The current phase of Pink Floyd re-issues are now complete with the much-anticipated release of The Wall (Capitol) in three different (25th Anniversary, Experience, Immersion) configurations. For many this two cd set is considered the crown jewel in the British bands illustrious career.
A career that started originally as a R&B band while still students in architecture school, then evolving into conceiving elaborate concept albums that stretched the imagery of rock music’s structure. They were pieces of art that needed to be experienced as a whole; the albums graphic covers reinforced the music and visa versa.
While recording The Wall the band, as most with very opinionated creative minds, started having artistic differences about the approach toward the record, which ultimately ended the band.
The Wall definitely set the bar pretty dammed high, so high in fact that no one has since matched it, including Pink Floyd. Brilliantly performed by the band, everything from hardcore funk to almost two-step waltzes, they’ve never been better.
If you choose the Experience or Immersion Version you get a bunch of extra music, most notably Waters and the bands original demos. These are pretty cool in that they offer a glimpse on how there work was originally intended.
Standouts still include “Young Lust,” “Comfortably Numb,” “Run Like Hell,” “In The Flesh?,” “Mother” and “Another Brick In The Wall Pt. 2.”
More prolific now than ever in his 39 years of recording, Bruce Springsteen has released Wrecking Ball (Columbia), his 17th studio album but 7th in the last 10 years. Usually old guys cash it in and go commercial at this point in their career trying to squeeze every dollar out of their shrinking audience base.
Not here, not with Springsteen, he’s more relevant, he’s more pissed off and socially conscience than ever.
And by pissed off, I don’t mean it’s about the neighborhood kids running around on his lawn, it’s because he’s still questioning the powers that be which run society.
On the albums opener and first single “We Take Care Of Our Own,” he laments ‘From the shotgun shack to the Super Dome/There ain’t no help, the Calvary stayed home.’ Like his music or not, the guy here has a point and too much today that’s what’s missing in todays music.
This isn’t your usual Springsteen sounding album either. Here he touches much more on his Gospel, Irish and Seeger Sessions influences than on his E Street Band past. E Streeters Max Weinberg on drums and the late Clarence Clemons on sax do indeed appear on two tracks otherwise the album has a bunch of session men on board.
With new producer Ron Aniello in tow the album uses hip-hop drums and actually has a rap (by Michelle Moore) but it’s more Irish wake than Jersey Jump. Springsteen obviously has his ear to the street lyrically as well popping off about the trashed economy, unemployment, unfair wages and the mortgage crisis.
Not his best (for me it’s Darkness On The Edge Of Town) but far above average Wrecking Ball is just what the doctor ordered, a standout, honest album about the trials and tribulations our country and it’s everyday people are going through on a daily basis.
Standouts include “Easy Money,” “You’ve Got It,” “We Take Care Of Our Own,” “Jack Of All Trades” with a killer Tom Morello guitar solo and the studio versions of the previously released live tracks “Land Of Hopes and Dreams” and “Wrecking Ball.”
Back in 2009 the debut album by Band Of Skulls landed on my desk, Baby Darling Doll Face Honey was a refreshing blast of guitar based alternative rock. I’ve been eagerly waiting for their sophomore follow up and now that it’s here I’m not disappointed.
Sweet Sour (Vagrant) is 10 energetic tracks whose foundation is based in the blues. That doesn’t make this a blues album; it’s just the common ground for the band to start from.
One of the things I love about Band Of Skulls sound is that they don’t try to hide the fact they are one guitar, drums and bass, a trio. Too many times bands layer guitar after guitar to give them a fatter sound and that’s not the case here, they are who they are and revel in it.
If there’s a knock here it’s that Russell Marsden’s vocals are almost too pretty in comparison to his gritty guitar work, it’s a minor point though one worth mentioning. Standouts include “The Devil Takes Care Of It’s Own,” “Lies” and the albums title track “Sweet Sour.”
Band of Skulls (The Times)
