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Bring Your Own Weapon are an Arizona Punk Rock outfit recommended to me by the guys from Broloaf. Based in Phoenix, this group has had a bit of success on a local level. At least that's the impression I have after reading some articles and information about the band online. And I think that's fantastic!
As I listened to this album, my enthusiasm for the band slacked off quit a bit. They are a straightforward Hardcore Punk outfit and although they know all the tricks when it comes to writing and performing this genre of music, there's not a lot of hope this group will cross over and have a lot of success.
Punk, Hardcore and other extreme metal genres are music built around developing a certain feeling and feeding that energy. When I was younger, I would hang out with some of these kids and I enjoyed going to these types of shows as much I as I enjoyed seeing more mainstream groups. I figured out these bands aren't selling you "music" as much as they're selling a feeling. One they develop and nurture in their audience. Almost like a cause. And those feelings are highly charged, intense and can sometimes lead to impaired thinking. I simply don't have that in me anymore. There's no way I could handle the energy of this band's live performance, much less feel all the anger they seem to want you to to feel with the righteous fist of indignation pumping the air high above your head as you rock out with them. I just can't muster the strength.
Unlike other hardcore groups, Bring Your Own Weapon do have some musical moments that make you think there's more to them than just the high energy punk metal they play, but you don't see them branch out on this record. They do have one track, the last one... number 14... 'Bobbing For Babies' is a fairly straight forward call to arms about bad parenting and irresponsible behavior around children. I can absolutely get on board with that.
As the band develops, perhaps they'll find a way to embrace melody and other traditional aspects of popular metal and music culture they tend to avoid. I think if they did this you'd see a transformation similar to Rob Zombie's. He started out a fairly blistering punk rocker himself back in the White Zombie days. But I'm talking way back. You have to go back to the time before they were signed to a label and track down some of that super rare local releases the band did. They were hard!!!!! And now look at him... The King of Horror Rock! Sure there are fans who will say they've sold out and there are fans who might embrace a new sound, but one thing is certain, they'll never get famous playing music people only react to. It just doesn't sell as well. There are better ways to engage a fan base and develop a career than just raging. But ultimately, the members of Bring Your Own Weapon must do what feels artistically right to them. Their integrity as artits is on the line. And if they choose to remain the stalwart metal prophet shouting out the evils of the world every bias they possess will want center stage. And that could create a very jumbled unclear message. Sometimes you have to give up the war in favor of the art.
Anywho, back to basics... Rocking band, but much harder than I would normally buy. I like a couple of songs, especially 'Bobbing For Babies'. But again, this is a group that writes music to cause a feeling. Everything is in the intensity and rigor of those power chords. That adrenaline piston blood pounding your brain is the lead guitarist and the soul crushing boot stomps are the drummer calling you into action.
I still detect a thougtful soul behind the lyrics and it would really be interesting to see what would happen if that guy put his words before the music. The very gist of what he's trying to say would be better suited to a more expressive lyrical form of composition than the protest aggression of what you hear on this album.
Whatever they choose, I'll have to choose whether or not to give them another try. I'm hopeful they'll consider some new musical directions, but that's my opinion and it is not better or worse if they don't. We'll see what happens.
My final words....: THE MUSICAL EQUIVALENT OF SMASHING WALNUTS BETWEEN YOUR BARE HANDS JUST BECAUSE YOU CAN! STILL BETTER THAN MOST HARDCORE BANDS I'VE SEEN OVER THE PAST FEW YEARS.
BRING YOUR OWN WEAPON - B.Y.O.W.
01. Three Strikes
02. Locked Inside
03. Overtime
04. Punk Rock For Sale
05. Booze Pig
06. Tampons And Beans
07. Political Bullshit
08. Drunk And Broke
09. Ritalin
10. DTS/DTO
11. Gridlock
12. Fuck The Middle East
13. Wrecking Ball
14. Bobbing For Babies
Eroica... You can search the term on google, bing, whatever search engine floats your boat and you'll always find yourself coming back to Beethoven. He used the word more than once in his compositions and its since become a word many people associate with him including authors and film makers.
Why did Wendy & Lisa choose to name their album "Eroica"? That's a question we may never have an answer to. But when you consider the breadth of music these two study, consume and incorporate into their own sound, it's not hard to believe some of Beethoven's Eroica Variations might have had an impact on one or both of them.
It's almost beside the point when you get right down to it. Whether the name is used to honor music they love or signal the listener something truly transformative is about to happen, it works. Not only is it a departure from the Minneapolis Sound but it expands the subject matter and writing abilities of the pair in a dynamic way.
The first time I heard this record I wasn't sure what to think. It seemed like W&L were branching out into some new musical territory. At the time, a lot of women were taking center stage in a folk alt rock sorta way. Bonnie Raitt, The Indigo Girls, Ani DiFranco and Melissa Etheridge... A movement in women's music was off and running. And it seemed almost like W&L were going to be a part of it. But as I listened to "Eroica" more and more, I felt like there was something else happening.
One of the reasons I love Wendy & Lisa so much is because I don't feel alienated by their music. I can relate to it from so many different angles. Sometimes, I view their stuff from a more emotional, feminine side while in others, I'm more in tune with my masculine side. Either way, they reach out to me because they sing about things I can internalize. Their music becomes a backdrop to my life. On this record, there are some astounding examples of that and there are songs I continually go back to even after all these years.
When you hear the opening chords of 'Rainbow Lake' a part of you feels completely at ease. It's just Prince-y enough to make you feel like your in a comfortable place. The organ swells over the minimalist electronic drum patch and the lovely visuals painted by the lyrics... If Paisley Park were a real park, Rainbow Lake would be right beside it. It's a visionary song.
However, nothing can prepare you for the transition into 'Strung Out'. Once that drum kicks in, you know you're in for something new and you're not disappointed. Although the comparison of Love to a drug may not be a new concept, being addicted to a specific person is an interesting spin. One approached from an almost joyful headspace. As if the high achieved through that lover's touch, kiss and smile is more powerful than any drug. Since discovering my demisexual nature, this song takes on a new meaning for me and is even more powerful. A lover's smile can literally set my mind and heart free. It can wash away worry and concern. Not to mention, the song is absolutely kickin' and Wendy really rocks out on this one.
The next song is a more complicated endeavor. 'Mother Of Pearl' is the first song on this disc that reminds me of those old 70's rock bands who wrote crazy stories in their music. The sorta band Christopher Guest poked fun at with his mocumentary film, "This Is Spinal Tap". The song appears to be about a fight between lovers, but there's so much more to the lyrical content taken both in and out of context. I could spend hours commenting on individual lines and tracing the slow tearing apart of this relationship, but I won't. You'll have to listen to the song and see for yourself. There are a couple of lines I absolutely do have to point out because they are, by themselves, so much more than the sum of this song.
"Guilt is the one thing
We could do without
Judgment the anvil
That's weighing us down"
I can't tell you how important those lines were to me when I realized I couldn't live a life trying to make my family happy. The more I lied about who I was and adopted their religious views, the more unhappy I felt inside. I knew in time I would suffocate under the pressure of that false life. And all because I felt guilty. That I was letting them down. And fearful of the judgment. I remember sitting alone one night listening to this song and playing that part over and over. I realized I didn't have to hold on to the guilt I felt. I wasn't doing anything wrong and the anvil of judgment on my shoulders wasn't a burden I had to carry. Just like that, I made up my mind to start living for my own happiness and I stopped trying to live up to the expectations of others.
'Don't Try To Tell Me' is the first song sung by Lisa and it's another one that's taken me a long time to fully understand. There's a resignation in her voice. A sadness but also a tone of acceptance. She's not going to make you stay if you don't want. But at the same time, she's not going to change who she is. I remember my ex telling me I was too co-dependent. I was horrified. Yet, as I thought about it, I couldn't see what was wrong with depending on your partner, or having them depend on you. Of all the people in the world, isn't that who you should be able to depend on? So if co-dependent means living a shared life and relying on each other, sign me up. But don't ever try to tell me what I should or shouldn't be doing when it comes to love. I've earned the knowledge I have of my self and I know who I am. I'm not compromising that. Even if it means losing a love. That's the message I take from this song.
'Crack In The Pavement' to me is a song about perspective. Seeing something in someone not commonly seen or overlooked. And at the same time, seeing the side they don't usually show the world. The chorus seems almost resentful of it, but I think it's more of a comment on honesty. Why do people need to pretend to be something or someone they're not? Why tell the world you're made of stone and then come cry on my shoulder when everything is too hard. Amazing.
'Porch Swing'... I actually think this song is about Prince. Although I don't for one second think that Prince takes things real slow, the other metaphors they use to describe "The Guy (she) knows" are perfect. It's a tender number and one that offers insight into a magical time in their lives. 'Why Wait For Heaven' is the sleeper rock opera I can't believe someone finally wrote. The idea of making heaven here on Earth isn't new, but it's still incredible to hear Wendy sing about it like a call to arms.
'Turn Me Inside Out' is a tune about trying to understand lover and be understood at the same time. It's all about that process we go through as we get to know new people. 'Skeleton Key' is the promise of opening the door to new beginnings and a new life. Maybe it's about introducing someone to their sexuality and helping them discover who they are.
'Valley Vista' is a track we can all relate to unless we've lived in the same place our entire lives. I've driven past old homes my family lived in and homes I lived in with families I've made on my own. There are so many memories that flood back to us when we see and experience these places later in life. Such a unique song and one of the reasons I find them so compelling. They can capture a specific feeling and moment in a song.
'Staring At The Sun' is the hopeful conclusion to the album and leaves you wondering, "What now?" You wonder both for Wendy & Lisa and yourself. This is another track I can personalize easily. I can't imagine someone not being able to take this perspective and look out into their future and wonder what to do.
The fact is, I could write about each one of these songs all day and discuss them at great length, but that's not what I'm trying to do here. I'm trying to review the disc and give people the chance who haven't heard it to discover it. Or those who are familiar with it, an opinion that might make them go back and listen again.
"Eroica" is one of my Desert Island Discs. Whether the list be top 10, or top 20, this record will always find its way there. It's simply that good and too much a part of my life. I love it from start to finish. How can I convince you to give this album a try? If you haven't listened to Wendy & Lisa before, this would be the album to start with.
I feel like I'm just blithering now so I'll wrap it up. But first, I should say... My copy of this most excellent album includes a bonus disc of piano improvisations by Lisa. I bought my copy on CD in Europe. They're also amazing pieces of music. I wonder if 'Eric's Ghost' is about Eric Leeds. It would be nice to ask Lisa about that sometime. And now for my final words: A MUSICAL MASTERPIECE TRANSCENDING TRADITIONAL ROCK AND EMBRACING THE SPIRITUAL. EVERYONE SHOULD OWN THIS RECORD. IT'S THAT GOOD!
WENDY & LISA - EROICA
01. Rainbow Lake
02. Strung Out
03. Mother Of Pearl
04. Don't Try To Tell Me
05. Crack In The Pavement
06. Porch Swing
07. Why Wait For Heaven
08. Turn Me Inside Out
09. Skeleton Key
10. Valley Vista
11. Staring At The Sun
LISA COLEMAN - PIANO IMPROVISATIONS
01. Minneapolis #1
02. Minneapolis #2
03. Eric's Ghost
04. C-Ya
So first off, let me say... I'm not entirely sure this album is a legitimate release or a bootleg, but if it's a boot, it's the best boot I've ever seen. Down to the barcode number.
This album came out in 1987 and I'll be completely honest with you, I picked it up because Prince wrote the title track. That's right, folks, you heard me... Country Western singer Deborah Allen enlisted a song from Prince for her latest album. Absolutely shocking.
I guess from a certain standpoint it makes sense. Allen was experiencing some cross over success at the time and had seen some airplay on the Adult Contemporary charts. But that hardly justifies what happens on this record. Under the right circumstances, Prince could'be contributed a strong R&B ballad for her and she might've had a hit with it. Instead, he sends along this funk jam that seems out of place on her record. If she'd had more funky sounds on this record, she could've pulled it off no problem, but the rest of the album fits solidly in the same Country Western/Adult Contemporary she'd gained recognition for on previous releases.
I remember rocking this album out on cassette and feeling sorta stupid because I loved the second track on the record, 'You Can't Say No'. Of course at the time, I didn't like anything that wasn't part of the musical world I'd built around myself. Oldies were a joke and hair bands were ridiculous. I didn't gain an appreciation for any of these groups until much later.
It would stand to reason, based on who Deborah Allen was, that I wouldn't listen to the rest of her record, but I did. And let me tell ya, Allen wasn't a joke.
When I got this disc in the mail, I put it in the truck and went for a long drive. I wanted to remember the entire disc and I wasn't disappointed. Surprisingly, the tracks on this album might sound a little dated today, but they're lyrically strong and have interesting musical ideas that keep the listener engaged. 'You're The Kind Of Trouble', 'One Step Closer' and 'What's Right Tonight' are all excellent examples of the country rock Allen delivers. They're infectious, fun to sing along with and catchy as all get out.
The one song I could probably write anything negative about would be 'You Can Tell Me Anything'. And I would only say that because I feel like the sentiment expressed here is slightly overused and unimaginative. Musically, it's the least exciting of the bunch and doesn't really move the record along. Otherwise, the album is strong and tight.
'Telepathy' is Prince at his finest and this song deserves to be on a Prince record surrounded by tracks that compliment it. Here, it sticks out like a sore thumb. To her credit, Allen didn't change anything from the master recording Prince sent her with the exception of her vocals. His signature sound is absolutely bursting with purple power, but it still feels out of place. Even Allen's vocal delivery, which she does her best to deliver, falls flat against the onslaught of his funk.
I think the record sounds better if you listen to it starting with track 2. 'You Can't Say No' is truly a sleeper hit. I think if she'd released it as a single, it would've done well.
This is a musical mismatch, but at the same time, you have to give both Prince and Allen credit for making the attempt to bridge such musical divides. Oddly enough, I think Prince could've easily written a song in the style Allen was performing, but he didn't. And we'll never know why.
This album was originally released on Cassette and Vinyl. It didn't get a CD release so I'm extremely happy to find it now. The track, 'Telepathy' was released on CD by Allen many years later in the form of an edit on her Greatest Hits compilation. As grateful as I was then to have a copy of the song on CD, I'm even more happy to have it here in its full glory. This is definitely an excellent addition to any Prince collection and to any Deborah Allen collection. Get it while you can.
My final words: AN OUT OF PLACE SPICY TRACK ON A TRULY DECENT COUNTRY RECORD!
DEBORAH ALLEN - TELEPATHY
01. Telepathy
02. You Can't Say No
03. You're The Kind Of Trouble
04. One Step Closer
05. Don't You Think I Don't Love You
06. What's Right Tonight
07. Take A Picture
08. You Can Tell Me Anything
09. Somebody For Everybody
Let me tell you something... Finding and owning a copy of this CD is truly a dream come true. For those of you not in the know, The Wildbunch was the original band name of Electric Six! And if you know me, you know I'm into this group like they were a religion.
I ran across this disc on eBay and bought it straight away. I won't tell you how much I paid because it's quite a bit for one used CD. Especially this one. Don't get me wrong, I love this album, but it's not up to the standard you're normally accustom to with E6.
This is a live concert set performed by The Wildbunch back on November 26, 1997 at The Gold Dollar in Detroit according to the insert. What makes this release so interesting is the fact I get to hear one of my favorite bands of all time when they were first starting out. I get to hear the live progression of their sound. I also get to hear a bunch of early songs they didn't use when they changed their name and started releasing as Electric Six. Some of these songs survived but many of them didn't.
Dick Valentine delivers another inspired performance and you can hear him commit to the material just as strongly then as he does today. This is a vocalist who does more than just sing. He adopts a persona and performs not just as a singer, but as a character. His ability to completely transform himself is one of the most amazing qualities an artist can have. He leaves the pretentiousness and pomp of Dick Valentine on the stage when he's not performing and becomes one of the most genuine human beings you'll ever meet. It's inspiring.
There are a few covers included in this set. The first is 'The Model' by Kraftwerk. A most unusual song to find on this record, but one I think is also pretty cool. It's followed a couple tracks later by Alice Cooper's 'Clones (We're All)'. Another great number performed here. The Verve Pipe's 'The Freshman' is performed acoustically by Dick sort of as a joke. Earlier in the set, he tells the crowd if they don't get $100 in merch sales, he's going to perform the song and because they fail to make the target, he does the tune. First off, it's a great cover, Dick does an excellent job, I don't know why it would be so horrible to hear him perform it and seriously, I drop $100 bucks just by myself at the merch table when I see them perform. It should also be mentioned, it's not listed on the tracklist even though it has a dedicated track on the disc. Meaning, the tracklist on the album cover lists 22 songs but there are 23 on the disc. I'm guessing it's because they didn't have the rights for the song. But that's just a wild guess.
Discogs.com lists 'I'm A Demon' as a cover and I had to look it up because it seems like such a perfect E6 title to me. However, it seems it is Roky Erickson's track, 'I'm A Demon' is from his 1986 album, "Gremlins Have Pictures". I listened to his version on Youtube and it's definitely a cover. Darn it. Great tune.
There's a lot of Greatest Hits material here from Electric Six's first record, "Fire" including the international smash hit, 'Gay Bar'. So much to consume and consider. A lot of this material ended up on "Fire" or subsequent albums. Some of the tracks ended up as single b-sides. A few of them show up in demo form on "Sexy Trash" and some of them just sorta disappear into the ether.
This isn't a highly polished live outing. It's a rough and hard explosion of a band cutting its teeth and paying its dues. The songs are super short and there are a couple obvious cuts letting you know without a doubt, you aren't getting the full show. I'm not sure how many songs they actually played that night, but this is amazing for a young band. This is an epic moment in the development and history of one of America's greatest Independent bands. And a true treasure! My final words: ONE OF MY PRIZED MUSICAL POSSESSIONS! EXCELLENT GLIMPSE INTO EARLY ELECTRIC SIX!
THE WILDBUNCH - DON'T BE AFRAID OF THE ROBOT LIVE AT THE GOLD DOLLAR
01. Nuclear War (On The Dance Floor)
02. Speak English
03. Naked Pictures
04. The Model
05. Computer
06. The Ballade Of MC Sucka DJ
07. Clones
08. Immolate Me
09. Taxi To Nowhere
10. Don't Be Afraid Of The Robot
11. Breaking Up
12. I'm On Acid
13. R U Afraid Of The Devil?
14. Meat The Band
15. I Am The Knife
16. I Am Detroit
17. I Lost Control (Solo)
18. The Freshman
19. I'm A Demon
20. Tiny Little Men
21. Take Off Your Clothes
22. Gay Bar
23. I Know Karate
"The Last Tour On Earth" is a companion piece to Manson's "Mechanical Animals". It's an edited show from the "Mechanical Animals Tour". A lot of bands around this time were releasing these live companion albums. I guess they used them to drive up ticket sales. For the most part, I'm OK with these, but I'm also disappointed.
"Mechanical Animals" is my favorite Manson album and I saw this tour in Vegas at the Hard Rock on New Years Eve. As many times as I've seen Marilyn Manson live, this was also my favorite tour. And that's why I'm disappointed in this release.
Some bands would release an entire show on CD and video, but Marilyn Manson released this edited version of a show. It certainly contains most of the show's highlight numbers. The most famous and notorious of the bunch being 'I Don't Like The Drugs (But The Drugs Like Me)'. At this point, I don't really remember the entire show, but I do remember being extremely upset certain songs didn't make it on this release.
I really feel like Manson's band was in the pocket during this tour. The show was tight, the special effects and onstage art was beyond amazing to see. At one point, Manson appears crucified on a cross made of televisions.
I've never been a huge fan of Manson's earlier albums. I did buy them because I thought they were interesting but compared to the subsequent music he would record and release, I find a lot of it useless. If you could delete the first couple Manson releases and start his career with "Antichrist Superstar" I'd probably be a bigger fan. The inclusion of 'Get Your Gunn' and 'Lunchbox' over a number of "Mechanical Animals" tracks that were cut out like 'Coma White' or 'The Speed Of Pain' is absolutely painful. As thematic and conceptualized this album and tour was, those earlier numbers just seem out of place and distracting.
The disc also features a segue way intro dubbed into the first live song from the set and the last track is an unreleased song they added. It's kinda cool to have a new song, but I still feel like this particular release would've fared better with a full version of the concert and none of the bells and whistles they added or edited out to make what they thought was a more commercial product.
My final words: A LIVE DISC I HATE AS MUCH AS I LOVE. IN THE END, THE ALBUM LEAVES ME UNFULFILLED AND IN THAT SENSE, I DEEM IT A BUST.
MARILYN MANSON - THE LAST TOUR ON EARTH
01. Inauguration Of The Mechanical Christ
02. The Reflecting God
03. Great Big White World
04. Get Your Gunn
05. Sweet Dreams / Hell Outro
06. Rock Is Dead
07. The Dope Show
08. Lunchbox
09. I Don't Like The Drugs (But The Drugs Like Me)
10. Antichrist Superstar
11. The Beautiful People
12. Irresponsible Hate Anthem
13. The Last Day On Earth
14. Astonishing Panorama Of The Endtimes
"Lost Highway" is the soundtrack of the movie with the same name. How I came to own this little gem is a story in itself and I think I'll share it with you.
I can't remember the exact date but I was at a Marilyn Manson concert and he played 'Apple Of Sodom'. I'd never heard the song before and I absolutely loved it. The performance was eerie and compelling at the same time. I couldn't take my eyes off him. I couldn't understand the lyrics, but a little bit of research online and I eventually found a message board where some kid who'd seen the same tour in another city posted his feelings about the tour and he mentioned the title of the song and how surprised he was to have seen it in the live set. Once I had the title, I was able to find out where I could get the song and as luck would have it, I found this disc in a used music store on my first attempt to find it. If I recall, it only cost $4.
The album has since taken a more esteemed place in my music collection as I discovered Trent Reznor of Nine Inch Nails produced the project and was largely responsible for the sound. It also features tracks by a number of bands I was into at the time including The Smashing Pumpkins, Rammstein and David Bowie.
A couple of composers are also featured on the disc interspersed between band tracks with pieces of film scoring they contributed to the film. One of them writes a form of unconventional Vegas Lounge jazz. There's a lot of dated instruments and the horns are right out of a 50's stripper song catalog. The other composer's pieces are just as creepy, but take on the sound and feel of old time country western films; if they were spooky as hell.
The album starts off with an edit of David Bowie's 'I'm Deranged'. Right around this time, David Bowie's "Outside" was one of my favorite albums. I was utterly enthralled with it and played it constantly. When Bowie started working with Trent Reznor on some mixes for 'The Heart's Filthy Lesson', I thought I was in heaven. I would eventually see them share the stage at a concert they played together in Vegas. As an "Outside" track, 'I'm Deranged' was already a favorite of mine. It's inclusion here only makes the soundtrack that much more satisfying for me. As the last track on the album, it reprises and takes the listener out on the same note they came in on.
You know, I've never actually seen this movie, but based on the soundtrack, I'm guessing it was bizarre and strange. I feel confident that guess is accurate.
Although I'm tempted to break the disc down track by track, many of these songs appear on other albums and I'm sure I'll discuss them at length on those reviews. So I'll focus on the highlights. Manson's 'Apple Of Sodom' is a disturbed number that absolutely lived up to my expectations. I find the studio track just as interesting and thought provoking as the version I saw live. Manson is also featured on 'I Put A Spell On You', a song he covered on one of his earlier records. It's inclusion heightens the dark themes of the compilation and simultaneously introduces a supernatural element to the mix.
Rammstein appear on two tracks. Both are edits of songs from their albums, "Sehnsucht" and "Herzeleid". The tracks in question, 'Rammstein (Edit)' and 'Heirate Mich (Edit)' are right at home on this moody assemblage. Till's deep growling vocal delivery adds to the tension of the overall feel of the disc. The Smashing Pumpkins, ever the masters of genre bending composition appear on one track, 'Eye' and somehow, even though I would say it's the most different sounding number on the disc, it still blends and adds to the mystery.
Lou Reed appears on a cover of 'This Magic Moment' and again, his unorthodox vocals take a perfectly innocent song and bends it to a sinister end. One of the most interesting things about this album is the tracks Trent Reznor contributes to the film score. If I'm not mistaken, this is his first attempt at writing score material. Whether or not I'd call his additions a success is irrelevant to one thing... and that is simply that as the musical director of this project, he succeeds in creating an artistic, moody combination of music that initially would seem musically at odds, but somehow finds a resolution that creates an intense feeling of anxiety and paranoia as you follow along.
I should also point out Reznor's popular music moniker, Nine Inch Nails, is also part of the mix with the track he also released as a single, 'The Perfect Drug'.
This is certainly a disturbing compilation of material and it's definitely worth exploring if you're into any of the artists and bands featured on the disc. If you can track it down, experience the strange for yourself. My final words: REZNOR'S FIRST FORAY INTO FILM MUSIC IS A DARK AND STORMY SUCCESS.
LOST HIGHWAY - LOST HIGHWAY
01. David Bowie - I'm Deranged (Edit)
02. Trent Reznor - Videodrones: Questions
03. Nine Inch Nails - The Perfect Drug
04. Angelo Badalamenti - Red Bats With Teeth
05. Angelo Badalamenti - Haunting & Heartbreaking
06. The Smashing Pumpkins - Eye
07. Angelo Badalamenti - Dub Driving
08. Barry Adamson - Mr. Eddy's Theme 1
09. Lou Reed - This Magic Moment
10. Barry Adamson - Mr. Eddy's Theme 2
11. Angelo Badalamenti - Fred & Renee Make Love
12. Marilyn Manson - Apple Of Sodom
13. Antonio Carlos Jobim - Insensatez
14. Barry Adamson - Something Wicked This Way Comes (Edit)
15. Marilyn Manson - I Put A Spell On You
16. Angelo Badalamenti - Fats Revisited
17. Angelo Badalamenti - Fred's World
18. Rammstein - Rammstein (Edit)
19. Barry Adamson - Hollywood Sunset
20. Rammstein - Heirate Mich (Edit)
21. Angelo Badalamenti - Police
22. Trent Reznor - Driver Down
23. David Bowie - I'm Deranged (Reprise)
As much as it pains me to admit this... I didn't know who The Ting Tings were until after their 3rd album was released. "We Started Nothing" is their first and frankly, if I'd heard it earlier I would've been on board following this band from day one.
There are so many reasons to like this group but the one I like best is the simple fact they write some of the most fun and energetic pop music I've ever heard. They blend sounds from other genres into their musical stew and somehow it all melts together to form the perfect toasted cheese music sandwich. You just sink your teeth in.
I've talked about this before, but once I'd heard some of their songs I was hooked and in the space of a couple weeks I bought their entire catalog. This is actually the first CD of theirs I owned and it's fantastic!
Right off the bat, 'Great DJ' takes simple lyrics, repetition and a compelling drum beat, throws them together and the result is absolute top-of-your-lungs-in-the-car-driving-window-down-singing good times! There's not a lot of content here as far as lyrics are concerned. It's a very simple story and the repetitive "drums" chant would drive me crazy in a band like The Cranberries, but here it actually works and gets me excited!
There's a punk edge to the sound of this first record and it's here in the second track. 'That's Not My Name' is another power house of a song that's so catchy you can't help but sing along! Between the first two songs, I'm already in the zone and completely grooving. But nothing could prepare me for 'Fruit Machine'. There's something about this tune that brings to mind the rock The Go-Go's used to make. And when you hit the chorus and with Katie White singing "Ka-Ching, Boy", I'm jumping up and down like I was at a B-52's concert. This band has an uncanny knack for writing these incredible hooks and catchy songs. You just can't help but get into them.
Following 'Fruit Machine' is 'Traffic Light' and this song slows things down dramatically. It's a mid-tempo tune that initially sounds like another band. You actually turn around and think to yourself, "Wait, what happened to the CD I was playing?" Eventually, Katie's vocals float in and you realize you're still in the spell of this band. Even a simple song like 'Traffic Light' is good. My favorite bit comes toward the end of the track when they use orchestral sounds to punctuate the lyrics.
'Shut Up And Let Me Go' is easily my favorite track on this disc. Once again, you have the driving punk sound of the drums hammering behind animated vocals. This tune is a forerunner to a funkier sound they explore more on their subsequent albums. The rhythm guitar is absolutely pumpin'! As much as I dig this album, I will put this disc in sometimes and play this track on repeat. If you haven't heard it, stream it on Youtube now and discover this band!
'Keep Your Head' moves the band in yet another direction. The signature drum and guitar are present and driving the track along until suddenly, you get some keyboards motifs jumping in and a fuller band sound suddenly takes over. 'Be The One' comes in at number 7 and is another stunning effort. The melody really stands out on this number. Up to this point, White alternates between singing and an aggressive half shout talking rap style. 'Be The One' showcases her in a softer way. Like 'Traffic Light', this track is sung all the way through and Katie really shines. Jules is also noticeable on vocals here. He sings background.
The album takes another shift with 'We Walk'. There are a lot of elements in this track I'd normally dismiss as ridiculous. It starts off with a piano intro before the percussion kicks in and the drums erupt. White is back to her Speaking/Singing delivery. It's a still a typical Ting Tings song and includes all of the things I like about them, but there's something Broadway about this track. Maybe it's the way the piano plays along with the drum track, but it reminds me of a number that would work in a Broadway musical.
'Impacailla Carpisung' is a song I still haven't quite figured out. The vocals and music sound like a jungle chant. When I hear it I'm reminded of a song Vanity did on her "Skin On Skin" album called 'In The Jungle'. I'm sure if I listened to it right now it wouldn't sound anything like this track, but for some reason, my mind connects the two and they have a similar vibe for me.
'We Started Nothing' ends the album on a high note similar to the one it started on. The funky drumming and rhythm guitar hooks build wonderfully in this tune. White sings the song verging on a falsetto. The strange edge it gives her voice creates a tension they build throughout. Eventually you get some horn parts and it's like an excellent foreshadow in a movie. You can hear the funk direction they'll eventually expand on with the release of "Super Critical".
I realize everything sounds like rainbows and unicorn farts when I write about The Ting Tings, but their music is so infectious I get sucked in and I absolutely love what they do. This is a band I desperately want to see live. It would be quite the experience I imagine.
I find myself checking their website at least once a week because they've posted statements about a new album they're working on. I haven't been this excited for new music since the last Electric Six album came out. This is a band I think everyone should check out. I think you'll find them just as thrilling as I do.
BTW, the reason I have two covers is because I have two copies of this record and one has the yellow cover and one has the red. So I'm including them both.
My final words: THE BEST FRESHMAN OUTING IN A CENTURY!
THE TING TINGS - WE STARTED NOTHING
01. Great DJ
02. That's Not My Name
03. Fruit Machine
04. Traffic Light
05. Shut Up And Let Me Go
06. Keep Your Head
07. Be The One
08. We Walk
09. Impacilla Carpisung
10. We Started Nothing
