Muzik Reviews

Steve Stevens - Memory Crash

Mon, 04 Aug 2008 21:16:51 +0000

Besides knowing Steve Stevens from providing all of those great licks on classic Billy Idol albums, I always respected his body of solo and collaborative work. On the amazing trio of Bozzio, Levin, Stevens (Black Light Syndrome 1997 & Situation Dangerous 2000), he impressed me as one of the most fluid and exciting guitarist of his day and he continues to play as if he just landed from another world on Memory Crash.

This is primarily an instrumental rock album with the exception of the Robin Trower cover “Day of the Eagle,” where Dug Pinnick (a fine bass player) provides some otherwise weak vocals and “Josephine,” where Stevens plays a bluesy lead guitar and adds some distorted vocals of his own. Stevens does a great job with the guitar work on the Trower classic but I wish he had someone more capable of handling the vocals than Pinnick, that being said it still did not take away from the exceptional fretwork of the main star of the show.

Stevens comes flying out the gate with the opener “Heavy Horizon.” It starts with techy computer like sounds to fit right along with the title of the album, and then he jumps right into bending those strings with the precision and sharpness of laser-guided smart bomb. He plays all the instruments with the exception of the drums, where the reliable Brian Tichy steps in to help lead this awesome display of guitar techniques and fireworks. This dude is one of those amazing Guitar Gods that never lets up and continues to amaze every time he decides to record.

Memory Crash will be in a music review book some day as one of the best albums you never heard. Stevens is not a mainstream artist and he steps into the background when he plays with Billy Idol so it is unlikely that this is the type of album that will chart or bring him worldwide fame, but we would be missing the whole point if we thought that way for one second now wouldn’t we? Those of us that know good music when we hear it and understand the talent it takes to record an album like this are in his corner every step of the way and always will be.

My personal favorite is the Satriani like “Small Arms Fire.” Man does the track rock and Stevens just outdoes himself on this one, peeling off riff after riff as if it was a walk in the park. This is a powerhouse rocker where Stevens cuts loose and shows everything he has in his arsenal. One thing to keep in mind is the fact that he plays everything and if you listen to the bass, it is above average as well.

Believe me this man knows his instrument and is probably one of the most underrated guitar slingers on the planet. The title track is another blazing quick-fingered keeper; it falls into a solid second place for best tracks. Now here is where the artist shows us his versatility and the word one-dimensional never enters the picture during the course of this recording…he pulls out the acoustic guitar out on ‘Water on Ares” and sounds like he could be playing on Antonio Carlos Jobim album. Once the acoustic run is over he brings us back down to earth to remind us of his electric guitar mastery then just as quickly reverts back to the acoustic and then mixes it all in together towards the end of the track to wrap up a pure rock and roll ride from start to finish. The entire album is one exciting ride to be honest.

Every track has another slice of guitar wizardry that goes beyond explanation; you have to hear it all to appreciate it. Once you do listen to this album once it will never be enough, it will find a permanent home in your stereo, iPod and inside your brain - no Memory Crash here!

Keith “MuzikMan” Hannaleck-August 3, 2008

Reverend Bob and the Darkness - Gallows Hill

Mon, 04 Aug 2008 21:16:50 +0000

Started in 1998 by fellow musicians Reverend Bob Matros and Dark Mike White, Reverend Bob and The Darkness have since added several musicians to its eclectic group, which combines an eclectic rhythm and blues, rock and bluegrass sound. Playing shows mostly in the Boston area, the band combines Goth and Country to make up their dark and offbeat image. Reverend Bob and The Darkness’ second album, Gallows Hill is for the open-minded bluegrass/country/rock/roots fan. While the majority of the songs on Gallows Hill are songs that one could imagine hearing years ago down south or out west, there are some instances of more mainstream-type songs that fit in the rock/rhythm and blues genre.

Female lead singer Julia Hughes fronts the band backed-up by a group of male singers. Because Hughes does not exactly have the best voice suited for country music and because many of the vocals are too low for her range, a lot of these songs came out mediocre. In addition, a majority of the album went overboard with three-and-four-part harmonies (that sounded more like chants) and a wailing accordion, which became too much at times. Many of the songs on Gallows Hill are like “I Don’t Care,” which starts off the album: mediocre country/roots songs with simple vocal lines and laid-back rhythm and instrumentation.

The more memorable and interesting songs on Gallows Hill branch away from this sound. One of these songs is the dark and moody ballad, “Left Me Hanging,” performed by a male lead singer. “Left Me Hanging” is a song with less country and more rhythm and blues and rock, in addition to great vocals, strings and harmonica. The low-range male voice brings a more emotional and bluesy feel to the lead vocal and Hughes’ lighter voice is perfect for the harmonies/back-up vocals. Another dark lead male vocal is performed on the slow and moody, “Big Mistake.” With beautiful harmonies and a Latin guitar solo, the song has more depth and intrigue. “Toe to Toe” has a completely different rhythmic feel than the rest of the album and sounds like a fast- paced dance/jazz tune straight from the 1940s. The male harmonies, trumpets and horns on this song add color to Hughes’ strong and crisp vocals. “Bloodlust” is another great sultry and jazzy vocal performance by Hughes. After listening to “Toe to Toe” and “Bloodlust” Hughes’ voice proves to be better suited for jazzier songs sung in a lighter/ higher range.

At the other end of the musical spectrum are songs like “Lord, Let Me Alone,” which truly fell short, adding very little to the album. In this song a weak male vocalist sings, “Let me alone with gun and my whiskey” against the background of a cheesy country accordion and a chanting chorus. The xylophone solo put the icing on this already crumbling cake. The song sounds as if the band was left alone with too much whiskey. Another song that completely threw me for a loop is “Drive” with its dissonant violin and rapping lyrics.

Reverend Bob and The Darkness bring an interesting vibe to the stereo whether it’s with a simple country song or dark rock/blues ballad. Gallows Hill is a gothic country album with its great moments and less than great moments and while I would not recommend this album to everyone, someone looking for a band that takes a different approach to the bluegrass/country/rock/roots genre will enjoy this album.

Erin Bruno-MuzikReviews.com Contributor

August 4, 2008

Foreigner - No End In Sight: The Very Best of Foreigner

Sat, 02 Aug 2008 04:16:55 +0000

Foreigner and I go way back to the beginning. I was the first kid in the neighborhood to buy their first album. It took everyone else another year to realize what a great sound they had. That realization hit them right between the eyes when “Feels Like The First Time” and “Cold As Ice” started to get a lot of airplay and became hits. Then of course after that an entire string of hits came rolling out like “Double Vision,” “Dirty White Boy,” “Head Games,” “Urgent,” well you know the drill, many more where to come, their subsequent disappearance and occasional release and finally the ultimate hits package, which we have here No End In Sight: The Very Best of Foreigner.

At the time that Foreigner came around I felt they were a bit more progressive but realize where I was at with my musical maturation, I did not think anything but Kiss, Black Sabbath, and Grand Funk or bands with similar sounds where worth hearing. I was only 15 years old.

This is a good collection and it reminded me of all the great songs this band created and the reason why I took to them so quickly the first time I heard them. Lou Gramm had a cool voice and the keyboards were different, it all seemed to work. The ballads they recorded are now legendary like “Waiting For A Girl Like You,” which has probably been played at a million wedding receptions over the years. This band had it all going and it is perfectly encapsulated in this two CD set. The first CD gets the blood flowing and pumps you up while the second disc reminds you of some tracks you may have forgotten but immediately reminds you that yes indeed this band had a good long run.

Disc 2 also features a few bonuses including a previously unreleased track “Too Late,” which is ok but not a typical hit like the rest, and a live unplugged version of “Say You Will,” “Starrider” live and an interesting change with “Juke Box Hero segueing right into Zep’s “Whole Lotta Love” live. Now if they threw a DVD of old concert footage and some interviews in then that would be the decisive factor for many people whether to buy this or not. I have always been a big Foreigner fan and this set did the band justice in my estimation.

Mick Jones is suffering from frontal baldness so he just is not looking like the cool rocker he once was. Jagger just turned 65 and he is looking mighty craggy and Keith looks like a zombie but they will probably drop dead before the call it a day, so in retrospect this band does not look so bad with Mick on the six-string, besides he is surrounded by a much younger band now. They took the revival route by injecting the current band with some new blood including Jason Bonham, a drummer that seems to be everyone’s choice to give the old guard a kick in the arse. A gent named Kelly Hanson is filling in for the MIA Lou Gramm. So it looks like they have played their cards right to get things going again.

This band is still marketable with a solid back catalog and they rock so why not? Snag it up and pop it in your stereo on your way to work one day, I guarantee you will get to the office singing with your eyes wide open.

Keith “MuzikMan” Hannaleck-July 31, 2008

Coleman Hawkins - The Hawk Flies High

Fri, 01 Aug 2008 02:18:09 +0000

How smooth is The Hawk? You might say as smooth as Tiger Woods or Michael Jordan and just as classy too. By many accounts, Hawk put the “S” in jazz sax. Vintage is the word that comes to mind. This album has the “sine qua non” that Duke Ellington identified – swing. In no time flat, this crew gets the listener hooked on their infectious mood, which is augmented by the seemingly effortless, relaxed phrasing endemic in the sound of Hawk’s tenor sax. The same hold true for J.J. Johnson on trombone and for Idrees Sulieman on trumpet. The licks, snippets of melody if you will, hang together across bar lines. When players as skillful as these improvise, they create songs within the song that seem as intuitive as they are inventive.

“Chant,” the opening piece, penned by Hank Jones, the pianist on the album, features a tight, unison melody line for all three horns. Solos are traded, as is customary in this genre, and “cute,” inside jokes fly around as well. Seasoned musicians intermittently toss in a couple of measures from a totally different song if it happens to fit with the chord pattern. On the bandstand this will occasion smiles and knowing glances from the other players. It’s cool to acknowledge them when they happen. In case it went over your head, just smile and nod when everyone else does. No chance to put one over on any of these cats. They’re way too hip. They’re virtuosos.

An interesting tour-de-force on trumpet happens on the second song, an original by Sulieman. He sustains a single note for three entire choruses using the technique known as rotary breathing. One chorus would have made the point. But three is mind-boggling. How do you do that? Beats me.

The balance of the instruments is pleasing and remarkable. The bass, skillfully played by Oscar Pettiford, is both fat and punchy. Every nuance and fill by the drummer, the legendary Jo Jones, is audible, even when he’s using brushes as he does on several selections. He prepares accents with a flair often using his “sizzle” cymbal for crescendos of varying degrees.

This re-issued volume has a good blend of selections that work their way to slower tempos from the first through the fourth, which happens to be the familiar jazz standard, “Laura.” But the players start with improvisation rather than the melody, at which point someone says “Wait a minute, I know that one,” recognizing the chord progression. But take heart. Erudite though it may seem, getting in on this level is equally enjoyable absent all the aforementioned.

There’s a nice, easy blues upcoming in “Blue Lights,” which starts out with a bouncy two-four meter in the bass. The verse finishes with the last four measures in the customary four-four time. The unison horn parts are catchy, and there’s a tasty guitar solo thrown in by Barry Galbraith. Just hang out and dig it.

Then take a musical journey, be it to New Orleans or wherever. “Sancticity” is sure to lift your flagging spirits. As an aside, compare the tempo at the end with the piece’s opening. They’re off to the races, and nobody wants to touch the brakes. It’s reminiscent of the spontaneous, celebratory music played by street bands after a southern funeral. It brings to mind works such as, “Sermonette” or “The Preacher,” with like implication – perhaps the end is just the beginning.

Glad these guys paved the way.

Ron Baker-MuzikReviews.com Contributor-July 31, 2008

Nat Adderley - Work Song

Mon, 28 Jul 2008 21:18:23 +0000

While surely a jazz album, this 1960 release has some “textbook” examples of the hard-bop idiom. Described by some historians as a post be-bop sound, hard bop has a compelling simplicity that makes it a good bit more accessible than maybe “Bird” or “Trane.”

The opening selection, “Work Song,” is a case in point. It borrows a variant of the classic twelve bar blues stretched out to sixteen bars instead. But blues aficionados will recognize familiar chord patterns, which have allowed musicians to sit in and jam together since its origin as a form.

“Pretty Memory,” the next piece, switches from a Latin beat to a swing reminiscent of “Night in Tunisia” or “On Green Dolphin Street.” Louis Hayes, on drums, is the powerhouse and makes the thing go. Hearing Sam Jones, who doubles melody sections and improvises while plucking the cello, might make you think there are two bass players. But a quick look at the album jacket settles the issue. Bobby Timmons provides the entire piano accompaniment for the group and, as always, is lyrical, accomplished, and stylish. The sidemen are masters in providing just the right mix of harmonic and rhythmic support for each other as soloists.

Jazz purists will find plenty on this album to sink their teeth into. Standards like “I’ve got a Crush on You” and “Violets for You Furs” will appeal to ballad lovers. Adderley’s phrasing is impeccable. He plays other favorites, “Mean to Me” and “My Heart Stood Still” in a lilting, straight-ahead manner using a mix of slurs and understatement that would-be vocalists might do well to study. Wes Montgomery, on guitar, works so well together with Timmons and with the various bass players: Keter Betts, Percy Heath, and the aforementioned Sam Jones, to lay down such open and tasteful rhythm tracks, he makes it sound easy. The guitarist’s elegant chord solo introduction to “My Heart Stood Still” almost makes one wish the other players had laid out for the whole piece.

The album ranges from the smoking “Fallout” with its air-tight, unison licks, to the rollicking, old chestnut “Sack of Woe,” penned by Julian “Cannonball” Adderley, Nat’s brother. Here, as on most other pieces, are some great instances in spur-of-the-moment composition. What’s most evident is the degree to which the players listen to each other, alternately rising and backing off in intensity, always letting the soloist set the agenda.

These trendsetters must have had a grand time recording this work. They’re clearly all on the same page. There’s a joy in the music that sounds so live, all that’s missing is the sound of applause. To their consummate credit, they’ve managed to achieve this intangible in the studio instead. Each song, in turn, seems to feed the spirit in a comforting and delightful way. It’s a great antidote for what ails you. As if they knew how reassuring their work would be to subsequent generations, they tossed in a prescient closing gem – “Scrambled Eggs.” Did they have a crystal ball?

Ron Baker-MuzikReviews.com Contributor-July 28, 2008

Kansas - Two For The Show: 30th Anniversary Edition

Sat, 26 Jul 2008 03:15:32 +0000

Disc One (Tracks 1-13, Disc Two 11-24)

Originally recorded live in various locations over the course of 1977 and 1978, Two for the Show: 30^th Anniversary Edition is a two-disc collection of Kansas’ most memorable and impressive musical masterpieces that capture the musical magic of this legendary group for old and new fans alike. Earning several gold and platinum albums, Kansas is a classic/progressive rock band to be reckoned with. Releasing their first self-titled album in 1974, their success continued with the albums: Song For America (1974), Masque (1975), Leftoverture (1976), Point of Know Return (1977), Two For the Show (1978), Monolith (1979), Audio-Visions (1980), Vinyl Confessions (1982) and The Best of Kansas (1984), just to name a few. What makes Kansas so special— their ability to tap into the musical psyche by creating songs with a unique blend of violin, piano, keyboard, organ, acoustic guitar, electric guitar, and synthesizers. Crossing over generation gaps and across all types of musical genres, these authentic rock giants combine classical, rock and progressive sounds with poetic lyrics and soulful vocals to give them a timeless feel and earn them the title of rock visionaries.

Two for the Show: 30^th Anniversary Edition is a symphonic rock collection of fast-paced and intense heavy rock guitar solos, progressive keyboard harmonies, frenetic rock violin interludes, and nostalgic piano melodies. The two discs showcase the impressive musicianship of six incredible musicians from Topeka, Kansas whose music spans over three decades: including, Phil Ehart on percussion, Kerry Livgren on keyboards and guitars, Robby Steinhardt on violin and vocals, Dave Hope on Bass, Steve Walsh on vocals ad keyboards and Rich Williams on guitars. The cover of the album is based on a 1946 Norman Rockwell painting titled, “The Charwomen,” highlighting the artistic and visionary themes that are found within the music of Kansas. Blending several genres and sounds to create unforgettable and untouchable vibes in each of their songs, Kansas is a one-of-a-kind rock band. Songs like “Song for America,” and “Point of Know Return” highlight the energetic rock and classically epic sounds of Kansas. Songs like “Icarus Borne on Wings of Steel,” with its heavier guitar rock appeal and haunting organ paints a picture while telling a story. “Lonely Wind” features a piano solo with strong vocals creating an emotional and moody vibe. “Excerpt from Lamplight Symphony” is a dark rock jam with classical piano and violin. Also included on the first disc are the Top 10 hit singles, “Carry On Wayward Son” and “Dust in the Wind.” Over thirty years after its original release, “Carry on Wayward Son” still carries its magical touch of vivacious rock guitar and beautiful classical piano. “Dust in The Wind” is still an unforgettable acoustic, nostalgic lullaby with poignant vocal harmonies and a heartbreaking violin solo.

While disc one features familiar rock tunes, disc two features ten previously unreleased live cuts from 1977-1978 with the exception of “Closet Chronicles.” With the same rock, classical, and progressive appeal as disc one, the second disc delivers a new collection of songs that extends Kansas creative energies. “Child of Innocence” boosts heavy rock solos filled with energy and soul in addition to strong lead vocals, smooth harmonies and a beautiful music breakdown. Hard rock meets blues in “Lonely Street,” featuring a heavy bass, rockin’ guitar and solid drums. “Closet Chronicles” starts off as a laid-back classic rock song of organ, piano and vocals that lead up to a frenetic music breakdown filled with an energetic violin solo. “Down the Road” is a fast-paced rock song with lively guitar solos. “Bringing it Back” brings together organ and piano rock with intense rock violin solos.

Currently on tour through August 2008, Kansas remains one of the last of its kind to create music in its pure form: live. This album takes rock music to another level that few bands can still accomplish today. Instead of writing simple, catchy rock songs, Kansas writes songs that are musically and lyrically in-depth and intricate beyond compare. Kansas’ ability to play live is breathtaking and unbelievable. Unlike many bands, Kansas did not overdub any part of this album in the studio. Kansas proves to be one of the only true rock bands left whose music is meant to be heard across time and re-discovered again and again.

Erin Bruno-MuzikReviews.com Contributor

July 25, 2008

Mutlu - Livin' It

Fri, 25 Jul 2008 13:17:41 +0000

Mutlu Onaral known as simply Mutlu has a new album out, his third, titled Livin’ It. Having absolutely no familiarity with this artist gave me the element of surprise right from the start.

Livin’ It is a good album. It has a lot of highlights and tracks that have that rhythm and soul vibe going on, sort of like a Marvin Gaye thing. Nearly every track seems radio ready. He does the Santana guest artist thing and that decision was his most important on this recording because it takes rather generic songs and makes them something else more interesting and provoking.

The title track is killer, I love it, anyone with a sense of rhythm and soul would. The artist is right on the ball with awareness in marketing himself, he is offering the track for a free download, which is a perfect teaser to buy the album. You will get much of the same with the rest of the album but as I said, the extra bonus is the other contributing artists such as Darryl Hall, G. Love, who really spices up “Shaky Ground,” easily the best track on the recording, Amos Lee, and Raheem DeVaughn.

Mutlu has a pleasing and warm vocal style that is hard not to like and he plays some decent acoustic guitar as well. I listened to this CD a few times and have to admit as much as I think it uses the same formula and sound throughout…I found it all very catchy and I did enjoy it.

Because of its lack of dissimilar musical styles and approach, Livin’ It will not find a home in my CD player but that does not mean there is not a huge audience out there that will love this music, there most certainly is and they will find Mutlu and embrace him.

Keith “MuzikMan” Hannaleck-July 24, 2008

Judas Priest - Nostradamus

Wed, 23 Jul 2008 05:16:04 +0000

Judas Priest is already a legendary metal band with a long and storied history of recordings behind them dating back to their first release in 1973 titled Rocka Rolla. Now Judas Priest has unleashed their first concept album titled Nostradamus. The band felt this was a big risk considering their fan base is accustomed to getting what they expect; in this case, metal heads get their cake and eat it. I applaud the band for moving forward and laying their cards on the table and showing just how much talent they continue to bring to the studio. This never would have happened if their enigmatic lead singer Rob Halford had not returned to the fold after a ten-year absence on the excellent 2005 Angel of Retribution album. Halford’s interest and fascination with the French seer comes to life on this double disc release.

I got every configuration available, the super deluxe three LP and CD book set, the book and CD deluxe set and this 2 CD set. The limited edition vinyl and CD boxed set is a real treasure, coming in a colorful box with plastic sleeve sealed LPs, a special poster depicting a scene from the track “War” and a large sized booklet with the words to each song. Any version is worth having as it contains some great work by the band. This is their epic recording, the one every band dreams of making with hopes of it being looked upon as their pinnacle of performance in the studio.

Looking over some of the overly critical reviews of this album has been disappointing to say the least. This excellent project pushes the boundaries of their talent as a band beyond what anyone would have expected at this point in their career. Rather than sitting on their past laurels and playing it safe, what we have here is a band reborn through change. The fact that they chose such a prolific and mysterious character such as Nostradamus made the anticipation of this album’s release very exciting. I certainly was not disappointed with what I have heard; in fact, I continue to listen on a regular basis.

The songs rock from start to finish with the pounding drums of Scott Travis and his battery mate on bass Ian Hill while you are pummeled with the meaty riffs of Glen Tipton and K.K. Downing, and of course the unique vocals of Rob Halford leading the way telling the story with force, darkness and power. All the elements are in place for a classic Judas Priest album. That is my belief but some longtime fans may be disappointed with the introduction of keyboards and moody orchestrations, however this lends itself well to the storyline and the crescendo of instruments that follow along with Halford’s strong vocal lines.

The album starts in a very untypical Judas Priest fashion with an instrumental “Dawn of Creation” that has you wondering what you will be in for although it is a hint of what is to come. Tipton and Downing do an amazing job with the synthesized guitars, masking as keyboards convincingly quite frequently. “Revelations” is one of the best tracks on the album, an emotionally moving and tour de force of instruments with the incredibly talented vocal skills of Halford on display. The risk they took with this concept album becomes a wash quite quickly because they chose to focus on the doom and gloom prophecies of Nostradamus, keeping their metal foundation and reputation firmly in place. The title track has the patented Halford scream at the beginning, which reminds us that he still has the juice to get the job done and there is nobody on the face of the planet that sounds like him.

I could not wait for this album to come out and it when I first heard it I knew that Judas Priest made the right decision and most definitely have created their masterpiece. They will find many new fans, loose some of the old faithful, and many will stand pat awaiting the next effort and will continue to enjoy this recording. As the power and majesty of metal lives on, the interest in Nostradamus and his prophecies will find further recognition by thousands of people that had no awareness prior to the release of this album.

Nostradamus is highly recommended listening and the closest thing to progressive metal that you will hear this band create. After this who knows what is next?

Keith “MuzikMan” Hannnaleck-July 22, 2008

Note: Disc 1 is tracks 1-14, Disc 2 15-23

Swampdawamp - 2.0

Tue, 22 Jul 2008 03:19:35 +0000

Swampdawamp is crankin it up again and getting those southern fried rock and blue fires burnin! On this teaser, titled 2.0 a Special Edition pre release CD, they are offering up three studio tracks and interviews and a rehearsal recording. The boys sound like they are ready to release another great album sometime later this year.

For those of you unfortunate souls that have not discovered this band the lineup is Gig Michaels (lead vocals & acoustic guitar); David Lee (drums); Michael Hough (guitar & vocals); Keith Inman (guitar); Mike Huffman (keyboards, B3 & vocals); and Cody Bennett (bass).

This EP CD is a precursor to the future and it is sure exciting. The band sounds like they are on fire! The first track “Dance” has a risqué video up on You Tube now and surely, it will get its share of plays. The song itself is Swampdawamp at their very best. Again, I heard all the pinpoint guitar licks, the thumping rhythm section and the whiskey soaked vocals of Gig Michaels taking it all to top without a breath in between. “Fire In The Hole” and “Shoebox” keep the Swampdawamp train rollin’ down the tracks with more straight up southern flavored rock with plenty of blues licks in the mix to keep it real. The thing I have always enjoyed about this band is that when they get things warmed up they never let up, it just keeps coming at you full bore. The only thing I did not like about this is that I only heard three tracks and I wanted it to keep going, so I suppose that is a good thing from the band’s perspective. If these three tracks are any indication of what we should expect on the next album then we are in for a treat. They sound like they have kicked it up another notch.

I enjoyed the interview, it got me a little closer to the band and I found out a bit more about their attitude and goals. They believe in themselves and the people that listen to their music. What they have adopted is a grass roots following similar to what bands like Lynyrd Skynyrd and Molly Hatchet had prior to their meteoric rise to popularity. So watch out, Swamdawamp may be the next big thing coming out the south for all of you rock fans that have kinship to that music.

I look forward to hearing the complete album.

Keith “MuzikMan” Hannaleck-July 21 2008

The Tea Club-PICK OF THE WEEK - General Winter's Secret Museum

Sun, 13 Jul 2008 01:22:22 +0000

The Tea Club sounds like a perfectly innocent and unassuming name but do not let the serene CD cover and band name fool you. As you will learn when you open up the General Winter’s Secret Museum CD the sleeve enclosed and the artwork does get a bit more interesting and the lyrics are included to set your mind reeling.

This band sings and plays with ferocity and purpose. While only three members comprise this progressive rock unit, they sound like much more. A full sound comes at you constructed with guitars, drums, and bass as it swoops down and sucks you into every hair-raising storyline.

The Tea Club is Patrick McGowan (vocals, bass, and guitar) with Brother Dan (vocals, guitar) and Kyle Minnick (drums).

As things kick off the album you are immediately brought into the macabre with “Werewolves.” This is a potent tool for mesmerizing you and creating interest and excitement about what you are hearing while intently listening to their own personal take on the legendary transformation from man to beast. Guitars, bass and drums thunder as Pat McGowan bellows “I just need a little time, this is my Mr. Hyde…well I am down and I am wearin’ thin, I can’t help but keep hurting you”, as the words roll off his tongue they cut like a knife right through you. As all of this unfolds, all I can think of is a Halloween night where The Beatles meet King Crimson and they start jamming. This vision kept coming to me throughout the run of this CD. Low and behold, their biggest influences happen to be two of the bands I just mentioned, so there is no shock here, just a bit of validation from the perspective of a listener and music fan. This was the best song on the album and marvelous way to introduce themselves to potential listeners while simultaneously creating some interest to hear more.

I bet some of you are wondering where they came up with the title for the album. I am always pondering what the title and artwork mean. If it is not obvious and in this case, that applies, you have to wonder what the significance is and just how it all ties in to the big picture of a project. The term General Winter, is a name used for the horrible weather the Germans experienced while trying to invade Russia in World War 2. Pat McGowan then added in the rest of the title and the band loved it.

The title track of all things gets the boot because the band thought it did not flow with the rest of the album. In this case, they should have put it at the close of the album and I do not think removing that track was the best decision.

At times,they do pull off some beautiful Beatles like harmonizing so the thought process may have been that this would easily cross over to pop-rock territory. Regardless of those elements, the fans that listen to this music expect bombastic opuses lasting 7-12 minutes, it is the norm, the music is far from being top forty or pop and it does not take long after hearing the way the tracks come at you that they are doing their best to make a progressive album. If you want to hear the title track then visit the band’s profile here http://mybandsmusic.com/members/680/ where you actually can listen to 15 tracks with the option to purchase and find out for yourself where they are coming from. If anything, it entices people to go check it out, so that is a positive gained from a somewhat odd decision to eliminate the title track.

Getting back to the rest of the album-it is solid, not a great piece of work but very good and this band has the potential to be great. What I heard was a steady blend of music that did tend to go back and forth in waves of varying sounds and emotions, which is the standard for the genre. The variations with rhythms, beats and guitars are interesting and definitely not something that you would hear on the radio…there are no 4/4 time syncopations or drum click tracks buzzing in the ear of their drummer, no way. Besides the lead off track, this album did tend to flow together too easily from track to track for this type of music.

What I think needs work here is to develop more complexity with the song structures they already have, which are excellent, by simply adding some layered keyboards or a driving Hammond B3 on a regular basis. With that, the entire picture could change and they may very well become the band they always dreamed of being. Again, this is just the beginning for them and it is a real good start. They wrote all the songs, which is impressive. For three people they make some noise and it will remind you fondly of some other great trios that have come and gone since the inception of progressive rock. They reached their goal to get a stripped down sound removing things like a flute and so forth. Perhaps on the next outing those things will remain with additional instruments to beef up their sound and then they will blossom, as I would expect.

Keith “MuzikMan” Hannaleck-July 12, 2008