Tim Brough's Black Leather Bookshelf

The Last of Journey's Bug Albums
3 Out Of 5 Stars

Journey had become hungry for the success they'd tasted via "Infinity" and "Evolution," each exponentially growing in sales. Steve Perry had effectively cornered the band's microphone and Neal Schon beginning to trim his soloing down to bite-sized arena ready applause grabbers, "Departure" was their most attention ready albums to date. The band's appetite for commercial success came with a price as keyboardist Gregg Rollie called it quits soon after (to eventually be replaced by Jonathan Caine). That seemed to matter little to Journey's growing legion of fans as "Departure" soon found itself in the top ten and the initial single, the pulse pounding "Any Way You Want It" soon entered the top 20, another first for the band. Even "Walks Like a Lady," Perry's attempt at while blues and one of the more unusual singles from the band's hits period, sounded effective.

However, Journey still had lingering traces of wanted to have their pop success and prog-rocker status and eat it, too. That meant for vocal production trickery on "People and Places" and phase shifting guitars that dominate "Precious Time," along with Rollie's harmonica. And while it didn't become a breakout single, Journey's penchant for mammoth balladeering, "Stay Awhile" gives a preview of the huge hits that would start once "Escape" became an even more successful album than "Departure."

Granted, FM album rockers fell all over "Departure" when it came to picking out songs to play. But it's obvious now that Journey's albums were never better than the singles. There's a reason the original "Journey's Greatest Hits" competes with the likes of similar sets by Bob Marley, Eagles and CCR for the greatest selling albums of all-time, and that is because when the band went looking for a hit, they knew how to make them fire off. You can't get around that many of these songs are just pedestrian rockers, like "Someday Soon" (sung by Rollie) or "Line of Fire's" run of the mill guitar boogie. That doesn't discount the fact that each Journey album in this three album arc had extraordinary hits. So collect away, fanatics. The rest of us can get by on best of collections, of which there are now many.

It's Just a Silly Phase I'm Going Through.
4 Out Of 5 Stars

I have posited on other album reviews that I believe 10cc to be the kind of band Monty Python would have dreamed up if they'd decided to take on modern pop in the 70's, instead of the wonderfulness of The Rutles. Graham Gouldman, Eric Stewart, Kevin Godley and Lol Creme were already experienced pop writers and performers in other peoples' bands before they joined forces as studio musicians in what was basically a bubblegum hit machine studio. From those beginnings, they became one of the most respected bands of the 70's, seeming to effortlessly blend elements of pop music with progressive rock all while maintaining an often dry wit and cheeky humor. This single "Very Best Of" disc gathers the best of their 45's from their first six studio albums and bonuses you the Godley and Creme hit "Cry."

The band's origins as writers for hire on on display for the songs from their debut, "Donna," "The Dean and I" and "Rubber Bullets." The first two are borderline parody in that they so closely approximate bubblegum singles that it's hard to believe that anything would come of merit in the future. "Rubber Bullets," while still aping the Jailhouse Rock genre, satirically upends the style by having the song delivered from the standpoint of the prison staff. ("I love to hear those convicts squeal, it's a shame these slugs ain't real.") If there was any indication of the brilliance to come, that was where you'd find it.

By "Sheet Music," the band was going full-steam. "Silly Love" and "The Wall Street Shuffle" threw so many styles in the blender that trying to explain the band was an impossibility, even if American audiences weren't catching on as yet. But by the next album, "The Original Soundtrack," that would change. The double bladed "I'm Not In Love" floated all the way to number two in 1975 and broke the band in the states. Sung from both sides of the story, the singer delicately kisses off a love affair - or is he? and that made the enigmatic song such a charmer. The goofy "Life Is a Minestrone" is also included, but the album is sold short.

Having finally broken the states, the band delivered their artiest album yet, with "How Dare You!" While "I'm Mandy Fly Me" and "Art For Art's Sake" were both brilliant singles (and "I'm Mandy" may have been one of the best 'mini-opera' songs of the decade), they missed the top 40, but are definitely among the band's best. That also was when creative tensions caused the rift between Godley/Creme and Stewart/Gouldman to reach a breaking point. Stewart and Gouldman decided to keep the name 10cc and soldier on with "Deceptive Bends." They were obviously eager to please, because the ultra catchy "The Things We Do For Love" became the band's second top ten single and "People In Love" (which tried very hard to find the clever spot "I'm Not In Love" achieved) squeaked to number 40.

Sadly, it seemed that each team needed the other more than they wanted to let on. "Bloody Tourists" tried to capture the old magic, but the main single, "Dreadlock Holiday," was the first time the humor sounded forced. "For You and I," the album's ballad, just couldn't quite match the majesty of earlier, similar songs. Further albums went to a different label, but it didn't much matter as they continued on a slide of diminishing returns. Godley and Creme became video pioneers, directing for the likes of Duran Duran and The Police. It's no surprise then, that their big hit as a duo, "Cry," rose on the charts on the back of an eye-popping video. It was one of the first videos to use the face-morphing technique that eventually became famous on Micheal Jackson's "Black and White."

What makes the addition of "Cry" such a delight is that it that it makes "The Very Best of 10cc" a true representation of the band's work. These were all delightful singles and, at their absolute best, 10cc rivaled any of the 70's hitmakers for style and creativity.


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A State of Thermodynamic Equilibrium
4 Out Of 5 Stars

Muse waste no time on album #6 in going right for the pomp. "Supremacy" kicks off "The 2nd Law" like some expectation of a James Bond film theme, incorporating a movie-like riff and building into a cinematic overthrow of anything else that may follow. But that's Muse. If it's worth doing, it's worth overdoing. Which is a main part of the band's charm.

Queenly pompous and football stadium huge, Muse are one of the few bands that currently play it on a large scale. Take the exaggerated funk of "Panic Station," a dead ringer for Queen's "Fun It," or the upward crescendo of their contribution to the 2012 Olympics, the monumental "Survival" (which is self important enough to have its own prelude). Spiraling up to a mammoth cascade of vocal overlays and epic anthem guitars, it was a fitting song to play over Olympian triumphs.

New to the band is the stepping out of bass player Chris Wolstenholme, who tries his hand at singing and songwriting in place of main man Matthew Bellamy. On "Save Me" and "Liquid State," which provide a break to Muse's usual sledgehammer approach. "Liquid State" is the more driven of the pair, which then leads into the band's set of prog numbers, "The 2nd Law: Unsustainable" and "The 2nd Law: Isolated System." Not since Alan Parsons has a band attempted to go this grand; who else would try a duo of songs based on the Second Law of Thermodynamics? (The entropy of an isolated system never decreases, because isolated systems spontaneously evolve towards thermodynamic equilibrium--the state of maximum entropy - thanks Wikipedia.)

Loaded with stings, horns and choral effects, it's the sound of ambition pole vaulting into classic rock territory. Parsons would be proud of his prodigies in this case, although I bet a lot of fans will be confused. Me, I usually like when one of my favorite bands tries to get their rocks off doing something against the grain. Be it the electronics of "Madness" or the theater of "The Second Law," Muse delivers on their promise to not be run-of-the-mill.




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We've got a thing...
3 Out of 5 Stars
And it's called "Radar Love." In America, at least, that was one of two calling cards for Golden Earring. The other came a decade later for these Dutchmen, and that was the top ten "Twilight Zone," which sounds almost like it came from a different band. But in between, Golden Earring cut twenty-some albums and had a huge following in Europe. Their cult following in the USA kept them on major labels through their career, and the obvious title of "The Continuing Story of Radar Love" tries to sum up the decade plus between the band's two main hits.

The CD does OK in that regard, especially since most folks will be buying this for one or the other hit. However, there are Golden Earring albums not even represented here, like "Hilt," "Prisoner of The Night" or "NEWS," which even had a near miss with "When The Lady Smiles." What falls between the two hits are a mixture of songs and styles; GE were straddling hard rock and prog and not really grounded on either. It made a song like "Radar Love," with the hard rock book-ended by jungle drums and a horn break in the center, or "Ce Soir" a film noir of a song about an assassin. Or even another attempt at US single, "Candy's Going Bad" (the follow-up to "Radar Love"). It starts of with a hard rock band and slows down at the end into a proggy instrumental fade. Or that, by the time they got to "The Devil Made Me Do It" and "Twilight Zone" (yet another song about an assassin), they were embracing slickness and new-wavish synths.

Lead vocalist Barry Hay manages to pull off his English pretty well, and guitarist George Kooymans often has a flair for quirky riffs and solos (give a listen to the spacy "Vanilla Queen" or the solos that build the bridge of "Twilight Zone"), but many of these songs do show their age. That's not in a good way, I should add. Come for the hits, and explore the rest with the knowledge that Golden Earring have been style chameleons throughout their career. Then listen to "Leather," a song that riffs about that "same old masochism" for a good chuckle.



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"We're Here Because You're There"
4 Out Of 5 Stars

That quote was part of the original album's liner notes, and it pretty much sums up The Tubes' general attitude. They were irreverent and shocking, with enough playing chops to keep those in the know interested in the music. Put that with the live show that get them banned from numerous venues (in their early days), and you had a band that seemed to be perennially on the brink of making it big. But The Tubes also spent just a little too much time being weird to climb all the way to chartland. "The Completion Backward Principle" saw them almost making it yet again, as David Foster did his best to smooth out the jarring edges and polish the band even more than Todd Rundgren did on "Remote Control." The Tubes did their part by writing some tunes that sounded absolutely Toto-ish, if Toto ever contemplated amnesia, schizophrenia and late night B-Movies as song fodder.

The buff job paid off, with The Tubes' first across the board Album Radio hit, the tough strutting but uncharacteristic "Talk To You Later." The band then hit late night TV and began showing up in swim flippers performing "Sushi Girl" in a wading pool from the stage of the Tonight Show. Radio took notice and the ballad "Don't Want To Wait Anymore" snuck into the lower reaches of the Top 40. Fortunately, Foster wasn't completely able to tame these yahoos. "Attack Of The Fifty Foot Woman" was sci-fi silly in a manner that only The Tubes could make credible, and the punchy "Mr. Hate" was the confrontation of a shattering personality that the band executed perfectly on stage. "TCBWP" is likely The Tubes' most consistent album musically, but misses five stars because it was too slickly over produced, and the band never regained their experimental edge after this (unless you count the second half of "Love Bomb").





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Finding the secret ingredient
4 Out Of 5 Stars

Founded by a pair of Santana sidemen and recording three albums of heavy-duty fusion rock, Journey was a band with chops galore but little commercial success to show for it. Guitarist Neal Schon and their manager decided they needed something extra to push the band to a different level, so they decided to hire vocalist Steve Perry. In an effort to polish and refine their sound, they also pulled in producer Roy Thomas Baker, who was in his stride at the time with albums from The Cars and Queen. With all the elements in place, Journey set about recording their fourth album.

"Infinity" sounded like a whole new band. As a songwriter, Perry pulled Schon towards more traditional song structure. Baker brought the band focus; not only did he get the band to lose the fusion excess, he polished the already superior musicianship in Journey to a level of majestic the group had never before reached. His penchant for layered multi-tracked harmonies benefited Journey's sound on songs like "Feeling That Way." Perry's soaring tenor blended nicely with Greg Rollie's voice, and both "Lights" and "Wheel In The Sky" barely missed the top 40. There was also the Kelly/Mouse artwork that popped off the cover, again unlike anything the band had done before (and becoming a theme the band would come back to throughout the decades).

The sucess of "Infinity" also finds the band in a sudden state of flux. Drummer Ansley Dunbar would bow out after this, and Rollie would tire of being Perry's second banana after that. For the moment, however, Journey had found the magic formula for their climb to the top with "Infinity" and the soon to come "Evolution."


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Hit Me With Your Rhythm Stick
3 Out Of 5 Stars

Landing somewhere in the middle of The Flaming Lips' catalog is "Hit To Death In The Future Head," which has long felt like a transitional album in their continual chameleon-like career. The shift seems to be in a move away from the acidic psychedelia into psychedelic Beach Boys. Kinda like goodbye Sonic Youth, hello Beatles' White Album. This most easily found as the lazy roll of "The Sun" or the peppier, undeniably catchy "Gingerale Afternoon." Wayne Coyne is also exploring the possibilities of his singing voice; this is the first Lips CD where his singing really shines all they way through.

It may be also worth noting that "Hit" was the last Lips album to feature guitarist Jonathan Donahue and drummer Nathan Roberts were aboard. Donahue contributes plenty of guitar freakouts, like on "Frogs" and "The Magician Versus The Headache," along with all the whacked out sounds mixed into the CD's half-hour "bonus" track of cacophony. (Shades of 1997's Zaireeka, anyone?) There are plenty of epic moments to be found here, but the follow-up album was the powerful "Transmissions From The Satellite Heart," the Lips' artistic and commercial breakthrough. As such, "Hit" is a cool listen, but not the place to start of you want to discover why Flaming Lips can be such a magic band.

The other side of the prism
4 Out Of 5 Stars

TV On The Radio have been one of the most proggy groups of the last few years. Mixing elements and references from everyone from the Flaming Lips to David Bowie, their music has been a wonderful batter that pours out from each CD. For "Nine Types of Light," TVotR have moved into a new direction: relationship songs.

The first single was almost a straight ahead pop song. "Will Do" unravels slowly, like a lush R&B ballad with a seductive lead vocal. Had that song been the direction of the entire CD, I think most TV fans might have been too shocked to handle it. No need to worry, though, on "Nine Types of Light,: the following song is a buzzy beat number "New Cannonball Blues." Lurching from sassy vocals to a wailing falsetto, it has its own take on blues-rock that jerks along on its powerful drumline.

I also love the Bowie cop on "No Future Shock" and "Repetition." Kip Malone gives TV fans a new dance refrain as he barks out "Do the no future!" in a world that's gone insane. Same with the hard rocking "Caffeinated Consciousness" that ends the album, which hardly feel out of place on a Red Hot Chili Peppers album (or a little too much like INXS's "Guns The Sky" younger brother). To the other end of the spectrum, "Killer Crane" stretches out for over six minutes, with a "Dear Prudence" reference and refined and patient unfolding. Same with the album's beginning, "Second Song." "Confidence and ignorance approve me...I tried so hard to shut it down, gently walk away," is sung over a slow build. There's almost an acquiescence involved to "Nine Types of Light" that makes it fascinating.

Listening to this album made me often thing of the Talking Heads. That New York band followed their most dense and career altering album "Remain in Light" with the sunnier and poppy "Speaking in Tongues." "Nine Types of Light" finds TV leaving New York for Los Angeles and taking a sunnier view of the world. (Although no-one will mistake TVotR for Taylor Swift.) "Nine" is a great album, also standing as a tribute to band member/bassist Gerard Smith, who passed away from lung cancer in April of 2011.

Completing The Circuit
4 Out Of 5 Stars

My Morning Jacket have such an ingrained sound that, no matter how many left turns they've taken since "Z," you can still pull their identity out of the ether their albums have become. On "Circuital," they make something of a return to the atmospheric space rock that had gone missing on the almost funky "Evil Urges," while still carrying the chromosomes of that album into this year's warp drives. Like a country-fried version of The Flaming Lips, Jim James and Company just can't stop evolving or lunging into the glorious fogs.

When your album starts with a vocalized faux-horn entrance into a "Victory Dance" and then into the epic title track where James hush/wails that he's "right back in the same place that we started out," and those two pieces are already almost a third of your album, you know you're in for an unconventional ride. Everything here is trippy but assured, from the beauty of the romantic waltz "Moving Away" to the goofy "Holding On To Black Metal;" the band never sounds tentative or as if they're searching for something. Or even if they're cracking musical jokes, as they do on "Outta My System," it's more like an ode to growing up than what most bands would use for filler.

My Morning Jacket may have become America's most fearless band. "Circuital" pulls influences together yet never seems to go down the same road twice, be it Pink Floyd mystical or The Who-like guitar intensity. (Having seen him play twice, I can assure you, the one thing I really wish for is the album where James lets that Townsend-sized energy appear on an album.) They now have discovered how to manage their many musical fusions while remaining their own band. While not the startling revelation that "Z" was, "Circuital" may well be MMJ's best to date, and one of 2011's best albums.

All Your Money, won't another minute, buy
5 Out of 5 Stars

Kansas hit their crossroads with both "Leftoverture" and this 1977 follow-up, "Point of Know Return." When "Carry On Wayward Son" put the band into America's largest arenas, their mix of heartland boogie and English progressive rock gave them a starting point that became this, their most successful album. Like a lot of bands at this point (think Styx or REO Speedwagon), Kansas opted to pull more pop into their mix and less Magnum Opus.

That meant a focus on shorter songs with bigger hooks. It also meant (as the new, excellent liner notes point out) the band was starting to fray when success began to pump up individual egos. While the songs are still universally decent, there's less inter-musician jamming. Some songs, like the concert-ready "Lightning's Hand" or "Sparks of The Tempest," don't have as cohesive a feel as the band's best work. (It's also worth noting that "Sparks of The Tempest" is here as a bonus live version.) A proggy-keyboard workout, "The Spider," harkens more towards that era, as does the title track.

However, it was the least unconventional song on the album that would prove to be Kansas' high-water mark. A guitar warm-up exercise that Kerry Livgren set poetry to evolved into "Dust in The Wind," a solo acoustic guitar enhanced by violinist Robbie Steinhardt. It's as art rock as "Icarus" (from "Masque") would be, even if it was stripped down before such things became popular. As such, it hit number six on the pop charts and found Kansas added to the same radio stations that would play Barry Manilow but not BTO. It also signaled the tipping point for the band.

By the next studio album, "Monolith," Steve Walsh had begun chasing a solo career, Kerry and Dave Hope would soon become born again Christians and the music became less focused. "Point Of Know Return" was not just a trippy album title, it was kind of a harbinger of the band itself. It makes this album and "Leftoverture" two for a pair (and the band's first three albums a trilogy of American Progressive Rock), as well as being their best album.