Morrissey : "Make Up is a Lie"

 

There is a reason Morrissey has a fanatical cult following outside of the Smiths. He is one of my favorite singers, even as his croon has aged. It's been six years since "I am Not a Dog on a Chain." Even then, I will split the difference and not use the Smiths as the bar I judge him against in 2026 and use  2017's"Low In High School" as the bar. Granted, now 9 years later, Moz is almost 67 rather than the 58 years he was when he recorded that album. He keeps things at more of a reserved croon, which is pushed up further in the mix than the 2017 album, which sounded that more like he does live. 

When it comes to the percussion, there are more electronic elements in play, though the opener "You're Right It's Time" feels pretty organic with its casual, lounged-out croon. By the time we get to the lead single, Alain Whyte's guitar tone reminds me of the tones Stevie Ray Vaughn used on Bowie's "Let's Dance" album. He covers Roxy Music's 1973 penned"Amazona."  It was a quirky song for the band back then. Moz's version finds the guitar sounding brighter, and rather than go into the falsetto of Bryan Ferry, he shifts the dynamics of his voice to a softer tone to get the point across, showing he still possesses a fluid control of his voice. They even nail Phil Manzanera's solo. 

The tempo shifts for " Headache" that finds him writing with his former touring multi-instrumentalist Gustavo Manzur, which is odd considering Morrissey is supposed to be such a racist that half of his band is Hispanic. Manzur collapsed at a Colorado show and was replaced by Camila Gray, who also aided in writing for this album. While it sounds great, the song , is a ballad that drags a bit and is the first moment that feels like filler to me. "Boulevard" is also a ballad, but his voice does most of the heavy lifting as the accompaniment is sparse and takes time to come to a boil. Lyrically, it's more interesting than the previous song. 

Thi highlights that, lyrically, he is one of the heaviest writers in the game; he goes harder than most metal bands when it comes to the venom he infuses his sardonic poetry with. He also proves he can still belt it out to keep up with the dynamics. "Zoom Zoom the Little Boy" has a very 60s feel, which takes us back to the "California Son" album. Lyrically, he is back to saving animals. It almost sounds like he wrote it for "Yo, Gabba Gabba". Things get pretty fucking funky for " the Night Pop Dropped". 

"Kerching Kerching" finds Moz getting lyrically punchy even when casually crooning. It's a pretty intersting song with fun lyrics. "Lester Bangs" finds his pipes supple and a more lingering rock tone to the introspective nature of the song. His musing about a rock critic he grew up reading is endearing. "Many Icebergs" casts a darker reflection with its haunting folk feel. The kind of languid Brit pop Moz is known for closes things well with "The Monsters of Pig Alley." Overall, this album holds up his legacy in the manner expected. I will give it a 10. 

pst90

The Top 10 Albums of 1985

If you aren't aware that Reza Mills from Clean Sheets and Sleeping Shaman has been breaking down the decades with me to uncover our top 5 songs in pivotal anniversaries for these years, then you uare missing out. You should check out our insights here...

 

Here I am taking my top 5 choices and expanding them into the top 10 albums of 1985, and also ranking them in order of their impact and staying power, so here are my top 10 albums of 1985. Be sure to check out the episode above for a more in-depth look at the top 5 here. 

10-Megadeth- "Killing is my Business and Business is Good."

The debut of Mustaine's post-Metallica project feels like he picked up where "Kill'em All " left off.

 

9-Anthrax -' Spreading the Disease" 

They were beginning to hit their stride when it came to blending thrash with hooky classic metal songwriting

   

8-Ratt- "Invasion of Your Privacy."

One of the most endearing albums from the hair metal era, which stands the test of time. 

7-Sting -" Dream of the Blue Turtles." 

His solo debut is wonderfully bleak in its lyrical outlet and jazz overlay. 

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6-Slayer - "Hell Awaits"

Their most underrated album, considering that it opened the doors for a darker, heavier style of music to be born. 

 

5-Dio-"Sacred Heart."

He peaked in the 80s with this magical album, setting himself apart from metal trends.

4-the Cure "Head On the Door." 

Not their darkest album, but Smith's songwriting continued t o explore new colors of sound. 

3-Tom Waits - "Rain Dogs." 

Not sure he even knew the 80s were even going on a this album sounds like it came from a dive bar at the edge of time. 

2-Kate Bush-"Hounds of Love"

She did new wave on her terms and retained all the ethereal magic that she was known for.  

 

1-The Smiths -"Meat is Murder."

Lyrically brilliant and perfectly written, this iconic album still stands alone. 

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pst619

Live Review - Morrissey @ Mahaffey Theater in St. Pete

 The Mahaffey Theater was a great choice of  a venue for Morrissey to find himself in.  Designed to look like a classic European opera house, it captured  the kind of class Morrissey exudes even when draped in sardonic sarcasm. There was no opening act just a pastiche of film that opened with the Stooges "Seek and Destroy' set to military footage that is fitting even the news of the world, which Moz evaded from the stage. The opening films felt like you were sitting in his living room as Morrissey clicked through all of the cool Youtube videos he thought you should check out that range from Bowie to Sophie Loren. This is my 6th time seeing him and this proved to be the longest intro film I've sat through from him. 

He opened with "We Hate It When Our Friends Become Successful" which was fitting since his success continues to be his best revenge against a media that tries to ignore him since they can't cancel, yet are never able to ignore him because his legacy only gets closer when you thought it was in the rear view of pop culture. He followed this up with "Suedehead' which found his voice limber for a 64 year old.  The first of the five Smiths songs he played was " Stop Me If You Have Heard this One Before' , which I have heard him perform before. "Irish Blood, English Heart" rocked harder than previous performances. This was followed by "Alma Matters" which is one of those songs from "Maladjusted" an album I was lukewarm on when it was released, but the song  has grown on me over time, and this performance drove the point home. 

"Speedway' is another  underrated classic from his solo career,  the live performance of this was a powerful reminder of what a great song it is. This came after he went on a bit of sermon regarding how he is only capable of speaking from the heart and how it was not popular in this day and age as the music industry continues it's decline. This made the lyrics more timely, and was the closest he came to addressing his controversy, which was more than expected as Moz's invulnerability to execution from the court of public opinion lies in his ability to disregard what other's think of him, and express this contempt with a calm demeanor and reason as his argument to always prevail. 

I think this was the first time I have heard him perform "Half a Person" . This arrangement veered away from replicating what the Smith's did. The lyrics still remain a defining declaration of who he is. This version was slower, and more nuanced. The most surprising moment might have been his cover of Waylon Jennings "Are You Sure Hank Done it this Way" which was true to the original but still firmly in his wheelhouse. He closed the set with "Jack the Ripper" returning to the stage for the one song encore of "How Soon is Now" which was all the crowded needed by that point. The charm and energy he summoned on stage  surpassed even what I saw Robert Smith do back when the Cure came though to play an arena. Aging gracefully Morrissey proved the legends are true and he still wears the crown. 

Rest in Peace - Andy Rourke

 

Been burning the candle at both ends this week, and then went to Rockville so this forced me to reflect on the passing of the incredible Mr. Rourke, before committing those thoughts to the keyboard.  Any top ten list of bass players that does not include Andy Rourke is shite. Well the Smiths are our favorite band so you are biased you argue. this is also shite and tells me you have never paid attention to one of this bass lines. The Smith's got heavy, not metal but at times were heavy the title track from their "Meat Is Murder" album is one example . Andy was the reason for this. 

With Morrissey and Johnny Marr is a band with you, the music press might overlook you when fully digesting the sonic depth of your band's work. Andy was capable of show boating but always served the song while holding the spine together even when it went into an angular bop"The Queen is Dead" shows his interplay with the drums , and it is flawless. His tone beefy for the music they played and the rubbery grooves he rode stand the test of time. Any bass players who are into post-punk, punk, or any subgenre of rock need to be fluent in this man's work. 

One of the first thoughts I had in regards to his passing is now I do not have to pay a life saving to go to England and see any Smiths reunion was might have been looming in the next five years. Because if it was ever going to happen that would be the time frame for it to. If they still did one which is now even further stacking the odds against, it would not be the Smiths. Idiots like to say the only thing they like about the Smiths is Johnny Marr, in trying to virtue signal to Morrissey fans, but the band could not have happened each member in place Andy being just as key as Moz or Marr. With Rourke dead the final nail is in the coffin for the Smiths future, but in doing so the past  is made pristine, his music is immortalized unblemished. 

Gothtober- Johnny Marr : "Fever Dreams pt 1 "

The Smiths influenced goth as much as other artists who pre dated the concept of the genre, like Bowie, Iggy Pop, Kate Bush and the Doors, so this album belongs here for that reason though if set aside to be judged for it's own merits it draws from corners just as moody as other post-punk.  "I Can't Stand Morrissey but Johnny Marr is a great guitarist  "While it is true Marr is great this is a common phrase uttered by many a poseur to afraid of what people think of think them to admit to listening to the Smiths. Funny enough the press release by BMG does not mention the Smiths but calls him a legend, which is funny because The The, Electronic, Modest Mouse and the Cribs did not make him a legend it was well I do not even have to say their name again for you to know. 

 The song that recalls his legendary days the most might be "All These Days". It is darker , has more dramatic pulse to it. Marr is a decent singer, he does not have the unmistakable croon of his former band mate. Though despite his best efforts to distance himself from that shadow the influence is clearly embedded in his musical DNA and he can not escape it. "Ariel"  brings out his classic guitar tone. Considering who he is , I am surprised the guitar does not get more of the spotlight, as no one came here for this singing which continues to get the job done , but not going to leave you think "I can't wait to put this album on and hear Johnny Marr's voice again" 

Lyrically in comparison to Morrissey he seems like he is just peddling boring middle of the road tropes. The dance beat of the opener keeps the song moving in a way that distracts you from this fact. Overall more electronic window dressing adorns this album. His classic jangle returns for ' Receiver"  though the vocals remind me more of Iggy Pop's new wave days or Billy Idol's least rock moments. You can also here some of his roots to a band that even influenced The Smith's  T-Rex.  I will round this down to a 9 because over all this could be a revival of any Brit Pop band you might hear at 80s night, this one just happens to have the most talented guitarist of that era.  

the Top 10 Post-Punk Guitarists

Here is one for my friend Oliver Sheppard. Rather than save it for the celebration of goth in October I do here, I am knocking this out now. More often driven by slinky bass lines , the guitarists of Post-punk bands are unsung heroes creating tension in the shadows.  Granted when it comes to post-punk I prefer the more death rock side of the graveyard, but I have also included some players who influenced the genre as a whole even if they are not just thought off as the ghoul fathers of the genre .Let us go ahead   release the bats and have a listen to my Top 10 Post - Punk Guitarists.  

10--Rikk Agnew 

This Christian Death guitarist captured the creepy underbelly of the scene they came from with his tone and the slink of his guitar melodies.

   

9-Bernard Sumner

Often imitated, he made the most with what he had to work with and was a mater at crafting tension.

   

8- Andy Gill 

Gang of Four was more punk than most of the bands represented on this list, yet Gill's often aggressive jangle put some fun in the otherwise explosive temperament of the band. Perhaps not  the darkest sound here, but a very influential one. 

 

 7-Geordie Walker 

A well rounded player who evolved along with his band until he ushered in what would be the precursor to industrial, rather than settling for metal , he kept things sonically heavy.

 

6-Paul Wright 

Before Type O Negative, came Wright's band who got heavier with each album, thanks in part to the roar of their singer . Wright started started off learning jazz which opened the doors to a wider world of chord phrasings

    

5- Robin Guthrie

His tone is the Las Vegas to his counterparts heaven of a voice. All too often bands focus more on a sound than songs, he made his sound into songs .

    

4-Daniel Ash 

There is something beautiful and biting that puts him up[ this high on the list. He can stir darkness together in chilling chords, but still has balls to his playing that is heavy in it's own right.

 

3-Robert Smith 

An underrated player , what puts Smith above the bulk of his peers is his range as a player, his playing was always evolving into a broader expanse of sonic colors and styles , rather than just sticking to his simplistic punk roots

     

2-Carlos Alomar 

Mick Ronson, is a guitar hero of another era, Reeves Gabrels also deserves honorable mention for his work in Tin Machine alone, not to mention he is a member of the Cure , but Alomar worked alongside the likes of  Robert Fripp to craft an off kilter dissonant sound to influence post punk to come, he also played on some of Iggy Pop's more iconic solo albums. 

1-Johnny Marr

He should be in the top ten of any guitar list. His tone is immaculate and he made using a clean tone cool during a time when Eddie Van Halen was taking his own flashy throne that is the polar opposite to what Marr was doing in the Smiths . If this is to be called into question, then pick one of the many odd tuning's Marr played in and try learning some of  his weird and wonderful chord structures they are a lot harder than they sound. He made it look easy. 

Morrissey : "I am Not a Dog on a Chain"

Morrissey came out of the past decade unscathed  by the  witch hunts, and showing no signs of having to censor himself from being himself here.  I was unsure about the electronic beat leading into the song but once the vocals come in then things fall in line with what you might expect from Morrissey. The chorus is very solid. Lyrically it is as biting with lines kill yourself, then for god's sake kill yourself" . The electronic elements stick around for "Love is On it's Way Out". Here he laments about the sad rich shooting down elephants & lions. This rings true with his values. The harp sounds are a little odd. Guitar is not playing much of a role on this one until the end of the song. His trade mark croons sounds good on the first two songs, so I am pretty confident this album is going to find him vocally in fine form. There is marginally more of an organic sound on "Bobby , Don't You Think They Know?" . This son is at first funky until it breaks down into a piano part. It's one of the more interesting arrangements I have heard him employ in some time.

The title track is alright , but not as impressive as the first three songs, though lyrically this song is great in it's message to doubt the media. There is a happier tone to "What Kind of of People Live in These Houses". Lyrically it is more skeptical .The chord progression moves almost like "Sweet Jane", but layered with a country guitar over it. There is a softer groove to " Knockabout World" to compliment his smoother vocal line,  The Spanish make it sound like off Broadway pop from the 70s . Moz's voice sounds good, but he is not really testing his range and keeping everything in a more casual mid range.  Lyrically he is pretty consistent. There is a more 80s like pulse to " Once I Saw the River Clean", this recalls the Smiths more than any other song on this album. I could hear Billy Idol singing over this track. Think "Eyes Without a Face".

"The Truth About Ruth" finds him singing with a more hushed tone. This might be the biggest dynamic shift in terms of the vocals on this album. Things get perhaps the weirdest I have ever heard Moz go on "the Secret of Music". It is barely held together as a song, but you have to respect him for going so far left field this late in the game. There is a lazy pace to " My Hurling Days are Over". The guitar is sparse with Moz's voice holding things together. The instrumentation slowly builds around him until kicking in half way into the song. I will give this album a 9.5 and see how it grows on me. As far as post "You are the Quarry" Albums go it's up there with "World Peace is None of Your Business".

Morrissey : "California Son"

"Pin Ups" was Bowie's cover album, so while it can be a gimmick they can also be well done. Morrissey does most things with creative grace, though in recent years a few songs have been a hiccup here and there. This album is graceful. He is a lover of music and the only surprise here is the fact he doesn't do a New York Dolls song. Since Jobriath was the first rock singer to die of AIDS, I can understand why he covered him. I think Jobriath was trying to be David Bowie with a fraction of the talent so Moz takes the song and makes it better than the original.  Joni Mitchells uses such distinctive intervals when she sings it is apparent this is her song from the phrasing alone which he nails. The album's only hiccup is the Bob Dylan song "Only A Pawn in Their Game". Lyrically it shits on the accusations of Morrissey being racist, but the idiots using these allegations as their defense of Morrissey not agreeing with them don't do things like really check their facts. Political statements aside , Bob Dylan is really a waste of Morrissey's vocal prowess.

I had to go listen to the original because "Suffer the Little Children" was not a folk song I was familiar with and Morrissey's arrangement reminds me of Dolly Parton's " 9 to 5:" The original is more folk than Dolly Parton. The first time I heard Phil Ochs I thought I bet Morrissey was influenced by this guy. So I am glad he covered one of his songs. When it comes to a Morrissey album what I am most concerned about is his voice. The last couple of albums felt like there were moments where perhaps age was catching up with him, This is dispelled on "It's Over". Roy Orbison is no joke. Morrissety gets up there and hits all the notes with conviction I have not heard from him in some time, so it is great to hear him in true form. "Wedding Bell Blues" is a little upbeat for Moz and sound more like Burt Bacharach. He goes up into a falsetto here. Billie Joe Armstrong's backing vocals are pretty pointless.

There is a similar summer time stroll in New York feel to his version of Dionne Warwick's "Loneliness Remembers What Happiness Forgets".  His voice is really strong on "Lady Willpower" it has the resonance I want from his croon. The horn section on this makes me think of Neil Diamond and now I want to hear him cover a Neil Diamond song. Like Elvis when he covers someone else's song he makes it his. Even so Carly Simon's "When You Close Your Eyes" is an odd choice that he makes work well for him. "Lenny's Tune" has an intimacy that recalls his days with the Smiths.The album ends with the sedate yet steamy ballad " Some Say I Got Devil" .  I think the strength of the vocal performances on this album are enough for me to round this up to a 10. Obviously if you are a egular reader you know I am a huge Morrissey fan, that does not mean I am going to just give him a free pass, in fact the bar is raised higher and he pretty much comes back in full force and nails better than he has since perhaps "Ringleader of the Tormentors".

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Morrissey : "Low in High School"

We know this is always hard for me, as the expectations for some one of his magnitude in my life is out of this world. Things are very different on this album.The production is weird it sounds like this album was recorded on a space ship. Vocally the first song is a mixed bag as it it is not crooned as smoothly, though he even goes up into a falsetto, perhaps not as easily as he once did. Despite the accents of the horn section that song is pretty dark despite the skip in it's step. Some kind of of yelling in the background when it resolves and fades out. "I Wish You Lonely" automatically feels more like classic Morrissey despite the weird surrounding the production and some of the songs that sound like they are from a St. Vincent album. But this song has a groove I can get down with and sign off on.

The producer of this album also produced "World Peace Is None Of Your Business", along with this year's Cherry Glazerr album. The lyrics teeter on melody of "Jacky's Only Happy When She is Up On Stage". The narrative seems to be the focal point. There are some interesting guitar tones.His vocals get back to smoother place I want from him on "Home is A Question Mark". There is a surf rock reverb on the guitar in the last 2 minutes of this song. I had heard the single "Spent the Day in Bed" and was all right with it even though it is strangely upbeat. His voice sounds great here and that is the most important part of this. Lyrically this is a very politically in your face album, but he is not taking a side when it comes to American politics , but makes fun of the sheep who put stock in things like the news.

At almost seven and a half minutes "I Bury the Living" is the album's longest song. There is too much atmosphere on the front in which could have trimmed a minute of its run time. The vocals are more spoken than sung. He is not fond of war either. I guess this is a good veterans day song. The little "Funny how the war goes on..." part seems like a different song than a coda/ refrain. "In Your Lap" is piano based ballad that meanders. The piano part in "the Girl From Tel-Aviv Who Wouldn't Kneel" works much better as the song has focused melody and movement.There is a collision of disconnected lyrical themes on "All the Young People Must Fall in Love". Musically it reminds me of one of Ringo Starr's song which sounds like it should be in a parade. This is counter balanced by "When You Open Your Legs' which throws in an strange mix of musical styles that some how work in the way they are stirred together. There are almost as many horns on this album as a ska band might have, just used more wisely.

After the opening movies Moz plays live with clips of police brutality " Who Will Protect Us From the Police" is no surprise. It's always a pretty decent song, despite the groove of it's new wave bass line. "Israel" is another ballad , but this time it is a more compelling middle finger to religion that I can get down with too.Not his best album, but it is still better than the best from most so I 'll round it up to a 9.5, as I might have been a little hard on certain parts.

Multiple Eargasms - the Weekly Shuffle

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A post shared by Daniel R Moore Photography (@drmfoto) on Jul 10, 2017 at 12:36pm PDT

Ok we are two weeks in a row now, with this feature that has proven to be more popular than I would have imagined. I just press shuffle on my iPod and review the first ten songs that pop up. So here we go, hope this inspires masturbation and multiple eargasms. AFI- "Feed From the Floor" Danny Havok's vocals sound great hear and the bass line certainly invokes the Cure. This song stand more in the shadows of pop punk.I haven't give this album enough listens to that is one of the cool things about doing this feature is getting to dig back in an give things a second chance. Halsey- "Now or Never" The hook of this song reminds me of Ellie Goulding. I would say there is more of a hip-hop influence bubbling under the surface here than Goulding. The production certainly gives nods to hip-hop. For pop music this going to be one of the strongest albums of the year. The Smiths -Sweet and Tender Hooligan" One of the smiths more driving punk like moments. This shows how their influence touches both indie rock bands and post-bands. Moz sound great and the lyrics are as biting as anything else they have done. This is more straight forward playing than what you expect from Marr , but the bass line is killing it. the Cure- "Blood Flowers" This song is both sonically powerful and incredibly moving from an emotional perspective. I always forget how good this album was until I listen to it. It really does hold up against the rest of their work. Cocteau Twins- "Treasure Hiding" I normally dopn't think of these guys as shoe gaze , but I guess if this was the only song you heard from them it would be easy to slap that label on. Not my favorite song from this album as it lingers in the abstract for too long. Liz sounds great, but she could sing from the phone book and it would sound divine, the melody that comes in at 2:40 mark is awesome , but wish they got to the point. Sleepytime Gorilla Museum- Helpless Corpses Enactment Another bad that I am always glad to hear when they come up in shuffle as their are so chaotic that Sleepytime is not always my go to when cuing up something to listen to. This is one of their more metal moments, it's a damn shame these guys broke up, because I can't imagine what else they would have been capable of. Life of Agony - "I Regret" This band in their prime was criminally under rated. Too band when Keith's river started running red that he also forgot how he sang on this song and what about his delivery helped define this band and make them stand out from all the other bands in the 90s. This song is one of the few from the second album that sounded like it could have been on their first. 2Pac- "Only God Can Judge Me" This is not one of the strongest songs from "All Eyez On Me". It suffers a little more than some of the other songs when it comes to how the 90s production holds up today. Lyrically its a bunch of whining about how hard it is living in his shoes. The guest rap by Rappin 4 Tay is pretty terrible. Mastodon- "Clandestiny" I don't remember really being overly wowed by this song when I first got the album. It had endured in the competitive landscape of my iPod so that says something. Metal should not feel so middle of the road and this song doesn't hit me as being heavy enough to be metal despite it's guitar tones and most of the metal trappings being close to center. Cult of Youth - "Monsters" When they are in the more rambling folk punk strum they tend to sound less like Death in June. The baritone vocal is more rowdy and carefree than Death IN June, in fact I can hear fans of punk liking this more than tragic goths. Their earlier work was more filled with this kind of punk energy. Twisted Sister - "Burn in Hell" For anyone who wants to lump these guys in with the rest of the 80s hair metal I think this song sets the record straight. Not as dynamic vocally I think Twisted Sister has more in common with old Iron Maiden or Priest than they do Motley Crue. Unless we are talking about the Crue's first two albums then it does have a similar drive to it. The Cramps- "Bop Pills" This song is pretty much straight up rock in the vein of early 50's rock more than it strikes me as being rock a billy unless we are saying Jerry Lee Lewis falls into that as well. It's as song about drugs and those song are always good to party to.

Morrissey @ Symphony Hall 2015

If you are only a Smiths fan, this might not be the tour for you. If you only like Moz' greatest hits this might not be the tour for you. After thirty minutes of video ranging from Tina Turner, Jefferson Airplane, the Ramones and the New York Dolls , He took the stage apologizing for being two years late. Referring to the fact he has cancelled more than he has played here. While review of the first couple of shows in the tour said he pushed his politics to heavily, he didn't say a word other than express his thanks and let the videos playing above him do the talking.The touring line up consisted of  the line up from the world peace is none of your business session , old timer Boz  Boorer and Jesse Tobias handling the guitars . Matt Walker on drums along with multi-instrumentalist Gustavo Manzur, who was Moz's new ace in the hole. He handled, trumpet parts, spanish guitar, additional drumming and back vocals. It was the few minutes he took the mic himself that inspired me to take a bathroom break.

His stage set-up was a step up from previous tours with more emphasis put on the LED lighting on video screen above the band. At times the videos which pushed Moz's agenda, repulsed fans  by showing cops beating people and killing dogs. Then there was the video which accompanied "Meat is Murder" that showed what goes on inside of a slaughterhouse. This was one of the most intense things I have ever seen shown at a concert, beating out all metal bands and leaving only Skinny Puppy as a close second. I was surprised this song didn't get a bigger response since it is a Smiths song, and one of my favorite's since it's so dark and the closest the Smiths come to playing metal. The crowd was evidently also only interested in the Smiths greatest hits as well as they sat this one out. Of course the energy leaped up for "Stop Me If You Have Heard This One Before" and "What She Said", both of which are on the Smiths greatest hits compilations.

The set was heavy on "World Peace Is None of Your Business" .  While I would have liked to have heard a slightly broader range, maybe one song from every album, it was my first time hearing any of these songs live. For the most part they held up well "Istanbul" and the title track perhaps at the top of the pile. The more recent hits included "Throwing My Arms Around Paris" and "First of the Gang to Die". He touched on some of his more classic solo work like "Everyday is Like Sunday" and "Now My Heart if Full". Morrissey's voice sounded great. The high and low croons alike came across with power and he even floated into his head register. The only qualm I had was it didn't seem loud enough. Now I know my hearing has had a toll taken on it from going to see Swans alone, much less all the other shows, but the energy exchange between the musicians and the fans was not as intense as other times i have heard them play at higher volumes. This could have been a volume restriction place on them by the venue since it was at Symphony Hall.  The mix was good, with Moz's voice way out front, since it is his show. From a performance standpoint if you haven't see him yet, this tour seems to be a fine opportunity, but a word of warning this is not a greatest hits tour so it would be wise to make sure you check out his latest album if you haven't done so yet or you will be out of the loop most of the show.

Unhappy Birthdays : Why Morrissey is not My Guilty Pleasure

It's easy to a be a Kiss fan... you have an army with you. It's easy to be a Slayer fan, no matter how many line-up changes they have. If you decide to "Up the Irons" no worries, every one knows "Run to the Hills". Sure most hipsters have the re-pressed "Louder than Bombs " on vinyl. Even being a Smiths fan is easier than being a Morrissey fan. You can always say I just listen to them because of Johnny Marr. Being a Morrissey fan means it doesn't matter if its "the Queen is Dead" or "Ring leader of the Tormentors", you don't have to have the Smiths as a buffer. You want all the grandiose emotion at his command poured into you. Since It's Morrissey's birthday, I thought I would shed some light on what is like to be a Morrissey fan. Morrissey is not a guilty pleasure to me. I have no guilt about what my finance might call an obsession with the Pope of Mope as many call him. But you see, Morrissey's music is not mopey to me. In fact aside from some of my actual guilty pleasure pop like Madonna or Twin Shadow, Morrissey is some of the least depressing music I listen to. Granted the Cure often has songs I find too happy and one of my favorite sub-genres of music is funereal doom. A brand of mournful metal that marches to the grave at 40 bpms. Sure heaven knows he is miserable now. But his music encompasses a wide range of emotions and often finds the Moz not as the victim of his narratives but as the sardonic sadist.


 I think if you read this blog you know I'm primarily a metal head, but the summer before my senior of high school the guitar hook to "How Soon Is Now" caught my ear and the rest is history.Granted I'm often the token goth when among metal heads and the token metal head when I am hanging out at the bat cave. In many of my interviews with metal bands when we get to the subject of what non-metal music they listen too...which is always a more interesting topic, because are you going to be surprised that Goatwhore listens to Slayer on the tour bus or that Watain listens to Bathory? No, but to know they listen to Queen and the Cure, puts me on Fascination street.
  I don't hear the grimness. Bleak humor...yes. Morrissey a genius? Without a doubt. Are the Smiths heavy in their own way? Yes, the title track of "Meat is Murder" is heavier than most metal bands from an emotional standpoint. I love the fact that he compares Moz to King Diamond, another one of my favorite singers who is an acquired taste. If I think about most of my favorite singers I think that could be said about them Robert Smith, Kate Bush, Geddy Lee, Chelsea Wolfe, Zola Jesus... you know its them when you hear them. Robert Smith gets a similar treatment, he gets called whiney. I always think maybe they mean winey, because he drinks a lot of wine. Why would you want to listen to something that has universal appeal? That means you have nothing that resonates with you as an individual. The one thing sets Moz apart from the others is if you are a fan you also find yourself explaining his politics and other sometimes prima donna behavior. If Morrissey doesn't want to play in a venue that serves meat, at least he has something he stands for that strongly. Most people can't relate because they are not passionate about their own views. It's somewhat like terrorism, while you might not agree with some one's politics how many Baptist Churches believe strongly enough that they are willing to strap on a bomb? Yeah, I don't think so. Morrissey fans know it's not an easy job. At this point I have seen Morrissey as many times as he has canceled on me. He has even made disparaging remarks about the other musical icon I hold up on a similar pedestal...David Bowie. While I won't repeat what was said, I understand Morrissey enough to not take offense and know that in his heart of hearts he knows what a huge influence Bowie was on him and he would not exist if not for the doors David Bowie opened, ambiguous sexual persona's alone. Morrissey has been the light that had never gone out for me, at this point I have endured all his silly rock star shenanigans. I don't want the Smiths to re-unite.It wouldn't be the same. I don't need them to. I am fine with just the Moz, no buffer. Sure I love the Smiths and they were the gateway drug, but I can take Moz with no chaser. He can keep cancelling show after show, it won't change a thing, because being Morrissey fan might not be an easy way of life, but it is a better one.

Morrissey: "World Peace is None of Your Business"

Before you think this is just going to be a biased worship service, there have been some Moz albums that haven't blown me away. " Maladjusted" and "Years of Refusal" have both gotten significantly less plays than his other solo fare, which according to Last FM not surprisingly comes in behind the Smiths. Like the Smiths this album is more eclectic than his previous work which tends to have a largely unified vibe. Here he uses all 18 of these songs to explore a world of sounds. I have the deluxe edition so I am reviewing all 18 of those songs rather than cutting it off at "Oboe Concerto" .

This is Steven's first album for Harvest. He has already released three singles . The first is the albums opener and title track, which is much less venomous than what I expected. This album is not a rocker like "SouthPaw Grammar" and holds more in common with "You Are the Quarry". I am warming up to the title track, the vocals did not fall where I expected them to which takes adjustment. The second song "Neal Cassidy Drops Dead" is a much better song and what I expect from Moz even with the more electronic elements. The lyrics are clever and bite where I need them too. Moz's voice doesn't sound aged except when he reaches up into his falsetto later in the album , but we will get back to that. There is a beautiful guitar break in "Neal Cassidy..." that is unexpected and a reminder that while it's no Johnny Marr on board , Boz and Tobias are no slouches.

Not sure how the 2 mins are required to get into the odd musing that is " I'm Not a Man" . The vegan anthem this becomes , cheers itself forward past the weird synths , but never climaxes like I hope. Instead it ops for getting noisy and weird. This producer also worked with OingoBoingo so maybe that's where it comes from.

The second single is "Istanbul" which has some driven behind the jagged jangle of the guitars , with sitar sounds layered on the edges. It's smartly written and arranged even if it is not among Morrissey's most compelling lyrics. I want more cynical self loathing  and less of the world commentary, though that is some of the thematic elements this one draws from. The Latin guitar against the electric undertow of " Earth is the Loneliest Planet" brings you to a familiar place but with a much more psychedelic groove than what you normally think of when it comes to Morrissey. But hey it works,though a weird choice for the third single.

"Staircase At the University" is pretty classic Morrissey. Lyrical and vocally it hits all the right spots . Its a narrative that depicts the shamefully beautifully picture of dysfunction Moz is the best at observing. The vegan theme returns on " the Bull Fighter Dies". Moz is rooting for the bull, in this mid-paced number that feels like it could have been a Smiths song. The guitar takes on a more rockabilly vibe in some of it's phrasing.

More experimentation transpires on " Kiss Me Alot", but in the best way possible as all the elements you want from him are in place.This song has the swaying skip to it despite all the varied elements of world music that collide behind it. The more ballad like" Smiler With Knife" is at times as awkward as the it's title.This one is going to be the hardest to grow on me, I think the lack of percussion adds to this. The lyrics hit on some good points like  "sex and love are not the same" When drums do come in it's in the songs third act and not as effective, though after further listens the songs seems to become more droning and dreary almost like a kinder gentler Swans outro.

Another classic in waiting is "Kick the Bride Down the Aisle" . The lyrics are what was needed. Morrissey's croon is youthful for a man of his years. It doesn't rely on a big hooky chorus , instead sways it's way along rather gracefully. "Mountjoy" is an acoustic number, with a folk like strum.Some strings moan their way in the background. Moz's voice sounds fine here, but the melody doesn't do much for me.

The song that closes out what I suppose is the normal album, is " Oboe Concerto" that is a lazy crooner not unlike some of his other solo work, perhaps the more recent albums are the best comparison. It works for what you want from him. So if this is what you see as the stopping point then the album gets a 9. But real fans I'm sure will want the other six songs. So we aren't done here at Abysmal Hymns.

"Scandinavia" made several appearances on what was his last tour of sorts that met a predictable demise. This sounds like it could have come from "Ring Leader of the Tormentors". Its nice and dark, though being a Scandinavian I'm not sure what context I should take the lyrics. So I will take "then you came along" as being me, though he eventually ends up kissing the soil.

"One of Our Own" brings us back to more of the experimental moments, I find it makes more sense knowing the producer also worked with Dredg because this song reminds me of them. It maintains the darker path "Scandinavian" set the album on. The guitars are doing some interesting dissonant slices of sonics.  The return to balladry on "Drag the River" brightens the clouds. The guitars kick in but don't force things to rock, and let them breeze along.

"Forgive Someone" goes back to the more Cure like synths that haunt the surf like guitars. The guitars seem to be carrying most of the weight as Moz waltzes around where the melody should fall, but if he went the obvious route it wouldn't be him. This sounds like it might have been written years ago and they just got around to recording it or he has been going back and listening to his old Smiths albums.

"Julie In the Weeds" reminds me of "Just My Imagination Running Away With Me". The guitar tone is really cool here and for most of the album . This producer's strong point is certainly guitar tone. Halfway through almost progressive tone simmers up, but its more relaxed than say Genesis. Going back and hearing the falsetto at the end of this one , its not as bad as I thought it was. Though that yodel might be on "Art Hounds" . "Art Hounds" would be weird if this was the only song you heard from this album. It comes close to being a more rock number, like "Boy Racer". The sounds comprising it don't rock in that obvious of a manner.  Yes, these are the yodels I was thinking about , they aren't what they used to be, but don't make me cringe like I thought they would on first listen. In some ways his voice sounds older here like Bowie's does sometimes on his last album. The lyrics sound like they are taking stabs at hipsters.

If you stuck it out and tracked down all the songs , then you would understand why ultimately this can be rounded up to a ten. The fact I had to round it up means it is different and has to grow on you rather than grabbing you with a sob from the get go. But with each song it is fonder.  



 

The Weekly Shuffle

Content  has been a little sparse, been going through some stuff this week, aside from two or three songs I have listened to on repeat, today is the first day I have been able to listen to music, so for this shuffle, its going to be on the therapeutic side and hitting shuffle but only stopping on the songs that match my current, as other music seems to aggitate the skin which it doesn't feel like I'm wearing.

"Last Night I Dreamt, That Somebody Loved Me" by the Smiths

Any good depressive streak needs the Smiths. The frequencies of this song are really what registers with me, the guitar tone is rather soothing. No hope no harm just another false alarm

"the Way We Used To" by Chelsea Wolfe

Pretty much have been just listening to the same three Chelsea  Wolfe songs this week, which is going to throw her like up over the Smiths on my Lastfm.


"Shaken" by Death of Lovers

Despite the fact I can not under stand the lyrics through all the reverb on the vocals , this song fits my mood perfect. The murkiness is bittersweet.

"Numb Hand" by True Widow

This one is tolerable Because of the the pacing. The lyrics don't really resonate but the low frequency and sluggish nature of this song does, it drags like  melancholy with out moping.

"The Same Deep Water As You" by the Cure

Their guitars tones are comforting. Robert Smith's voice always resonates with me as emotional truth.   This makes his lyrics hold more weight. The guitar melody that bridges this together is genius.  The lyrics to the second verse are better.

"Start of the Break Down" by Tears For Fears

This song is almost to happy, the 80' s keyboards are playing around more than the Cure's , this seems less personal lyrically as well. It is like all of their songs incredibly sung.

"Her" by Swans

The trance like element to this song rings more true than the lyrics. This song is pretty delicate for these guys and more hopeful than most. Almost like the Cocteau Twins until the distortion crunches down to bring a more ominous cloud .

"Humiliation" by the National

This album sounds great and was the first non Chelsea Wolfe album, I listened to this week. The lyrics to this song don't register as much with me as others on this album.

"In Your Nature" by Zola Jesus

She's always good for these moods, there is something yearning about her voice. A desperation she manages to capture against the always sparse backing, I want a new electronic album from her. By the end of this song it builds up into something more happy than I can relate to.

Death Reflects Us" by Beastmilk

This is about the most upbeat song I can handle, the album overall is dark enough and perhaps other songs might have even more lyrical relevance with me.

The Weekly Shuffle

Yep... here we go again, I hit shuffle on.. well iTunes as my iPod has bitten the dust, if anyone know a spell to resurrect an iPod classic please hit me up and let me know or how to get the volume to work after the Apple store cleans lint out of the head phone jack then hit me up.  So with that said reviewing the first ten songs that crop up.  

"Back Door Man" - the Doors

They take a simple blues jam and turn into something drunkenly great, most of this lies on Morrison, but the drumming and guitar playing on the song is pretty classic as well.

"Her" - Swans

Gira's voice sounds great when he lays back and croons.Sounds like it was at its peak on the "Love of Life" album which had the band at the perfect balance of punishing and melodic.

"Diamonds and Rust"  - Judas Priest

They now own this Joan Baez cover. Halford is more restrained her and really serves the song in more of a mid range croon. It has more of a Heart like gallop in this incarnation.

"Unearthly Kingdom" - Immortal

This band really find powers when they slow down and find a groove like this. The croak of the vocals form a creepier narrative at this tempo. When it does pick up the pace its more double bass driven than blasty.  The guitar playing on this part sounds mean as hell

"What She Said" - the Smiths

This is an underrated song by the band , because it's not played at 80's night or Brit Pop night or where ever kids are dancing to "Girlfriend in a Coma" and "How Soon is Now". It kicks pretty hard so it's not for the pop minded.

"How Does the Grass Grow?" - David Bowie

It holds the quirky sensibility of  Scary Monsters mixed with the almost doo-wop of Aladdin Sane. The bass is killing it on this song thanks to Gail Anne Dorsey. This songs holds up to the rest of Bowie's work which says a lot.

"Curse of the Pharaohs" - Mercyful Fate

 Why Metallica ever attempted to cover this with James singing I don't know, as King owns it even thought the majority of the song is in his more crooning voice, which I have grown over the years to appreciate almost as much as his shattering upper register.

"Flying High Again" - Ozzy

As far as the songs on Diary of a Madman, this is one of the cheesier platters on the album, steeped in the sounds of the 80's from which it came. Most of this is on Randy Rhodes, whose playing is the most dated element to the song. I think Diary is a much better and darker album than Blizzard, though Blizzard has it's moments, It's Ozzy we are taking about so even at his worst he is endearing, if you are a total metal guitar geek then this song can do no wrong.

"Johnny the Fox Meets Jimmy the Weed" - Thin Lizzy

It took me a long time to get into this band as the singers sounds like a cab driver from Jersey. It came down to me hearing some of their deeper album cuts to really appreciate them. These guys are clearly a guitar players' band, they have incredible tone and are pretty versatile songwriters, even if you don't like their more beer commercial efforts like the "Boys are back in Town".

"Black Dragon" -Dissection

I'm not sure why Reinkaos gets so much flack, sure compared to Storm of the Nights Bane its a little on the cock rock side, but these songs are all awesome, this one might have its black wings raised above the rest. Awesome riffs and groove with a great sense of dynamics.      

The Weekly Shuffle

OK we have been back at this for a few installments , so we are re-acquainted  with me hitting shuffle on the old iPod and reviewing the first ten tracks that pop up.

Deafheaven - Unrequited

Now that they have broken into the mainstream we can't forget what put them on the map and when they were more black metal than shoe-gaze or post rock. The song still rips pretty good and this album has stuck with it on my iPod to stand the test of time.

Alice Cooper -Who Do You Think We Are

Like disco Kiss  and Vegas Elvis , I have a thing for New Wave Alice Cooper, it much better than the cock rock years. Its smartly written , surprising as when these albums come up in interviews he claims to have been too drunk to remember making them.

Watain - I Am the Earth

Some older Watain , Erik growls a little more here than the more shouted Bathory style approach he began using more after this album. I can hear the Dissection in the guitar melodies.

The Mission - Naked & Savage

The Mission UK marched on with this album which retains every thing that makes them great , the emphasis being on the guitar tone, the drums are a little thin and programmed sounding here. The background vocals oohs, remind me of Sympathy For the Devil.

The Smiths - This Charming Man

I would go out tonight, but I haven't got a stitch to wear, is a classic line to a classic song that shows both sides to the enigma that is Morrissey and the bands skips along with him , creating the juxtaposition that is often the Smiths.

Alcest - Les Voyages De L'Ame

This is barely metal if at all and I have a bad feeling the new album will step away from this even further. Though this might play to the bands favor in record sales. For post-rock a genre that forsakes vocals , this makes a good case for them.

Tears For Fears - Women in Chains  

A great song , but the title is more exciting than the lyrical content of this soulful ballad . One of the bands greatest performances. It's chill inducing when he belts out the "and I feel lying in waiting is a poor man's game " line.  

Thin Lizzy - Killer On the Loose

Sometimes the singer reminds me of a cab driver from Jersey. They are full of great guitar playing even if this song is straight ahead rock a shade lighter than Motorhead.

Dissection - Night's Blood.

I could give myself a head trying to count straws and figure out if this is black metal or Swedish death metal. They have the very melodic guitar but unlike their limp wristed country men in the genre, the give it more teeth and attack. Jon's vocal's have a meaner sneer than death metal in it's rasp. These guys are awesome anyway you slice and Watain is the only band that has been able to carry their flame.

Wreck & Reference - Winter

I think the fact these guys are still in my iPod attests to the fact  I have gotten over the fact they are not called No Youth and I am able to embrace the dark sonic wasteland they call songs.The agony in this guys singing voice is great and adds to the song's bleakness.  

Weekly Shuffle

If you are a new reader, this is where I hit shuffle on my iPod and review the first ten tracks to play , as it gives me a chance to touch on bands not often covered on here or things I might have missed. If you are a regular to the blog then you know the drill.

"Freewill" by Rush, - I have always thought if you only knew Rush by their radio songs then you didn't have accurate picture of what they really do, this song is a counterpoint to that argument as its actually quiet good,I think the solo is one of Lifeson's best and the do some interesting thing that don't make them comes across as a Styx wannabe.

"Belus Doed" by Burzum, I love Varg, this first post incarceration album I think has aged well so far , I love the drone and his vocals sound like the perfect frothing of a wild creature cornered by a mob of torch wielding Jews. It is Varg we are talking about here. You gotta love someone who is not afraid to stand up for extreme views in metal and say fuck you to political correctness , after all site that what metal is about?

"Lace up your boots" by Cult of Youth, They get some death in June comparisons, but this has an angrier New Model Army raging through the country side doing and Irish jig in combat boots feel to it, I like the aggression even though it's not metal .

"Rainy Day Woman" by Waylon Jennings , For a country song this has a reckless drive lurking beneath the strum of the guitar , happy music for outlaw bikers? He is the real deal no questions asked even if you don't like country music, and I have a respect for the real outlaw shit not the pop stuff getting passed off as country now.

"Epitome xiii" by Blut Aus Nord, the French men descend darker into the murky depths of the restless soul. I love the feel to this one, the moaned vocals floating just under the water's surface like they were drowned in a baptismal. A perfect black metal song without the normal convention you expect like blast beats, granted they took this waaaay further and now sound like they want to be the Cure, but hey I love the Cure so I'm ok with it, this thing is so sonic and dark it's sickening , I am asking myself why I don't listen to it more even as it plays now. The guitar evolves getting creepier as they songs builds awesome.

"Over reaction" by Voi Vod, you should know how if feel about this band and this is classic Killing technology era shit that confirms it, if you haven't checked out my review of their new one do so ,that album kills it almost as har das this era when they has the raging punk fury intermingled with their futuristic take on thrash which is still ahead of its time go ask Meshuggah if you beg to differ. This isn't even what I would consider the strongest song on Killing technology but it still brings it in a manner that more mind blowing then the best shit their peers t this time could manage.

"Womderful Woman" by the Smiths, this has their trademark lazy saunter, the haunting refrain in the chorus, this is classic like the Beatles, in fact even cooler, than the Beatles in my book, the world owes the Smiths because if it wasn't for them every thing would still sound like foghat and Van Halen. O.k shredders, when was the last Van Halens cock rock sounded like it came from anywhere but the eighties? This is timeless, even with the product as it was and Morrisseys croon lurking in the reverb.

"Cold Spring" by, Old Sliver Key, I can't remember if I covered this one when it came out two years ago I was till overlapping with Global Domination back then , this is a collaboration between Neige of Alcest and the dudes from Drudkh, I think this session really helped shape the process for the next Alcest album and made it a little ore rock n roll. I had gotten burned out on Drudkh the time so didn't give this one much of a shot when it came out but it's really good stuff, very uplifting like Alcest but doesn't float off to fairy land.

"Pslam 69" by Ministry, talk about standing the test of time, I have been going back and getting more heavily into industrial again there's a lot of Great stuff to be rediscovered, I think a lot of it I was too fucked up to really hear when it came out, though like this album I played the hell out of it, I think Al's voice sounds perfect on this song, it's mean as nails spit from a possessed Strom trooper as the death Starr goes down.

"the shortest Straw" by Metallica, well...these guys don't get much mention here, I did like them at one time , And justice for all is my cut off point, there is undeniably a lot of great thrash riffs , and is song has a cool hook wedged right in the middle. The chug leading into..shortest straw challenge liberty/ down by law, live in infamy/ rub you raw, ..it's great your they look like fools in the rain now but this album rocked despite the great American sellout that was the "One" video . Now it's safe to say die hard Metallica fans these days are more likely to listen to Godsmack and Nickleback than any real metal but I'm not deleting this from my iPod either so that says something.

The Weekly Shuffle

The first weekly shuffle of 2013. first time reading ? well, I put the iPod on shuffle and randomly review the first ten songs that play. This weeks should be interesting as my iPod won't synch with one computer so I synced it with the iTunes on my old one which has music I haven't listened to in almost a year. I did load seem new stuff on there and bought a couple albums for myself with a girt card. So here we go

"Hearts a Mess" - by Gotye, yeah the "somebody I used to know guy" the whole album isn't half bad. Some songs like this one have a darker Portishead meets Peter Gabriel vibe to them. He has a good voice and is really a product of the YouTube generation, though he has been a thing in Austrailia for a minute now. I like the lyrics to this one , not a lot of pop songs are about the self deception involved in romance.

"Upon Returning"- Dredg, These guys were awesome, then catch without arms was abut of a poppy curve ball though not a sellout. They stay on the road because they fell inbetween the cracks when it comes to this sort melodic rock, being they are as commercial as Mutemath but not prog enough for the Porcupine tree crowd. This ong sees there sound intact but with a stronger police influnce and any metal leanings forsaken.

"Can't do a Thing" - by Chris Isaak, Was a huge fan, still like the first five albums which is more than you can say for most artists, the tv show through me off, kinda like Ozzy. Spectacular voice great lyrics about his cheating heart I like the line " I couldn't stop my self if I tried because I got you too deep inside." though when I type it it sounds homo erotic. This song is a good argument for poly amory.

"les regrets"Les Discrets, 2011 the year that "black gaze" almost became a thing. More shoe gaze than black metal, didn't give their second album enough of a shot, the double bass rolling under the facade of drone is a nice touch.Alcest pretty much cornered the marketon this sort of thing.

" A Mutiny" - by Red Sparowes, instrumental music can only hold my attention for soloing. It these guys take a pretty good stab at it due to a incredible guitar tone and taking the waves of shimmer into ever evolving passages, this song no exception almost a jazz feel at times and can hear Pink Floyd influences stuffed into the cracks.

"Cemetary Gates" by the Smiths, this is one of my favorite happy songs by these days one day I'd like my band to playa mash up of this and "Cemetary gates" or I could just sing the Pantera song like Morrissey would. The guitar and the vocal melody here are what steals the show here. So let's go where I want to...

"Wavy" by Skinny Puppy, Post the Greater wrong of right albums I have never given a fair shake, I like this song is back to a darker sound but Orge still sings. The vocals are really well produced and every thing is in the right plce the acoustic guitar part phased in like that adds a lot and the midsection is really cool with out percussion. Will have to give Handover another listen as I like this one.

"Vault of membros" by Disma, finally metal and they hit the brown tone on the very first note. This album stands up every time I hear it and I like it better than the new incantation. Though much slower and grime dripping , almost doom but not quite, the growl is a great demon gurgle, though my daughter just fell asleep listening to this. Cus that's just how metal she is.

"Right" by David Bowie, I am of the belief that Young Americans is as good of an albums Ziggy Stardust , though the single "Fame" eclipsed the rest of the album.this song shows Dave is one of the greatest rock singers as he fluidly weaves soul elements into what he does. He doesn't dabble in other forms of music he makes them his own. Earl Slick for the win on the solo.

"Maze of Torment" by Morbid Angel, one of the greates death metal songs ever, they brought the blasty with them here and there are still hooks that keep you banging rather than everything sounding like mush. David Vincent gets credit due to his vocal placement, not the best growler in the game but he knows his phrasing.

Weekly Shuffle

The fourth installment of my column where the old iPod goes on shuffle and I review the tracks that pop up.

"Rue D'Auseil" by the Great Old Ones, I recently reviewed this album so not be be redundant, I can say the album continues to grow on me. This song has a slow wind up better served as back ground music but when it kicks in has all the ambiance and experimental we now expect from metal out of france.

"She Lives" by Swans, ...I just wanna thank you, Gira's melodies are great here and one of the only things I miss about some of the newer stuff if the melodies aren't as focused as the older stuff, but it is heavier so ...it's the Swans I'm not complaining

"Severence" by Dead Can Dance, ...Perry knocks it out of the park on this one, I think Bauhaus has covered this one. It's the subtle vocal crescendo that does it for me, as it's sparse on the instrumentation. Still wrestling ver who put out the better non- metal album this year these guys or Swans.

"Heaven knows I'm Miserable now" by the Smiths, ... A classic, I love when Moz let's his falsetto float out , the lyrics encapsulate how I feel on a daily basis, their songs always speak to me, especially when Caligula blushes.

"Gypsy" by Emperor ...yes a cover of the Merciful Fate song. Ihsahn doesn't back down from going for the high parts either though most are buried in reverb and not hitting it like the King but even Ripper Owens can't hit it like the King , so this is one of the better attempts.

"bbbTone" by Pinback, these guys have an uncanny ability to weave melodies around their off time exploits not unlike the Police at times and much more effectively than Modest Mouse's attempts at an often similar dynamic. The bass is crazy dominating on this one but it works.

"Gateways" by Dimmu Borigir, the symphonic nature of what is going on at this point could have as much cheese as Nightwish, but it all some how works when you crept the fact they no longer are making black metal but dark gothic symphonic metal, they slay Cradle of Filth and even without I.c.s Vortex they manage to pull it off.

"Somniphobia" by Sigh, this type of winding Bungle like prog hits you with so much I don't have as high a tolerance for it as I did as a teenager, but this album is great the keys are very Deep Purple at times and the weird toy circus break down is better than most of the devils carnival soundtrack, making me think Sigh should have handled the music to that.

"Moonage Daydream" Bowie at his most genius and Mick Ronson being the rock god he was never paid proper homage for being, I mean this song stacks up against all the greatest , Zeppelin, Beatles , Zappa ...whatever, classic no questions asked any one who can't appreciate this no matter what kind of metal they are into doesn't have an ear for music In the first place and should Styx in the bathroom and hum along to the reverberations of their own farts.

"I am the Earth" by Watain , while they are one of my favorite bands , I have given preSworn to the dark material as much of a listen . It seems not too different and I own I just got so stuck on the last two albums so maybe I'll start a classic metal column and review "Casus Lucferi" during the draught of new music January always brings.