I just love the pop snap of “Film School” with its rye-NYC sensibility to the lyric, Nirs’ talking vocal in the verses and the naughty come-on of the chorus. Again there is some perfectly placed stuff in the production here, Mike Griot’s bass and again Coley’s drumming especially showing. The title track is a piano push/horn spikey jazzy shot-of-a-tune, really showcasing Nir’s personality in the vocal, but I prefer the rimshot-like click-a-clop, subtle bass and floaty piano behind her mediocre vocal on “The Broken Parts.” The lyrics here are really pointed and perfect, the lady really talking about something important I feel. Nir does this throughout actually, she is a very strong lyricist indeed. “Oh Ana,” ends, a rather unremarkable acoustic guitar-led folky read with some ‘scratchy’ sounds around it. The stuff that went before is better.
Articles By: Ralph Greco
Logan Metz’s The Last Remaining Payphone in L.A. is an absolute delight. 11-tunes strong, this is singer-songwriter stuff in the rye and fun Randy Newman, Dr. John mode (when they are rye and fun) with Metz’s great New Orleans-infused growly vocal and piano leading the way.
A straight-ahead slapping snare with swelling guitar distortion flowing into a roiling quick riff opens the opener “Electric Cool Aid,” from Slaves On Dope’s latest HORSE. Formed in 1993 by Jason Rockman and Kevin Jardine in Montreal (Québec), Slaves On Dope has been around, through up and down in their day from signing to Ozzy Osbourne’s Divine Recordings, playing Ozzfest and SnoCore, suffering personnel changes, record companies dissolutions. Now 23 years after all the madness began for this band, they are back with their new album, HORSE, featuring some stellar guest stars.
A breathy warble falsetto informs the obviously big commercial single-of-a-title-track of Barry Gibb’s In The Now. This is the sole surviving Bee Gee’s only 2nd solo album (his first was 1984’s Now Voyager) with the last new material he released being on the Bee Gee’s 2001 This Is Where I Came In. With his two brothers, Maurice and Robin having died, the Bee Gee’s over, Barry Gibb simply figured his career was done.
Known in the adult industry as “Mr. and Mrs. YouPorn” Randi and Richie were part of the group that founded YouPorn.com, staying with the site for “7 wonderful years” as they say. Then in 2011 the couple began their own site Pornsurefer Reports, fours years after that, Randi encouraged Richie to take a year off running the site to write a novel based on his 22 years driving a cab at night in San Francisco. This resulted in the “TaXXXi Tales” book and while attempting to market that book the couple realized that there weren’t many book outlets catering specifically to erotic writing and even more merely just “put up” with erotica without truly promoting it (something I know all too well myself).
Progressive rock stalwarts Van der Graaf Generator have just released their 13th studio album, Do Not Disturb. Opening the with the guitar jangle slow plod of “Aloft” by the time Guy Evans stuttering snare beat comes in with Hugh Banton’s organ following the mostly spoken vocal melody line we are thudding along nicely in full prog rock styling presented through different movements in the 7-min plus song.
The simple acoustic plucking and Julie Hampton’s earthy warble with her overly sustained vocal clutch on “Big Sky” opens new 9-song Electra Day CD Quiet Hours. “Falcon’s Gate” has some nice flicked acoustic phrases from Hampton and drip-like observations in the lyric but a tune like “Ferry Song” works best for me, as we get a real deep feeling of longing casting out with Hampton’s odd vocal delivery. Hampton’s singing is going to be one of those things that a listener either takes to or doesn’t, there is certainly no middle ground in the way she delivers her lyrics of heavy imagery.
This 10-song CD features original Cactus members, drummer Carmine Appice and guitarist Jim McCarty, with lead vocalist Jimmy Kunes, bassist Pete Bremy and harp player Randy Pratt. The heavy stomp of “Mamma Bring It Home” is driving and features choruses you cna sing to, plus a McCarty single note lead that ends the tune even higher then it was already sailing. “Dynamite” explodes with Pratt behind Carmine’s heavy snare and again some wonderfully realised backing vocals. There are even two old Cactus tunes here, recorded long-ago with the original line-up of Tim Bogert, Appice, Randy Day and McCarty. “Another Way Or Another” is both a guitar picked instrumental and “wa-wa” wailing lead tune, and the last song here, “C-70 Blues” is all noisy feedback
What I especially like about West and was clear in SEX is that she was a woman who was going her own way, at all times, no matter where she might be going or what she might be talking about. A truly independent woman of her time (call her a feminist if you like, I prefer simply considering her a strong-willed creative “person” fearlessly standing up for what she wanted in her life and art) in SEX West explores not just the plight of prostitutes but the question of fate for all her characters trying to live with the choices they make.
This is my latest Wicked Pictures Movies Review….part 1. There are a goodly amount of new Wicked DVD’s to tell you about (and I promise to get to them in the next few weeks) but for now I want to take a run around two of the latest Axel Braun parodies-Suicide Squad XXX and Supergirl XXX-and his Inked 2, sequel to the first Inked.