blackleatherbookshelf: (Flames)
December, 2014
Hello everybody,

What an eventful year in the Tim and Joel camp. After a particularly hellish winter, where we did not go a single week from mid-December through early March without a measurable snowday, we made a huge decision while basking in the warmth of Palm Springs California preparing for the wedding of Joel’s nephew Oren to his lovely bride Becca. We went looking at real estate, just for fun. We would both like to spend winters there once Joel retires (2016). We found a place for a crazy low price, had it checked out, and as of now we’ve become the owner of a modest winter home in the desert.

The place is a manufactured home in a 55+ mobile home park about a mile south of downtown right up against the big mountain that looms over Palm Springs. It's 2 bedrooms, 1 bath with a 2-car carport and patio in the back with a view of the mountain. The kitchen is beautiful - granite counter tops, an island, plenty of cabinet space. The place needs some work but is structurally sound.

No sooner did we sign the papers than it was time for the trip to India and Nepal. It was an amazing and mind-opening adventure. We got to see amazing ancient ruins, stunning modern opulence, bone crushing over-population surrounded by mind-numbing poverty. There was so much to see and the tour group did its best to get us to and from each location via special luxury busses, which helped to keep us in something of a bubble from the rest of the populous who, as soon as they saw a bunch of mostly white tourists stepping off a bus, swarmed you with either panhandling or attempts to sell you souvenirs.


But the tour was colorful, filled with a completely different culture from what you are used to. What we consider sacred and they do could fill a whole letter on its own, from the cremations along the Ganges river to the omnipresent cows.

However if we had only made one stop on the tour and spent one day, the Taj Mahal was worth the entire tour. We were rousted from our beds at 4:45 AM in order to get there ahead of the lines and – most importantly – to watch the sun rise over the complex. The buildings literally shimmer in the early light. It’s something no description or photograph can possibly relay. As Kishur, our Mr. Fix It of a tour guide noted, “There are two types of people in the world, those that have seen the Taj Mahal and those that haven’t.”

Oh yeah, Tim got to ride an elephant. One more thing off the bucket list. Joel was smart enough not to take that particular sea-sickness potential affair.

Nepal was equally beautiful and majestic. In addition to visiting a few Buddha Stuppas, we flew along Mount Everest, which is one of these thing that makes you think “Oh the Rockies are mountains? We’ll show you some mountains.” Oddly enough, our flight along the Himalayas took place just a week before a series of avalanches killed a group of climbers. Nature still is mightier than anything man can conjure.

Two weeks later, we were in Ohio for one of Tim’s Book events. Tim also hosted his annual Author’s Roundtable which always gets a small but passionate crowd. We’re always pleased by the attendance and the participation. There were other book events this year in DC, Palm Springs, Northern California and Philadelphia.

Then came Summer.
One cross country drive from Philly to Palm Springs. Two campouts. Joel had neck surgery. Two concerts. A renovation that turned the garage into a new family room. And one special announcement. Busy, busy busy.

The trip was an interesting one. Joel made the impromptu decision to buy a used van so that we could haul a bunch of things from home to Palm Springs, including two Kashmir rugs we had shipped to us from India. We wound up with a Chrysler Town and Country that has been affectionately been dubbed Wilma. We stuffed her to the gills and proceeded to drive. We did it over Memorial Day weekend, so my birthday was spent somewhere in middle America. Things turned out nicely, though, as the van is a joy to drive and gets better mileage than one would expect from such a behemoth. Plug in the Ipod and you’re ready to groove.

Before Joel’s surgery, we started in on cleaning out the garage clean out in preparation for the new room. Effectively a storage dump for decades of crap, it took us a full three days’ worth of hauling junk out, sorting wheat from chafe, taking trash to the curb and keepers to the Black Hole of Calcutta….err, the storage shed. As you can see in the picture, the trash was lined from curb to curb. To our surprise, the trash collectors took it all. Then came the contractor. He’s well known throughout the neighborhood, as he’s done work with several of our immediate neighbors and has impeccable credentials. 

Along with that came the banging, the breaking, the smashing, and the DUST! Since we didn’t have a passage from the main house to the garage, one had to be created. The new bay windows had to be created from a non-existent ‘porch’ area. Frames for floors and walls all had to be put into place. All of this while Joel was in the early stages of recovery.

Joel had been dealing with neck and arm pain for the better part of six months when he finally got diagnosed with a pinched nerve that would require neck surgery to alleviate. The Doctors originally wanted to schedule the surgery for before we went camping, but Joel talked them into doing it just after. The surgery went well, and the recovery went faster than anticipated. While he had a month’s paid recovery leave, he was pretty much ready to return to work in three. He did wear the brace to work a couple of nights, but didn’t really need it. The doctors have told him to be careful all the same as such surgeries take up to a year to heal completely. They went through his neck and infused the space between the affected vertebrae with bone shavings to fuse the discs and relieve the nerve pressure.

By then, the house renovation was well underway. Despite the disruption, things went by in a seemingly quick progression. We also had the majority of the first floor repainted. It all looks fantastic. The dining room now holds our marble table with semi-precious stone inlays from India. It’s beautiful and will never be moved: it weighs 300 pounds.

We decided to christen the new dining room set-up with a dinner with Joel’s youngest daughter Miriam and her partner Suzanne, and his recently married nephew Oren and Becca. They both decided to surprise us with the news: both Miriam and Becca are pregnant. We’ll be grandparents again (this makes 3) and Great Uncles.

In the midst of this, Tim had a ticket to see the Queen and Adam Lambert concert. Even though it has been almost 25 years since Freddie Mercury has died, Lambert more than filled the tights of Mercury adequately. Next was The Avett Brothers, a three piece folk band that we travelled to Bethlehem to see. What was as impressive as the show itself was what Bethlehem has done to revitalize their city. What used to be old steel mills are now venues for shopping and for seeing music, instead of being abandoned to the elements. While not a summer event, after years of not being in the USA, we got to see Cat Stevens in Philly.

November was an unusually odd month, even by any standards. We scheduled a trip to Palm Springs to do a little more work on the house and then to drive the van back to Pennsylvania. We even went out for Palm Springs Pride and I packed a suitcase of books to vend. Should have been an easy trip, right?

Well, on the Monday before we planned on driving back, we had a booboo. While trying to park the van at a mini-mall, Joel's foot missed the brake and hit the accelerator. We drove over the curb and into a plate glass storefront. No one was hurt. Fortunately, the only person in the store was a clerk and he was in the back. There was no-one on the sidewalk and we hit glass instead of concrete. It was the best possible outcome for a very bad situation.

The van went to a collision center until early December for some pretty heavy duty body work. Our original plan was to start driving, but that has obviously had to change. Joel flew back that Saturday and Tim decided to stay behind, waiting for the van repairs to be completed that they originally told us might take a mere two weeks. Insurance covered a rental, thankfully. When it was fixed, Tim planned to drive back himself, or Joel would meet up at an airport somewhere on the way and we'd drive the second part of the trip to PA.

As if we didn't have enough going on with the van accident, we went out for dinner with a friend, and when we got home, Tim couldn't find his wallet. We tore the house apart, went back to the restaurant, parking lots where we'd been that afternoon, and called the stores we'd visited. No luck. This was Friday; Joel was scheduled to fly out in the morning. So we started calling the credit card companies, the bank, looking up Tim’s driver’s license online and cancelled everything.

Still feeling bummed out, we resigned ourselves to not seeing that wallet or its contents again. Meanwhile, the lady who takes care of the yard and trash calls from the porch and asks, "Is your wallet turquoise?"

Tim had put it in with the recycling.

All was then well in the world.

After the series of  interesting events in Palm Springs, when Joel arrived home he found one of the trees in our front yard uprooted and toppled over. I guess the evergreens were jealous of the Palm trees.

On the sixth day of what Tim jokingly called “Exile in Palm Springs,” the collision center called and informed us that the van wouldn't be finished until after Thanksgiving. So Tim hopped a plane heading back to Philadelphia that Tuesday. When he left, it was 75 degrees, and then when he got home it was 28 degrees. He wanted to climb back in the plane and head back. But that would have meant missing Thanksgiving, when Tim’s Mom’s side of the family hosts the family reunion dinner. Always fun, food and plenty of joy. We have a very loving and inclusive group. It was held in Virginia, and since Tim’s Mom couldn’t make it this year, we took a side trip to Lebanon on the way home and stopped off to visit. Tim had to show off his “Team Gallagher” shirt.

Finally, the important announcement. We have decided to get married. Now that it’s legal to do so in Pennsylvania, we’re looking at a 2015 October date to correspond with the anniversary of when I moved here to Springfield. We also want to keep it close to home so that Tim’s Mother can attend. We want to keep it small, maybe less than 100 folks. The “Save The Date” notices will be coming in the not too distant future. That’s about as good a note I can think of to end the year on. So we wish good health and good fortune to you this holiday season and for the coming year.


blackleatherbookshelf: (Flames)
I've been a negligent blogger of late. Not only have I been skipping days of posting, I've been neglecting my Amazon reviewer profile. I don't want anyone to think I've drifted away from my LiveJournal, far from it. Just lots of things going on to take up my time, not the least of which has been the multiple series of snow storms that have hit Philadelphia and the fact that our snow blower blew out after the second to last one. We live on a corner property, which means twice the sidewalk and half the fun, plus a fairly long two car driveway. Shoveling is a strain on this old body.

There was Mid Atlantic Leather, which went well for me. I sold many a book over the three day vendor market, and was stationed next to these guys, who couldn't resist posing with an author of some renown.





Then there's my Doctor. My Doctor kind of gave me hell/forced me into a New Year's resolution after my checkup revealed both a significant weight gain and noticeable blood sugar increase. So I have dusted off the stationary bike and have started using it every other day. I started with 10 minutes at a time (good grief was I out of shape). I'm now up to a half hour and crossed the 9 miles mark today with help from a special playlist on my iPod specifically of upbeat songs...mostly of 80's new wave and alternative music. More stamina for the snow shoveling. So far so good.

Tonight's playlist was this:

"Firework" Katy Perry
"I Do The Rock" Tim Curry
"You Can't Hurry Love" DL Byron
"Back In Black" AC/DC
"Killer Queen" Queen
"Burn Three Times" Utopia
"We Don't Have to Take Our Clothes Off" Jermaine Stewart
"Venus" Television
"Real Cool World" David Bowie
blackleatherbookshelf: (Flames)
Lost Among The Stars
3 Out Of 5 Stars

For their final proper album as Queen (I am one of those who is steadfast that there is no Queen without Freddie Mercury), Brian May, Roger Taylor and John Deacon put in a valiant effort towards making an album worthy of their finest work. But there is no escaping that "Made In Heaven" is a patchwork effort, comprised of B-Sides, remixes and songs cobbled together from snippets of works in progress. It's a good album, but it is not a great one, and Queen is a band that produced more than their share of brilliance.

In 1995, four years after Mercury's passing, the band took a look over what they had. This included vocal tracks that Mercury had laid down prior to his death; he knew what was coming and did what any self respecting Diva would do, he made sure there were plenty of his grand voice tracks for his bandmates to choose from. These are the songs "Mother Love" and (I believe) "A Winter's Tale." Of the two, "A Winter's Tale" fairs the best as a relaxed song where Freddie ruminates on the finer yet unheralded things of life, before adding at the end, "ooo, it's bliss."

Then come the redoes, like "Made In Heaven" and "I Was Born To Love You," reworked from Mercury's underrated "Mr Bad Guy" album. "Born To Love You" started life as a disco-fied dance-rock number, here Mercury's vocal track is synthed out into a mid tempo rocker with the rest of the band adding their background vocals. The two songs where Freddie's vocals weren't originally there come from "Made In Heaven" and "Too Much Love Will Kill You" (now there's some bad irony) via Roger Taylor's unheralded band The Cross and a Brian May solo album, respectively. Both are grand in the traditional Queen fashion. Same with "Let Me Live," which features Taylor and Brian sharing leads with Freddie and a gospel chorus backing them up.

That's the good stuff. The rest of "Made In Heaven" is piecemeal and sounds it. Then there's the inexplicable 23 minutes of ambient chill-out that drags out the CD (thank heaven for the skip button) to a very WTF ending where the final thing you hear is Mercury exclaiming "Fab!" I'm sure someone, somewhere, thought this was a brilliant tribute to Mercury's ascendance into legend, but it wasn't. For Queen fans and completists, "Made In Heaven" is something you should own. But I can't recommend it to much anyone else except for the most ardent of Queen fans. "Innuendo" was the last Queen album that measured up to the bend's mighty legacy. Best it should have stayed that way.


   
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A True Original
5 Out Of 5 Stars

10cc, prior to "The Original Soundtrack," were something of a novelty act. They came up with arty songs with humorous twists, like "Donna," "The Dean and I," and (their biggest US single before this album) "Rubber Bullets." The album before "Soundtrack," "Sheet Music," hinted that the band had some great things potentially in store with songs like "Clockwork Creep" and "Old Wild Men." It was also beginning to show that Graham Gouldman, Eric Stewart, Kevin Godley, and Lol Creme were becoming formidable songwriters.

"The Original Soundtrack" blew all their previous efforts out of the water. Opening with a cinematic suite titled "Une Nuit In Paris," it was eight minutes of mini-opera complete with Gendarmes and ladies of the evening. It took all the smart-arse confections of the past and turned it into artiness, a couple years before Queen would do roughly the same thing with "Bohemian Rhapsody." Then came knockout punch number two, "I'm Not In Love." Richly multi-tracked vocals buoy the lamenting singer's defense of a break-up, all while being utterly unconvincing about his non-nonchalance. It was simple but extremely effective, and hit number 2 on the US Pop Charts.

Nothing else here matches the brilliance of those opening tracks, but 10cc sure did try. The satirical quirks return on "Blackmail" and "Life is a Minestrone," while "The Film of My Love" ended the album with another nod to the cinema. The topical "Second Sitting For The Last Supper" is notable for its questioning of religion ("2,000 years and he ain't come yet, we've kept his seat warm and a table set...") These were salad days for 10cc, as the band worked in two halves. Gouldman and Stewart were more conventional, Godley and Creme the artier. While it all worked on this album and the follow-up ("How Dare You"), upcoming frictions would make 10cc's albums lesser efforts. "The Original Soundtrack" was the highpoint.



     

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There Can Be Only One!
4 Out Of 5 Stars

Queen had just come off their triumphant Live Aid appearance when they headed back into the studio to record "A Kind of Magic." The band was also approached with the plum job of writing songs for the film Highlander, giving them even more inspiration to compose material up to their high standards. This album, probably the best of the latter part of their career, was the result.

"A Kind of Magic" contained the Live Aid inspired "One Vision" (which also ended up in the cult movie "Iron Eagle"). Better known as the "fried chicken song," "One Vision" is one of Queen's great arena rockers. Both "Gimme The Prize" and "Don't Lose Your Head" rocked the "Highlander" movie, with Freddie Mercury's mighty wails atop Brian May's usual guitar pyrotechnics.

May, however, contributed one of my favorite Queen ballads to this album, the heartbreaking "Who Wants To Live Forever." Along with the delicious pop of the title track, these were both massive hits around the world (and unforgivably ignored in the USA). The video of a cartoon Queen dancing to "Magic" is also one of the most clever things that the band's ever done. John Deacon put in the beautiful "One Year Of Love," also a worldwide hit.

Next to the farewell of Innuendo, the best of the second phase of Queen's career. As an Queen album, it's on a par with Jazz and A Day At The Races. The triumph of Live Aid and the inspirational feel of this album led Queen to embark on the Live Magic tour, their last live trek before Mercury's declining health ended their 20th Century touring.



     


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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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Border Smashing
4 Out Of 5 Stars

Adam Lambert is the real thing. He is charismatic, flamboyant and sings his @ss off. He isn't here to make you like him, he's here to make you pay attention. He's not just there to shock you, he's here to make 100% certain that he was all everyone talks about afterwards. And they do. For days. Lambert laid it all on the table; from his sexuality to his theater background, all so you'd take notice. There hasn't been someone so blatantly lunging fists first at rock stardom since Billy Corgan smashed his pumpkins. And his new album is even better than the debut.

"Trespassing" quits the all-over-the-place song-styling of "For Your Entertainment" and concentrates on dance-rock. He cuts right to the chase on the title track and opening song, where he pounds out a drum/bass line worthy of Queen and states up front "No Trespassing, yeah well my *ss, wait till you get a hold of me." Make no mistake, Adam is out to make you dance (Nile Rodgers and Sam Sparrow guest on the slinky "Shady") while "Pop That Lock" trades on both dance and EDM style without giving up an inch of Adma-style. That may be because this time, Lambert has songwriter's credit on almost all the disc's tracks, as opposed to "FYE," where almost every song was outsider composed and usually by a star/stunt guest (Pink, Weezer, Justin Hawkins of the Darkness, etc).

Even the outsider songs have punch. "Better Than I Know Myself" continues the formula of the ballads like "Whataya Want From Me" from the debut. There's a cathedral of multi-tracked Lamberts and a climaxing production. Same with "Never Close Our Eyes," a Bruno Mars song that has a plenty of soul. Lambert explores both his vocal range and his emotional one on "Trespassing," with two ballads, the interesting "Underneath" and the stunning closer "Outlaws of Love." Without saying it explicitly, it's the main exploration of Adam's out-ness, (or the night after the party ends, you choose), but is sure sounds like a defensive pose in favor of relationships.

The funny thing is, "Outlaws" may be the album's most restrained performance. Adam maybe be the kind of man for whom over-the-top is merely a barrier to be conquered as often as possible, but when he "they say we'll rot in hell, well, I don't think we will. They've branded us enough, Outlaws of Love." As stunning as he is when he's glamming it up on the dance floor, Adam can be more effective when he's pulling back on the reins. He'll be doing some dates as Freddie Mercury with Queen this year, but the Adam Lambert of "Trespassing" is his own man now.



     

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Seas of Sleeveless T-Shirts
3 Out Of 5 Stars

Cheesy, Sleazy and Tongue in cheekily, The Darkness make their return with their third CD, "Hot Cakes." (No, not the Carly Simon album from 1974...). From the pseudo-seventies sexism of the cover art to the glammy Queen-sized vocals and AC/DC guitar chunks, they sounds like they've not missed a beat since "One Way Ticket To Hell...And Back." They're half hard rock tribute and half inside joke, with the terrific part that Justin Hawkins knows that they can rock as hard as they wannabe and that they're 100% cool with being in on the joke.

Take the opening track, "Every Inch of You." Telling a semi-autobiographical tale of a "English man with a very high voice" who discovers Led Zepplin who went from "loser" to the man for whom all audience members want to suck in a protruding body part...wailed in that very high voice. Then you get the total Queen ripoff, "Nothing's Gonna Stop Us" and the Angus slamming guitars of "Everybody Have a Good Time." Derivative stuff all, and every inch of it pure fun. Even the hoary power ballads come off with a wink. The Darkness are smart enough to know that they possess about as much menace as a litter of puppies and subtlety of any given British Tabloid.

It's that they have this much obvious glee in doing what they do that makes them so likeable. "Hot Cakes" won't break any new ground, but don't let that stop you. I'd take the self-informed fun of The Darkness over the parodied self importance of a cookie-monster vocal-led rock band any day of the week.


     

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Royal Therapy
3 Out of 5 Stars

Queen was in a personal impasse at the time of The Miracle. Brian May was dealing with a tempestuous divorce and Freddie Mercury had been diagnosed with AIDS. Most bands would have found a corner to crawl into and curled up into a fetal position. Queen took it as a chance to regroup and have each others' backs while pouring their hearts into the new album.

"The one thing we're all waiting for
Is peace on Earth - an end to war
It's a miracle we need, the miracle."

Kind of giving the album a purpose, the title song was pure Freddie gold. It bogs in the end with a cacophony before rising back up with a unified and gorgeous harmony front, before tearing into a riff monster from Brian, "I Want It All" (with the single mix on the bonus disc). It's kind of a polar opposite from "The Miracle"; instead of harmony and good will towards men, "I Want It All" let it rip with guitar solos and a lyric that literally demands that you give it up, and give it up now.

There was a little of Queen's issues popping through. It's easy to interpret "Scandal" as Brian having a go at the British Press over treatment of his private life while the marriage was coming apart, and "Was It All Worth It" sounds like Freddie beginning his questioning of life with AIDS, a topic that would dominate "Innuendo" two years later. (Freddie's health also prevented the bad from touring behind this album, despite it being their most successful US album since "The Game." There was a bit of silliness courtesy of Roger Taylor's "Invisible Man," a total 80's dance track (included in a 12-inch mix on the bonus CD). Queen may have been searching for a Miracle as the 80's were drawing to a close, and this CD did a good job of proving the band still could deliver.


     


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Graduation of Glee
3 Out Of 5 Stars

I'm not sure why the cast seems so slighted on the Glee Graduation Album, but this leans very heavily on the "senior class" of McKinley High. It also pulls very hard on the pop spectrum, which leaves the usual mixture of classic songs, show tunes and current pop off this disc. For instance, Artie is totally absent. Santana and Brittany are merely background this time. No songs from the warblers or other groups, and no Sue cameos.

Which blands the material out significantly. "The Graduation Album" is more like a K-Tel album than the usually well balanced Glee offerings, saved mainly by Matthew Morrison's excellent reading of Bob Dylan's "Forever Young" (made popular by Rod Stewart) and Lea Michelle doing a great take on Beyonce's "I Was Here." Often, though, some of the songs sound like karaoke ("Glory Days" being the worst offender) or uninspired (a totally unnecessary "We Are The Champions"). Given a couple of highlights of the year's season not on disc ("Paradise By The Dashboard Light," "Mean"), some of the overused artists (Madonna again?) could have easily been bumped. It makes me wonder if there will be another offering before the new season starts.



     

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Flash! Naahhh!
2 Out of 5 Stars
 
A Cheesey soundtrack for an even cheesier movie, this album arrived a mere six months after "The Game" began establishing itself as Queen's biggest American album. But let's not kid ourselves about this one; "Flash Gordon" is a mish mash of dippy synthesizer effects, Freddie Mercury wailing away operatically, and snippets of the film's campy dramatic dialogue. The theme itself is classic Queen, with the powerful "Flash! Ah Ah! Savior of the Universe!" The bonus disc offers the single version, with almost a minute of Ming The Merciless's dialogue chopped off, and a rework of "The Hero" to a single-like version (again, minus dialogue).

As Queen albums go, this is the bottom of the stack. Guess I am too nostalgic to not have bought it, and the bonus disc offers some good stuff, which is why I offer two stars instead of one. "Flash Gordon" is more a soundtrack that features Queen music than an album by Queen themselves. For that, get the pseudo "Highlander" soundtrack, "Kind of Magic."



     

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You had the time, you had the power
4 Out Of 5 Stars

Pulling themselves up after the commercial disappointment of "Hot Space" meant two things for Queen in America. The first was a major return to the pomp of their glory days, the second was a label change to Capitol. The band strikes a serious pose on the cover of "The Works," the the first single made them sound like they were ready to get back to business. "Radio gaga" is now notorious for two reasons: it was the last Queen US Top 40 single (prior to the reissue of "Bohemian Rhapsody" and inspired a young New Yorker to take that song's last name and claim it for herself.

There's also a question of the album's focus. The nine songs sound more of a piece than "Hot Space" did, from the aching closer "Is The The World We Created" to the worldwide hit "I Want to Break Free" (the single/video mix, which is substantially different than the original, makes one of the reissue's bonus tracks). While both "The Game" and "Hot Space" seemed consumed with dance synths, this time they hold that to the goofy "Machines/Back To Humans." Probably the smartest move of all was tossing the drum machine out the window and letting Roger Taylor back to his drum kit. As Queen's 80's discs go, "The Works" is one of the better ones.

As for the bonus discs, the real surprise is the remixed versions of "I Want to break Free" and the harder rocking version of "Hammer To Fall." There's a B-Side, "I Go Crazy" that has the laugh-inducing line "but I don't wanna go see Queen!" and finally, the Christmas single "Thank God It's Christmas," which was only available before on the lackluster third volume of greatest hits. A pair of live cuts round out the disc. Overall, a nice set of extras.



     







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The Show Must Go On
4 Out Of 5 Stars

"Innuendo" was released in February of 1991. The single "These are The Days Of Our Lives" was issued ahead of the album to little airplay, while "Headlong" fared better at rock radio. The video for "Days" was interesting in that Mercury seemed frail looking and in poor health. In November, Freddie Mercury released a press statement that he was terminally ill with AIDS, and then died within days. As is now well known, Mercury was fighting to complete this album (along with tracks that eventually would become "Made in Heaven") as his last testament.

As such, "Innuendo" is a really solid late Queen album, as good as "A Kind of Magic" and better than "A Day At The Races." Mortality was obviously weighing heavily on Mercury and his bandmates, as semi-autobiographical numbers like "I'm Going Slightly Mad," Mercury's ode to his cats "Delilah," the bittersweet "Days" and the stately "The Show Must Go On" all indicate. Brain May's guitar is hotter here than on many of their post-Game discs, on both "Bijou" and the epic title track.

Queen's pop sense also was in full swing here, with such missed opportunities for singles as "All God's Children" and "I Can't Live With You." Even though Mercury was in failing health, the band's tradition for pomp and grandeur continued with an album launch party occurring on the fabled Queen Mary liner in the US after Hollywood Records signed the band in the US. It's a considerable feat that the band decided to go out at full-throttle, with Mercury delivering some top-notch work. As the album closes, Mercury delivers what could be his finest goodbye.

"My soul is painted
like the wings of butterflies,
Fairy tales of yesterday,
will grow but never die,
I can fly, my friends!
The Show must go on!"

As far as the bonus cuts go, there are two noteworthy ones. First is the re-recorded version of "I Can't Live With You," which originally appeared on the now out of print "Queen Rocks" collection, the other a B-Side titled "Lost Opportunity." The passing of Mercury so soon after the release of "Innuendo" meant no live performances, though the Elton John rendition of "The Show Must Go On" from the Freddie Mercury Tribute shows would have been nice.



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Queen Clone Themsleves
3 Out Of 5 Stars

It was once reported that the late, great Freddie Mercury wanted "A Day At The Races" and A Night at the Opera to have been a double album. It's too bad that they weren't, because leaving "Races" to follow the first five star classic Queen album makes it seem like a lesser vehicle. From the reverse color scheme to copping a Marx Brothers movie title, "A Day at The Races" came off sounding like a desperate attempt to copy the madly successful "A Night At The Opera."

That is selling "Races" short. While there was no stunner ala "Bohemian Rhapsody" to be found here, there was the Top 20 single "Somebody To Love" (whose liver version happens to be the best of the bonus tracks), which utilized the now trademark multi-tracked vocal style to a near Gospel effect. The album opener, "Tie Your Mother Down," played it kinky while still mimicking "Death on Two Legs" as a big concert rocker. As always, there are nods to camp and vaudeville ("Millionaire Waltz" and the Ooh La La of "Good Old Fashioned Lover Boy"). However, there's an unusually high number of filler songs (the dreadful "White Man" and the maudlin "Teo Torriatte" being the most flagrant violations). I've also always wondered how much "A Day At The Races" might have improved had the band opted not to self-produce but brought Roy Thomas Baker back to the studio.

"A Day At The Races" is more easily viewed as the bridge between "A Night At The Opera" and the second five-star Queen album, "News of the World." "Opera" pushed the band into superstar stratosphere, "News" (with "We Will Rock You/We Are The Champions" as its marching order) saw Queen proclaiming themselves rulers of the domain. Being lodged in that position leaves "A Day At The Races" looking like a mid-level Queen album, when in fact it's every bit as good as "Queen II," "Jazz" or "The Works."




   

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Hot Space Is Pretty Cool After All
4 Out Of 5 Stars

After being adamant about being a rock band with "No Synthesizers," Queen picked up the Prophet on The Game. When that album launched two of their biggest hits, it seemed like the band would become unstoppable. "No Synthesizers" was once a point of pride for Queen. But you know what they say goeth before the fall?

The result of that fall is "Hot Space." While it most certainly can't be considered a Hot Mess for trying to be a clone of any prior Queen album, the songs are so off expectation that I remember wondering at the time of its release if it was meant to be a Freddie Mercury solo album. The hallmarks of Queen (and the other band members) are notably absent from "Hot Space," including the fact that rock steady drummer Roger Taylor is barely on the album at all, replaced by machines.

"Hot Space" took Queen's glorious arena rock and ditched for a predominance of blue-eyed soul. Mercury, as usual, shines, and that is especially true on "Cool Cat," easily the most soulful falsetto he ever put to record. This is also the album with one of Queen's classic singles, the David Bowie duet "Under Pressure." In fact, it is such a perfect song that it underscores how mediocre the bulk of the material on "Hot Space" is.

The best of the rest after "Under Pressure" includes Taylor's "Calling All Girls" and the deep funk of "Body Language." While "Body Language" was an obvious attempt to capitalize on the mammoth success of "Another One Bites The Dust," the slippery synthed-out bassline was - like the best of Queen's experiments - completely unlike anything the band had tried before. It's one of my favorite Queen moments, even if many fans deride it. Dave Grohl and The Foo Fighters liked it so much that they made a parody video of it to announce the FF 2011-12 tour.

The final highlight is "Life Is Real." Written in the aftermath of John Lennon's assassination, it is an affecting ballad that sound natural (something the keyboard driven first half of the album doesn't). Had this been the first single instead of "Pressure," "Hot Space" might have been remembered a bit more fondly than as just the Queen album that derailed the band. The band atoned for this nicely with The Works, but they never really regained their US audience afterwards. The bonus disc underscores the material's strengths, with live versions of "Staying Power" and "Calling All Girls" besting their studio versions, and bringing the album's rating up by a full star.



   



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Ascending to the throne
4 Out Of 5 Stars

The difference between Queen and Queen II is really nothing short of amazing. While the first album was a pretty auspicious debut from a nervy prog-rock band, the second album comes off as a band thoroughly settled into its own personality and letting every idea flow free to the recording studio tapeheads. While not completely rid of seventies prog-cliches, this semi-conceptualized album set Queen apart from the pack.

Queen split the original album into a white and black half, with the white half dealing with the regal issues ("Procession" "White Queen As It Began") and the black being the harder rocking ("Ogre Battle" "March of The Black Queen"). You also get a clearer picture of the band's blueprint for extravagance (the really heavy vocal arrangements) along with Brian May's unique guitar sound. Freddie Mercury is already pushing the classical/theatrical piano playing to the front of the band, and once again, Mercury, May and drummer Roger Taylor vary the lead vocal chores.

Still, Queen II had yet to buck the Medieval themes (castles, ogres and - heh heh - fairy fellers put in their appearance all), but the band's assertive musicianship made this a solid album. An interesting thing about this album is that it had no real `hit' songs or Queen classics, but it - in my opinion - was the Queen album that had the best song-flow overall. The following Sheer Heart Attack would finally break Queen in the USA with a hit single, but "Queen II" was Queen's proclamation that they were prepped and ready for world domination.

Also in the amazing dept is the remastering. The intro to "White Queen" is enough to give you chills in its newer, cleaner form, a hugs step up from the 1991 issue. The bonus tracks are also beginning to get interesting, as the band built its catalog, the songs were getting more complex and their live show was gelling into the extravagance they'd soon be notorious for.


   

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Growing Up Royal (3.5 Stars) 
3.5 Out Of 5 Stars

The debut album from Queen contains a few of the elements that would eventually define the band, but is very much a generic early 70's Prog-rock/metal album. The pomp and grandiosity that would become Queen hallmarks are largely absent, however Freddy Mercury's distinct voice and Brian May's original guitar tones are in evidence throughout. The legendary excess and theatrical flair is a mere tease at this stage, with Queen's vocabulary still in a formative period.

The key tracks are the ones usually plucked for the many Queen anthologies, "Keep Yourself Alive" and "Liar." The Kings and medieval themes prevalent in the era are available on "Great King Rat" and a tease of Queen II is offered when the album closes with "Seven Seas of Rhye." For the most part, the show is May and Mercury's, with a quick peek at Roger Taylor's vocals on the otherwise forgettable "Modern Times Rock and Roll." The band has not quite gelled and the Queen everyone knows and loves emerged in full on the second album then really detonated on "Sheer Heart Attack" and "A Night at the Opera" (both superior albums).

The bonus tracks are not much to write home about (subsequent album re-issues get more interesting bonus tracks as the band progresses). Only "Mad The Swine" is new, the rest are demo songs.

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Alpocalypse (Deluxe Version) [+Video] [+Digital Booklet]Pa-Pa-Polkaface
4 Out Of 5 Stars

Whenever Weird Al manages to capture the current pop zeitgeist, he can be counted on to make a brilliant song or two per album. When he tackled Michael Jackson at his best, he created two of the most incredible parodies of the 80's with "Eat It" and "Fat." Then there was "White and Nerdy." And now, thanks to Lady Gaga, he's back in a big way. From the goof on gath of the cover to the ever-present pop-polka medley, "Alpocalypse" shows once more why Weird Al Yankovic has remained the the eminent musical comedian/parodist of the last three decades.

The hits to duds ratio is about equal, and the standouts are gutbusters. Most importantly is the tackling of Lady Gaga's "Born This Way" into "Perform This Way," which not only parodies the song but the artist (something Al rarely does). The video also neatly ties Al's timelines together, skewering Madonna (another frequent Al target) and Gaga at the same time. At the same time, Al reimagines Jim Morrison as an upset user of "Craigslist" and Charles Nelson Reilly as the topic of a Racountours/Jack White guitar crusher. Technology also takes it on the chin, as "Ringtone" evokes "my wife to smash my I-Phone with a brick...but I hate to waste a $1.99" over his obnoxious cell tones.

Another eason why Al is a genius is how the man can write a parody of almost any genre. He ricochets from Bruno Mars to Miley Cyrus to The Doors to Queen. Often the originals take on all at once. Of the originals, my favorite is the finale, "Stop Forwarding That Crap to Me," a tirade against stupid emails set to a gorgeous melody. Like one of those massively building Jim Steinman songs, Al begs and pleads...



I just can't believe you believe those urban legends.
But I have high hopes that someone will point you toward Snopes
And debunk that crazy junk you're spewing constantly.

On the smiley meter, 4 and a half teeth. This man deserves to be in the Rock and Roll Hall of fame.




The Essential 3.0 Weird Al Yankovic  Straight Outta Lynwood The Weird Al Show - The Complete Series Weird Al Yankovic - The Ultimate Video Collection Off the Deep End Dare to Be Stupid

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