs from bands I'd loved in High School. Although Cause & Effect weren't a part of the 80's experience, they wrote and released music heavily inspired by 80's New Wave sounds. In the 90's, the only bands doing this kind of music were the 80's groups who survived and continued to release music to their dedicated fans. Most of the new artists were moving in other directions. Very few celebrated their 80's roots.
When I heard about them, I was excited to pick up their album. At first, I wasn't sure of what to make of them. I liked what I was hearing, but my tastes were evolving. I didn't realize it at the time. I was opening up to new sounds and styles. I actually thought their first effort was somewhat boring. However, I changed my mind over time when I gave it a chance to grow on me. I had no idea the band had lost a member when this disc came out. I remember seeing it in the used CD bin at a record store in Vegas and I picked it up. I hadn't followed the group so I didn't know any of their singles or videos.
I remember loving the disc more than the first one. That is about half way through. And then it lost me. As I listen to it now, I think my current reaction is the same. The disc has a dramatic opening with 'It's Over Now'. The Indian/Oriental intro abruptly transforming into a wailing siren heralds the start of the track. Once it starts, it doesn't stop. The verses are laid back and easy to get into, but the chorus is where the real punch is thrown. It's ramped up, energetic and dynamic all rolled into one. I would always imagine this song as the concert opener and I wouldn't be surprised if it was the track they preferred to open with.
It eventually devolves and segues into the second track, 'Inside Out'. This is another strong tune with a great build. The chorus doesn't gut punch you the same way, but the impact is no less effective. It's a more subdued track. Back to back, these two songs are amazing together. The third track is 'Alone' and this one sorta pulls the chair out from under you. It's slower and somewhat out of place. Still, the chorus is redeeming and you get some satisfaction out of it.
'In Shakespeare's Garden' is up next and this is another one like the first two that seems to come from someplace else. The beat is uplifting and gets you moving. The chorus is infectious and absolutely perfect. This is probably my favorite track on the record. 'You Are The One' keeps the pace going and is a strong song, though compared to the rest of the disc, it's probably my least favorite. Funny how my favorite and least favorite are so close to each other.
This is where I start to lose interest in the disc. The rest of the songs are ok, but they're not exceptional. I sorta tune them out when listening to the record and just get through. 'Soul Search' is the first and even now, I couldn't tell you what the song is actually about. It's followed by another similar number, 'Stone Girl'. 'She Said' is next and it's a slow track. Hard to sit through.
Next up is 'Sinking'. Once again, we're subjected to another slow song. The final track is 'Crash'. The disc ends on a high note with this song. If you swapped this number for 'She Said' you'd have one perfect side to this record.
I really am 50/50 on this record. The songs I like, I absolutely love and the rest, I don't care for at all. They sound generic, basic to me. There's nothing interesting to it at all. I'm still interested in this group and I'd like to hear more. But we'll see what happens. For now I'll end it by saying my final words: ONE AMAZING HALF OF A POTENTIALLY INCREDIBLE RECORD.
CAUSE & EFFECT - CRASH
01. It's Over Now
02. Inside Out
03. Alone
04. In Shakespeare's Garden
05. You Are The One
06. Soul Search
07. Stone Girl
08. She Said
09. Sinking
10. Crash
I know, I know... You're tired of hearing it... I don't usually follow singers, I follow musicians. Alison Krauss being one of the few exceptions to the rule. That being said, I'm a bit of a purest when it comes to her. I don't like listening to her in a duet unless she takes the lead position. Therefore, you shouldn't be surprised to know when I heard about this record coming out, I wasn't happy.
Not one tiny bit.
Don't get me wrong, I don't have anything against Robert Plant. I've enjoyed a lot of his music over the years. I simply feel his style and sound aren't compatible with hers. And frankly, when I'm listening to her, I want to hear her.
Imagine my surprise when I actually heard the record for the first time. The perfect marriage of sounds that not only compliments them both, but blends so perfectly I almost want to hear her like this all the time. These two artists have voices that enhance qualities in each other. There's a depth of soul in this disc that is unreal. You might consider Plant the heavy 70's rock god, but in his heart, the man is a blues singer. His vocal range allowed him to bring a new type of performance to the emerging metal genre, but if you listen to the words of his songs, he's a blues man. Through and through.
One of the first things I did when I bought this record was pull it up on wikipedia. I was curious about the songs and where they came from. I know Krauss usually performs covers although her band mates in Union Station will often contribute songs. Plant, on the other hand, is an adept songwriter. So I wanted to explore where the songs came from. To my surprise, 'Please Read The Letter' is the only track he wrote on the entire disc. The rest is covers. Also interesting is the choice of T-Bone Burnett as producer. He choose the songs for the duo to record and all I can say is, "Wow!". He obviously has an ear for sound. What he helped create here is simple breathtaking.
The first track is 'Rich Woman'. Dating all the way back to 1955, this is one amazing song. With Plant and Krauss singing together the arrangement is radically different from the Li'l Millet And His Creoles original version. The original includes horns throughout and is a rockabilly/rhythm & blues/swing tune while Plant & Krauss' rendition is haunting, floating and otherworldly. It's like looking at the story taking place through a cloud of smoke and a head full of whiskey. No matter how you see it, you can't help but sway along with the music as it infects you and draws you in. Very powerful.
'Killing The Blues' is a song written and recorded by Chris Isaak band member, Rowland Salley. While his released version has a more defined country flavor, this cover is subdued and maintains the quiet mystical flavor of the first track. The way they sing these songs makes them all sound familiar even when they're songs you've never heard before. 'Sister Rosetta Goes Before Us' is the first track showcasing Krauss by herself. Written by Sam Phillips for this album it's a delicate and strange number. Exactly the kind of tune Krauss shines on. She makes even the most bizarre sound heavenly.
Plant takes the lead on Dillard & Clark's 1969 track, 'Polly Come Home'. Once again, the country twang of the original version is toned down in favor of a mellow, ethereal vibe. Having heard the original, the most startling difference is the emphasis on certain words. The Plant/Krauss cover seems to take on a completely different meaning. 'Gone Gone Gone (Done Moved On)' is the first track that really seems to rock and pick up the pace of the disc. It's got a rockabilly beat and Plant gets to cut loose on this track a little. For her part, Krauss builds his performance up in a way that's almost perfection. Originally recorded in 1964 by the Everly Brothers, this exciting track is a lot of fun. I haven't heard the original, but I will probably look it up online now.
'Through The Morning, Through The Night' is the second Dillard & Clark track on the disc. It's from the same record as 'Polly Come Home'. What makes this version so unusual is the choice of Krauss as the lead vocalist. The original recording is similar in many ways. It leans more towards the sorrowful than the country even though the twang is present in both versions. It's the subject matter that makes the selection somewhat odd. Krauss sings the song in it's original form without changing pronouns. This is obviously a song written for a man to sing. Still, she doesn't pull her punches and it's darn close to the best track on the disc. Very satisfying.
'Please Read The Letter' is the Plant written number and it's absolutely tragic and wonderful at the same time. As the kinda guy who expresses himself in writing, many's the time I wrote a lover a letter to express my feelings, my hopes and fears. The build in this song is magical and it's one of my favorite tracks on the disc. It's sheer and unadulterated beauty. 'Trampled Rose' is a Tom Waits track and I have to admit, I'm not a fan of his voice, but I think he's a talented songwriter. On his album, this track sounds like an empty liquor bottle rolling out of a dingy hotel room into a hot, dry street gutter in the middle of the day. With Krauss on lead vocals, the song becomes something else entirely. It becomes a sense of longing, forgetting and pain. This track is evocative.
'Fortune Teller' is a track from 1962 by Benny Spellman. I listened to it on Youtube and it's a band with a strong Louisiana sound. Plant's version is more traditional rock n' roll. I actually like both versions of this track! They both have qualities that makes them interesting. 'Stick With Me Baby' is the second Everly Brothers track on the disc. The original is an upbeat rock number. On this version, Krauss and Plant sing together and harmonize on a more delicate and soft version of the tune. It actually makes the song sound more sincere and authentic. There's a tenderness delivered here you just can't escape. It's beautiful.
'Nothin'' was originally recorded by Townes Van Zandt. It appears on his 1971 album "Delta Momma Blues". He performs it as an acoustic number and it's creepy. Plant and Krauss perform is as some sorta weird rock opera. The guitars are sliding and electric. Krauss plays the violin. And Plant... Well, he half sings, half confidingly whispers the lyrics. If there were songs written about country suicides, this would be the framework. 'Let Your Loss Be Your Lesson' is a track from Little Milton back in 1975. It's a fun track and with Krauss on lead vocals, it's quite dynamic. The horns are replaced with guitars. I love both versions of this song. What an amazing track. Masterful.
'Your Long Journey' is a 1963 track by Doc Watson. It's a true bluegrass classic and Krauss/Plant treat it with the respect it deserves. I haven't heard the original version, but I'm guessing Krauss does what she usually does with these old forgotten tunes. She makes them sound more round and full rather than sparse and thin.
No matter what kind of music you like, if your heart has found comfort in the sweet soul of blues or other forms of American traditional music, you will find something on this record to touch your heart. It is the work of musicians who are truly masters of the craft and talented beyond belief. It reaches new heights. My final words: EVERYONE SHOULD OWN THIS AMAZING RECORD. UTTER PERFECTION.
ROBERT PLANT / ALISON KRAUSS - RAISING SAND
01. Rich Woman
02. Killing The Blues
03. Sister Rosetta Goes Before Us
04. Polly Come Home
05. Gone Gone Gone (Done Moved On)
06. Through The Morning, Through The Night
07. Please Read The Letter
08. Trampled Rose
09. Fortune Teller
10. Stick With Me Baby
11. Nothin'
12. Let Your Loss Be Your Lesson
13. Your Long Journey
I think I've talked about where I heard of this band before, but if I haven't, here's the origin story... Wendy Melvoin of Wendy & Lisa, Prince And The Revolution fame mentioned this was a band she'd discovered and was really enjoying. When I heard that, I decided to check them out and see if they were any good. The very first song I heard from them is on this album and I loved it. I loved it instantly. The second song I previewed was also from this record and I loved it just as much. From that point forward, I was hooked.
As they've released subsequent records, I've been delightfully amazed at the ideas and music they've produced. I look forward to more in the future. This is a group I'm very excited about.
The album starts off with the small sounding 'Twice'. Although it's a quiet and rather unexciting beginning, the lyrics of this song are quite powerful and amazing. "Twice I turned my back on you. I fell flat on my face but didn't lose." The imagery of turning away from someone who is obviously important to you... Seeing the negative fallout from the loss of that relationship and yet knowing inside, you ultimately made the right decision. I have people in my life this song utterly describes and for that reason alone, I adore it. It's a piano driven slice of perfection right at the start of this amazing record.
'Turn Left' is the second track and it's just as interesting. The lead singer of the band is half Japanese, half Swedish and she has a style that is oddly cultural and jazzy at the same time. As a vocalist, no one would classify her in a category with Patti LaBelle or Celine Dion, but she's got a style that is evocative and soothing. On this track, she seems to push an idea forward about identity and trying to find connection with others. In the faces of those around her.
'No Love' is another song with powerful and compelling lyrics. Just hearing someone say the things she says in this song would be emotionally devastating. The minimalist arrangements throughout are very dramatic and although they are listed and classified as an electronic band, they're more like a jazz quartet. The music is free and seems to flow in an unrestricted fashion. quite different from the structured and finely timed sound of electronica.
'Recommendation' is a more upbeat track and it's another one fans will be drawn to. It has more interesting lyrics and will make you fall in love with what the band is trying to create. It's followed by the first track I ever heard from them, 'Constant Surprises'. This one has a beat like you wouldn't believe. It's subtle and sturdy. Comes in quickly and establishes a momentum the tune doesn't deviate from. The lyrics are built around an almost metaphysical experience with the physical world and how the singer views these happenings with wonder and amazement. She draws you in with her vocals and you feel like you're falling into her life.
Once again, the soft thud of bass drums fills the speakers until the main body of 'Forever' kicks in. When she finally comes in, Yukimi (the lead singer) delivers her most interesting and diverse vocal arrangement thus far. This is an intensely driven song and there's a Japanese quality to it. An almost Asian sound in certain notes used to punctuate specific ideas.
'After The Rain' is up next and it's another track that more upbeat and faster paced. Like many of the tracks we've heard so far, it relies heavily on acoustic instruments with the electronic sounds backing up and helping strengthen the material. It all works in a fine collaboration.
'Place To Belong' is a more melancholy number and it's built around a rising and falling scale played over a slow beat. Once again, the emphasis is on the vocals, lyrics and the effect of them combined together. It's followed by 'Stormy Weather'. This is one is played on a keyboard, but it almost sounds like Yukimi singing along with a stand up bass being played softly beside her. There's a whimsical sadness to this number. It's like seeing something written on paper so thin you can see the light through it. You can see past the sound of her vocals and feel the emotions she's expressing.
'Test' is probably one of the better fast numbers on this disc. It's got a great beat and you can really get caught up in the song. Once again, the vocals and lyrics are right on target. 'Wink' is probably my favorite track on the disc itself. This one features a funky deep beat and a more complicated vocal arrangement that really shows off Yukimi's vocal talents. Once again, there's an unmistakable Asian sound in the music. But it's driving and quite powerful.
'Scribbled Paper' closes out the album and it's another acoustically dominate track. Like most of the material on this disc, Little Dragon have created a minimalist sound and packed it with meaning, great melodies and arrangements that make each track powerful on their own. What they've achieved here is nothing short of dynamic and worth listening to. It s a hybrid combination of electronic art and jazz/soul. If there is a band pushing boundaries in musical forms, this is it. You just can't go wrong listening to this record.
My final words are gushing and all over the place: THE BEST FRESHMAN DEBUT EVER! CAN'T BE TOPPED AND AMAZINGLY UNIQUE! A NEW SOUND FOR A NEW WORLD!
LITTLE DRAGON - LITTLE DRAGON
01. Twice
02. Turn Left
03. No Love
04. Recommendation
05. Constant Surprises
06. Forever
07. After The Rain
08. Place To Belong
09. Stormy Weather
10. Test
11. Wink
12. Scribbled Paper
This import single is for Juno Reactor's 'Guardian Angel'. It's a UK single and at the time, I was buying anything I could find from JR. Of course this single doesn't include much. It's a two track disc and if I'm not mistaken, both tracks are the album versions from "Beyond The Infinite".
The first track is 'Guardian Angel' and it's a strong, solid choice for a single release. I love this song and it's nice to see it as a single. It would've been cool to hear some remixes but I was happy to have the new artwork and I loved the disc. The second track is 'Razorback' which is another stunning example of why "Beyond The Infinite" is arguably the best of all Juno Reactor records.
Although there's absolutely no value in owning this disc other than it fits into a collection and it features some original artwork, I'm still happy to have it. My final words on this release: AN ABSOLUTELY UNNECESSARY INDULGENCE.
JUNO REACTOR - GUARDIAN ANGEL
01. Guardian Angel
02. Razorback
It's hard to believe anyone born prior to 1970 not knowing who Robert Plant is, but for those who don't... He's the lead singer of Led Zeppelin. And you don't have to go too far to find out who Alison Krauss is... Just do a search on this blog and read some of my other reviews of her work. I love her!
When I first heard she'd done some recording with Robert Plant I was a little annoyed. I tend to be a purest when it comes to vocalists I like; (which in and of itself is a rare thing). I don't like to listen to them singing with other people. It drowns out the sound I want to hear. I was reluctant to listen to this music but eventually I did and I fell in love with it. Amazing!
I think I'm more in love with the promotional material surrounding this release than I am the official. This is a two track promotional CD of the 'Rich Woman' single and it comes in a generic cardboard package. The cardboard actually looks like it's made from recycled paper. The actual cover is a sticker that's been placed across the front and back. It creates a back, side and front label for the disc. I think the idea is unique and interesting. I like it quite a bit and if I can, I'm going to pick up as much of this as I can. I'd like to have a complete album and single collection of this record in this interesting packaging.
As for the disc itself, it features two versions of 'Rich Woman'. One is an edit of the album version. Krauss and Plant sing the tune as a duet and it's fantastic! Brilliant number and performed to perfection. My final words: A UNIQUE AND INTERESTING RELEASE!!!
ROBERT PLANT / ALISON KRAUSS - RICH WOMAN
01. Rich Woman (Radio Edit)
02. Rich Woman (Album Version)
I've picked this album to review because I recently purchased it in the original CD longbox! Woo-Hoo! For those of you who aren't familiar with Dale... Think Missing Persons. Dale Bozzio is the lead singer of the 80's New Wave band, Missing Persons. She's most known for her perky vocal styling and signature scatting. With high pitched yelps, hiccups and squeals, Bozzio bopped her way across the charts for the early part of the 80's and then kinda flat-lined when Missing Persons broke up. In an attempt to redefine herself, she signed as a solo artist on Prince's Paisley Park label and released this little gem, "Riot In English".
'Simon Simon' is the opening track and it's a funky pop number using what I can only describe as a skidding drum effect throughout. It was also a single for the album and probably the more popular or well known of the two released from this record. There's a strong focus on beat which is more of a Minneapolis sound trick rather than a New Wave standard. She was obviously trying to create a hybrid sound mixing her brand of pop with Prince's. This is more apparent on the second track, 'Giddi Up Baby - Be Mine'. Once again, that skidding drum beat is prevalent throughout. You also get some strong punctuated synth lines reminiscent of a lot of the motifs The Time would use.
'Overtime' is the first song that follows a more traditional New Wave formula in song writing. The emphasis is on the melody here, which isn't exactly a trademark of hers in the past. There are plenty of synth effects showcased in this song that were party tricks of Prince's in the past. I suspect the album was recorded at Paisley Park using instruments and equipment Prince would normally use. Hence the tendency to lean towards some of his standard sounds. 'Overtime' is an interesting song because Dale sings it in a lower key. She still has her signature yips in the chorus, but she delivers most of the song in a reserved and sincere manner. It's actually a great tune.
Because Paisley Park was his vanity label, most of the artists who released albums were offered a Prince song as part of their album. Track 4 is Prince penned 'So Strong' and just like the title suggests, it's the strongest track on the album. It's more fully realized, produced and performed than any of the others. There's not a lot of room for Dale to vocalize. One would assume, with such an animated voice as hers, Prince would've offered a track that would take advantage of her unusual delivery. Instead, the track more or less reigns her in confines her. Even though the song is amazing, it's disappointing to hear Bozzio in such a limited performance.
'Love Is Hard Work' always seemed like a power chord generic track to me. Yet as I listened to it for this review, I actually put my finger on why it sounds like something I've heard 100 times before. Cameo used to release albums with 1 or 2 great songs and then a bunch of R&B filler material that wasn't nearly as interesting or entertaining. And this track sounds like one of those tunes. I could hear this song on "Single Life" or "Word Up". Come to think of it, most of the drum sounds on this record sound more like Cameo than Prince... Sadly, it's not a great song for Bozzio. It's followed by the title track, 'Riot In English'. This track is an experimental disaster with Dale speaking the lyrics like she's reading a mystery novel to an audience. The only singing is actually performed by the back up singer who sorta steals the show. It's a strange song, definitely the odd duck in the bunch and even though the title is interesting, I'm not sure I would've picked it as the second single or named the album after it.
'He's So Typical' is another song that attempts to blend Dale's New Wave with the Minneapolis Sound. You get the synth chords more in line with MS, but it's a Dale song in every other way and really allows her to break out and be herself. She the most animated on this track and really cuts loose. You actually start to think the word "typical" was invented just for her to speak. 'Ouch That Feels Good' is another New Wave track more in line with the early 80's New Wave sound. It's not a strong tune, but it's enjoyable and Dale sounds more relaxed and her performance comes across more genuine and real.
'The Perfect Stranger' is the final track on the album and it was also included on the 'Simon Simon' single as the b-side. It's an unremarkable track but still enjoyable.
Most of the artists that appeared on Paisley Park were innovative and different. In this case, Dale sounded like she was trying to create a hybrid sound between the style of music that made her a star and the Minneapolis Sound that was still rockin' the charts. I think it would've been more interesting to let her do her own thing completely separate from a producer. With some freedom and at the height of her creative force, I think she would've tanked horribly or come up with something so amazing, her place in rock history would've been assured. Instead, they took a safe route and attempted to create something that would please Prince's audience and Bozzio's.
It's not a bad outing, but not necessarily a great one either. Of all her albums, this might be the only one that is currently out of print. I'm not sure about the Missing Persons material. I'd have to check. Anywho... My final words: A HIT AND A MISS!
DALE - RIOT IN ENGLISH
01. Simon Simon
02. Giddi Up Baby - Be Mine
03. Overtime
04. So Strong
05. Love Is Hard Work
06. Riot In English
07. He's So Typical
08. Ouch That Feels Good
09. The Perfect Stranger
Back in 2001 I was crazy for Rammstein. Everything they were putting out I was buying. Including import singles. In fact, I was more interested in owning import copies, especially German copies, of their releases than the American versions. This particular item was a tasty treat. Rammstein had just released their first live concert film, "Live Aus Berlin" with simultaneous CD release. Initially, you could buy the film on VHS and the soundtrack on CD. Eventually, it had a DVD release, but that was a fiasco by itself. And a disappointment. But I'll discuss that at a later date.
The double live album was a huge release for them that year and yet there wasn't a single released to accompany the album with the exception of this one. And it was only released in Australia. The single contains the album version of the song 'Asche Zu Asche' and then five live tracks exactly as they appear on the CD release. There's nothing new on this disc. Nothing special. Other than the fact you get a unique cover and at the time a collector's item.
I was thrilled to get this disc and happy to add it to my collection. Even though, as far as content, value wasn't there. My final words: UNIQUE COLLECTOR'S ITEM!
RAMMSTEIN - ASCHE ZU ASCHE
01. Asche Zu Asche (Album Version)
02. Spiel Mit Mir (Live Version)
03. Laichzeit (Live Version)
04. Wollt Ihr Das Bett In Flammen Sehen? (Live Version)
05. Engel (Live Version)
06. Asche Zu Asche (Live Version)
